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Jacques's story is continually interrupted by other characters and various comic mishaps. Other characters in the book tell their own stories and they, too, are continually interrupted. There is even a "reader" who periodically interrupts the narrator with questions, objections, and demands for more information or detail. The tales told are usually humorous, with romance or sex as their subject matter, and feature complex characters indulging in deception.
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416:« Lu de 6 h à 11 h et demie, et d’une traite, Jacques le Fataliste de Diderot ; me suis délecté comme le Baal de Babylone à un festin aussi énorme ; ai remercié Dieu que je sois capable d’engloutir ai remercié Dieu que je sois capable d'engloutir une telle portion d’un seul coup.
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Jacques's key philosophy is that everything that happens to us down here, whether for good or for evil, has been written up above ("tout ce qui nous arrive de bien et de mal ici-bas Ă©tait Ă©crit lĂ -haut"), on a "great scroll" that is unrolled a little bit at a time. Yet
Jacques still places value on
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The book is full of contradictory characters and other dualities. One story tells of two men in the army who are so much alike that, though they are the best of friends, they cannot stop dueling and wounding each other. Another concerns Father Hudson, an intelligent and effective reformer of the
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The main subject of the book is the relationship between the valet
Jacques and his master, who is never named. The two are traveling to a destination the narrator leaves vague, and to dispel the boredom of the journey Jacques is compelled by his master to recount the story of his loves. However,
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church who is privately the most debauched character in the book. Even
Jacques and his master transcend their apparent roles, as Jacques proves, in his insolence, that his master cannot live without him, and therefore it is Jacques who is the master and the master who is the servant.
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and calls attention to the ways in which events develop more realistically in his book. At other times, the narrator tires of the tedium of narration altogether and obliges the reader to supply certain trivial details.
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193:, as well as unnecessarily bawdy. It made a better impression on the German Romantics, who had had the opportunity to read it before their French counterparts did.
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460:'A Note on the English Piracies of "La Religieuse" and "Jacques le fataliste," 1797' by Giles Barber in Diderot Studies Vol. 16 (1973), pp. 15-21 (7 pages)
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The critical reception of the book has been mixed. French critics of the late eighteenth and early nineteenth centuries dismissed it as derivative of
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and
Rabelais, focused on celebrating diversity rather than providing clear answers to philosophical problems. As this was contrary to the
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based a play on the novel in 1971, writing in French and using the novel's title, published in an
English translation under the title
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his actions and is not a passive character. Critics such as J. Robert Loy have characterized
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fragments (201). It formed something of an ideal of
Schlegel's concept of wit.
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James The
Fatalist And His Master - English (1797) version on Internet Archive
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adapted a self-contained anecdote, the story of Madame de La
Pommeraye, from
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referred to it positively in his critical fragments (3, 15) and in the
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into the story. Throughout the work, the narrator refers derisively to
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383:". The novel is written in a similar style, but inverts Jacques'
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Jacques and His Master: An Homage to
Diderot in Three Acts
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point of view, the novel got banned, being listed on the
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held it in high regard and recommended it strongly to
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The story of Jacques's loves is lifted directly from
476:"Stage: Milan Kundera's 'Jacques and His Master'"
317:(1945). The dialogue for the film was written by
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327:(1922). The story was adapted again for film in
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462:https://www.jstor.org/stable/40372417
273:Wesley D. Camp and Agnes G. Raymond:
263:(G. G. and J. Robinson, 1797, London)
849:Denis Diderot House of Enlightenment
776:Supplément au voyage de Bougainville
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31:Jacques the Fatalist and his Master
277:(American University Studies, 1984)
268:Jacques the Fatalist and His Master
181:Literary significance and criticism
107:Jacques the Fatalist and his Master
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599:Jacques le fataliste et son maître
501:Jacques le fataliste et son maître
427:"Beacon for Freedom of Expression"
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692:On the interpretation of Nature
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474:Rich, Frank (14 January 1985).
407:. New York: King's Crown Press.
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358:version for television
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27:Novel by Denis Diderot
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205:in a single sitting.
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381:Jacques the Fatalist
351:Jacques le Fataliste
347:The Art of the Novel
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257:Anonymous
237:Cervantes
212:Athenaeum
551:(1995).
485:18 April
337:(2018).
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