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Time&Eternity

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notes to chapter 3 285<br />

nal cinemas” in which images are transmitted by means of sensory nerves. God’s perception<br />

of world events, on the other hand, must occur more directly. For this reason, Newton<br />

declared all space to be the sensorium Dei (ibid., xvi). The sensorium idea is thus an expression<br />

of an image of God that places the omnipresence of the almighty God in the<br />

forefront.<br />

76. Such summarizing entails risks. Depending upon the interpretation, very diverse<br />

concepts apply. Thus, for example, Achtner, Kunz, and Walter, Dimensions of Time, 111,<br />

speak of Newton’s complete idealization of time, and thereby mean universality,<br />

quantification, and symmetry. Leibniz, on the other hand, condemns Clarke and respectively<br />

Newton, precisely because of a realization of time (Gerhardt, Die philosophischen<br />

Schriften, 363), and characterizes his own relative concept of time as being ideal (415).<br />

77. Newton speaks of the sequence of time segments (Newton, Mathematical Principles,<br />

16).<br />

78. Thus in his third letter, sec. 4, Gerhardt, Die philosophischen Schriften, 363; Alexander,<br />

ed., The Leibniz-Clarke Correspondence, 25f.<br />

79. Examples of accounts of and commentaries on this correspondence: Alexander,<br />

ed., The Leibniz-Clarke Correspondence, ix–lv; Koyré, From the Closed World, 235–72;<br />

Manzke, Ewigkeit und Zeitlichkeit, 86–98.<br />

80. In the following discussion, I refer sometimes to the edition by Gerhardt, Die<br />

philosophischen Schriften, which presents Leibniz’s writings in French and Clarke’s replies in<br />

English, and sometimes to the 1956 Alexander edition, The Leibniz-Clarke Correspondence,<br />

which has an introduction and commentary by Alexander, and which was based on A<br />

COLLECTION OF PAPERS which passed between the late Learned Mr. LEIBNITZ AND<br />

Dr. CLARKE in the years 1715 and 1716 relating to the PRINCIPLES OF NATURAL PHI-<br />

LOSOPHY AND RELIGION With an Appendix, by SAMUEL CLARKE, London, MDC-<br />

CXVII. Here, the original French letters of Leibniz were probably translated into English<br />

by Clarke himself (Koryé, From the Closed World, 300n2). To facilitate the use of various<br />

text editions, in addition to citing page numbers, I have also referenced the letter (L or C<br />

i–v). Although in the body of my study I cite all the passages from the Alexander edition,<br />

I have included in the footnotes some of the French citations when they have seemed more<br />

appropriate.<br />

81. The extent to which Clarke is acting as a direct mouthpiece for Newton (thus<br />

Koyré, From the Closed World, 300n3) or defending or further developing his own understanding<br />

of Newton has not been considered here, for we are not concerned with the person<br />

of Newton, but rather with a debate of an issue.<br />

82. Alexander, ed., The Leibniz-Clarke Correspondence, 11; cf. Gerhardt, Die<br />

philosophischen Schriften, 352 L i: “[p]lusieurs font les ames corporelles, d’autres font Dieu<br />

luy même corporel.”<br />

83. Gerhardt, Die philosophischen Schriften, 352 L I; cf. Alexander, ed., The Leibniz-<br />

Clarke Correspondence, 12: “the beautiful pre-established order.”<br />

84. Alexander, ed., The Leibniz-Clarke Correspondence, 13 C I, sec. 3. In his second response,<br />

Clarke adds that, while the human soul is present to the images of things, God per<br />

se is present to all things without thereby being the soul of the world (intelligentia mundana),<br />

21ff., C ii, sec. 3ff.<br />

85. Ibid., 14 C i, sec. 4.<br />

86. On the history of space theories in physics, cf. Jammer, Concepts of Space.<br />

87. This becomes particularly clear, for example, in Clarke’s second response, in which<br />

he initially admits that he is concerned not only with the power but also with the wisdom<br />

of God as the source of creation; he then, however, continues, “but the wisdom of God<br />

consists, in framing originally the perfect and complete idea of a work, .l.l. by the continu

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