Abstract

The Lambdoma, considered the most important harmonical pattern of order is to be understood as a further development of a figure attributed to the Pythagoreans "in the shape of the capital letter Lambda" -therefore named Lambda . Diagrams similar to the Lambdoma without explicit harmonical significance can be found in the writings of several medieval and modern authors, including Ramon Llull , whose influence on Leibniz is already evident in the Dissertatio de arte combinatoria , Leipzig 1666. Leibniz and Llull are linked particularly by the idea of Kombinatorik as ars inveniandi in the sense of a universal language, whose extension of knowledge is self-creating . In the larger context of LlulPs historical influence, Kombinatorik as structural logic and harmonical Lambdoma we also have to see Leibniz's genealogical scheme in his academic dissertation . The harmonical analysis of this model contains convincing parallels to the structural build-up of the Lambdoma . However, the analogies go further, as is shown by the reference to Leibniz's Dyadik, to the 64 hexagrams of the /Ging and the comparison of the /Ging with the genetical code. Harmonically structured systematized thought reveals itself as that possibility of an interpretation of the universe, which Leibniz did not really have in mind. However, we can find that thought at the decisive points of his theory of philosophical principles so to speak as the pythagorean-platonic inheritance