Whatever autonomy and internal logic formal analysis may reveal in a work of art, the actual work is only one among its multiple possibilities. And even if it often happens, as in Leibniz’s theodicy (and in the refrain Voltaire borrowed from it for Candide), that the work’s canonic form is indeed the best of all possible forms, the fact remains that the work now stands out against a background, and a series, of potentialities.

Contributed by Caroline. View changelog.