Figure 3. In the solo version of Les Sauvages the daredevil leaps are wider. In bars 2–3 the left hand must jump downwards by an octave and a diminished seventh, from e-flat1 to F-sharp. In bars 4–5 the left hand leaps down by two octaves, from b-flat to BB-flat.
piece of music, so often performed only as a harmless, elementary piano piece, and as perfect music for beginners. Rameau’s music shows the twisted dynamics of French colonialism and as such it attempts to articulate the supposed ‘archaic’ from an eighteenth-century French point of view. The recognition of the object of discrimination embeds unconscious levels of fantasy and desire. The process of recognition can be understood in terms of the articulation of so called multiple belief; two simultaneous and contradictory beliefs, one official and one secret, one archaic, one progressive, one that allows the myth of origins, and other that articulates difference and division, like the researcher of post-colonialist studies Homi K. Bhabha (1998, 80–81) suggests: “It is through this notion of splitting and multiple belief that, I believe, it becomes easier to see the bind of knowledge and fantasy, power and pleasure, that informs the particular regime of visibility deployed in colonial discourse.” The whole setting of recognition has a lot in common with the paradox of inquiry, also known as Meno’s paradox, once described by Plato: the posed questions are based on what one already knows. One only recapitulates things already known. 39