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1985年1月6日,《纽约时报书评》刊登了米 兰·昆德拉的一篇文章,题为《一个变奏的导言》, 是作家为其剧作《雅克和他的主人》写的序。这篇 文章重复了他对欧洲小说的独特看法,强调了从 塞万提斯、斯特恩、狄德罗到布罗赫、穆齐尔和贡 布罗维奇等人的这一变奏。昆德拉这样谈到其剧 本的创作经过:1968年布拉格之春后,他的作品 遭到禁止,他本人也失去了生活来源,这时有个导 演朋友想要帮助他,让他把陀思妥耶夫斯基的《白 痴》改编成剧本,但当他重读一遍这部作品后,他 意识到:“陀思妥耶夫斯基夸张的姿态、黑暗的深 刻、富有侵略性的伤感的世界,都使我很不舒服。 突然,我感到一种对《宿命论者雅克》无以名状的 痛切怀旧。”于是他产生了一个念头,要把狄德罗 的这部作品改编成剧本,让幽默的雅克和他的主 人在两百年后重新上路,继续西方小说那种自由 的旅行。
On January 6, 1985, the New York Times Book Review published an article by Milan Kundera titled “The Introduction to a Variations,” by the author for the preface to his play “Jacques and his Master.” This essay reproduces his unique view of European novels and highlights this variation from Cervantes, Stern, Diderot to Broch, Musil and Gombrowicz. Kundera talks about the script’s creation: his work was banned after the spring of 1968 in Prague, and he himself lost his source of life. There was a director’s friend who wanted to help him, Toyevsky’s “idiot” adapted into a script, but when he re-read the work, he realized: “Dostoevsky’s exaggerated stance, dark, aggressive and sad The world, I feel very uncomfortable.Surprisingly, I feel a nostalgia nostalgic for the ”fatalist Jacques.“ ”So he had a thought, to Diderot’s work adapted into a script, Let the humorous Jacques and his masters go back two hundred years later and continue the free journey of Western novels.