Our sin is our resistance to going along with God's initiative in making suffering reparative. We are deeply drawn towards God, but we also sense how following him will dislocate and transform beyond recognition the forms which have made life tolerable for us. We often react with fear, dismay, hostility. We are at war with ourselves, and responding differently to this inner conflict, we end up at war with each other. So it is undoubtedly true that the result of sin is much suffering. But this is by no means distributed according to desert. Many who are relatively innocent are swept up in this suffering, and some of the worse offenders get off lightly. The proper response to all this is not retrospective book-keeping, but making ourselves capable of responding to God's initiative. But now if that's what sin is, then one can sympathize with a lot of the modern critique of a religion which focuses on the evil tendencies of human nature, and the need for renunciation and sacrifice. This is not because humans are in fact angelic, or there is no point to sacrifice. It's just that focusing on how bad human beings can be, even if it's to refute the often over-rosy views of secular humanists with their reliance on human malleability and therapy, can only strengthen misanthropy, which certainly won’t bring you closer to God; and propounding sacrifice and renunciation for themselves takes you away from the main points, which is following God's initiative. That this can involve sacrifice, we well know from the charter act in this initiative, but renunciation is not is point.
It is a property of works of genius that, even when they represent vividly the nothingness of things, even when they clearly show and make you feel the inevitable unhappiness of life, even when they express the most terrible despair, nevertheless to a great soul that finds itself in a state of extreme dejection, disenchantment, nothingness, boredom, and discouragement about life, or in the most bitter and deathly misfortune (whether on account of lofty, powerful passions or something else), such works always bring consolation, [260] and rekindle enthusiasm, and, though they treat and represent nothing but death, they restore, albeit momentarily, the life that it had lost. And so, while that which is seen in the reality of things grieves and kills the soul, when seen in imitation or any other form in works of genius (e.g., in lyric poetry, which is not, properly speaking, imitation), it opens and revives the heart. In fact, just as the author who described and felt so powerfully the vanity of illusions, but still preserved a great fund of them and gave ample proof of this by conveying their vanity so accurately (see pp. 214–15), in the same way, the reader, however disillusioned both about himself and about what he reads, is yet drawn by the author into the same deception and illusion that he experienced and that are hidden in the most intimate recesses of his spirit. And the recognition of the irredeemable vanity and falsity of all beauty and all greatness is itself a kind of beauty and greatness that fills the soul when it is conveyed by a work of genius." from "Zibaldone