This thesis investigates the story that Leibniz adds to the narrative of the Italian humanist Laurent Valla, transforming it from an anecdote about human freedom in face of divine foreknowledge and will in a study about the nature of creation. In the story, the infinite possible worlds are presented to Theodorus in a dream by Pallas Athena, daughter of Jupiter. What he sees through the rooms of the palace are infinite alternative stories to the unfortunate fate of Sextus Tarquinius, son of the last king of the Roman monarchy. These possible worlds are organized in descending order of perfection, so that the richest in variety is at the top of the pyramid, which is the geometric form to which Leibniz identifies the place where God deliberates on the best. This work traverses the structure of the pyramid to understand what Theodore sees in each room and what ensures the very partition between the rooms. On this route, it is verified that one of the calculations involved in the architecture of the pyramid is the dissimilarity between the part and the whole in the best of the worlds. Sextus participates in the variety of the existing world with its misfortune. Inside one of the rooms, Theodorus is introduced to the problems of infinite analysis by leafing through the book of fates. Finally, this work shows that the dystopic nature of the pyramid is not restricted to the alternative stories that Theodorus finds in each room, but there are also other worlds within the existing world itself. The most perfect world stands out for containing more variety than the others, which makes it a dense world. It is possible to transit through the density of this world through dystopias, understood firstly as an imitation of the structure of the law of the continuum and, secondly, as a bodily support that allows one to traverse, alternately, the phenomenal worlds.