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The Whole, that is to say, God, is this very relief for Leibniz, and the monads are these complementary plane views; for that reason he defines God as "the substance that has no point of view," or, again, as "the universal harmony," that is to say, the reciprocal complementarity of monads.
Thus the wind at a street-corner divides into diverging currents which are all one and the same gust. Harmony, or rather "complementarity," is revealed only in the mass, in tendencies rather than in states. It is due to an identity of impulsion and not to a common aspiration. It would be futile to try to assign to life an end, in the human sense of the word.
In just the same way, the visible relief of an object is equivalent to the whole set of stereoscopic views taken of it from all points, so that, instead of seeing in the relief a juxtaposition of solid parts, we might quite as well look upon it as made of the reciprocal complementarity of these whole views, each given in block, each indivisible, each different from all the others and yet representative of the same thing.
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