/lit/ - Literature

>>12622912
this one is truly wild.

3/4
>The resolution of dissonance is tantamount to displacing pain, to searching for the major accord with which it is consonant. Just as the martyr knows how to do it at the highest point and, in that way, not suppress pain itself, but suppress resonance or resentment, by avoiding passivity, by pursuing the effort to suppress causes, even if the martyr's force of opposition is not attained. All of Leibniz's theory of evil is a method to prepare for and to resolve dissonances in a "universal harmony.” A counterexample would be furnished by the damned. whose souls produce a dissonance on a unique note, a breath of vengeance or resentment, a hate of God that goes to infinity; but it is still a form of music, a chord - though diabolical- since the damned draw pleasure from their very pain. and especially make possible the infinite progression of perfect accords in the other souls.

>Such is the first aspect of harmony, which Leibniz calls spontaneity. The monad produces accords that are made and are undone, and yet that have neither beginning nor end, that are transformed each into the other or into themselves, and that tend toward a resolution or a modulation. For Leibniz even the diabolical accord can be transformed. It is because the monad is expression; it expresses the world from its own point of view (and musicians such as Rameau forever underscore the expressive character of the chord). Point of view signifies the selection that each monad exerts on the whole world that it is including, so as to extract accords from one part of the line of infinite inflection that makes up the world.

>Thus the monad draws its accords from its own depths.

>>9768574
3/5

>The resolution of dissonance is tantamount to displacing pain, to searching for the major accord with which it is consonant. Just as the martyr knows how to do it at the highest point and, in that way, not suppress pain itself, but suppress resonance or resentment, by avoiding passivity, by pursuing the effort to suppress causes, even if the martyr's force of opposition is not attained. All of Leibniz's theory of evil is a method to prepare for and to resolve dissonances in a "universal harmony.” A counterexample would be furnished by the damned. whose souls produce a dissonance on a unique note, a breath of vengeance or resentment, a hate of God that goes to infinity; but it is still a form of music, a chord - though diabolical- since the damned draw pleasure from their very pain. and especially make possible the infinite progression of perfect accords in the other souls.

>Such is the first aspect of harmony, which Leibniz calls spontaneity. The monad produces accords that are made and are undone, and yet that have neither beginning nor end, that are transformed each into the other or into themselves, and that tend toward a resolution or a modulation. For Leibniz even the diabolical accord can be transformed. It is because the monad is expression; it expresses the world from its own point of view (and musicians such as Rameau forever underscore the expressive character of the chord). Point of view signifies the selection that each monad exerts on the whole world that it is including, so as to extract accords from one part of the line of infinite inflection that makes up the world.

>Thus the monad draws its accords from its own depths.