Abstract

In the preface to his Theodicy, Leibniz describes the whole of his philosophical work as an attempt to follow Ariadne’s thread through “the two famous labyrinths in which our reason goes astray.” The first and best known of these—the labyrinth of freedom—concerns the relation between contingency and necessity in history. The second—and the one I want to discuss—is what Leibniz calls the labyrinth of the composition of the continuum. The problem itself is relatively simple: how can indivisible and distinct elements constitute a continuum? How, that is, can singularity possibly be thought if the real is everywhere continuous, without interruption or break? Leibniz, as is well known, affirms both extremes of these questions: what really exists are simple unities or wholes, and yet the totality of these unities constitutes a single, organically complete world. While one mode of approach would be to turn immediately to Leibniz’s elaboration of monadic expression and intrinsic predication, I want to examine the effects the problem generates for the specifically Leibnizian conception of the real and the ideal, as well as the transition this entails from the metaphorics of the labyrinth to the figure of the infinite library and the problem of repetition.