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Milan Kundera's novel The Book of Laughter and Forgetting has the most laughable loves after his first and last collection of the short stories Laughable Loves. The love between Mirek and Zdena in Part One entitled ‘Lost Letters’ turns into a tragicomedy when the anti Mirek‘s efforts to erase their past love ends in a failure, while the party-liner Zdena clings to it, it being her single love in her life.
Unlike the love between Mirek and Zdena which is distorted by their egoism as well as their political ideology, the love of Tamina for her late husband Pavel is pure and devotional. However, her desperate love for her husband, which is a great contrast to the mechanical and orgasmic supremacist love of the Western World, is also blind and unrealistic because of her ignorances to the influences of time that of which is the nature of forgetting.
The love triangle between Karel, his wife Marketa, and their friend Eva in Part Two entitled ‘Mother’ is an entirely physical love, exclusive of the soul. Even though their physical ecstasies have some positive qualities like liberating the body from the oppressed soul, their success was conditioned on getting rid of his wife's head and her husband's head as well upon his wife's betraying her husband, during sex.
The student's love with Kristina, butcher's wife, in the Part Five entitled ‘Litost’ is one of the most comic loves of the novel. While making love with her in his room, his soul is in ecstasies, while his body is desperate to reach inside her body more than twenty five times, without any success. He is made the victim of the litost, full of sorrow, misery, regret, and other feelings likewise. On the other hand, at the moment when the student is made the victim of litost, the author of the novel falls to a victim to the litost as well, because he fears that his nation is now at the crisis with it's very existence as the result of ‘organized forgetting’ work done by the totalitarian regime and it's ‘president of forgetting'.
Part Seven entitled ‘Border’, the last part of the novel, has many laughable and comic loves. The love between Jan and his mistress Hedvika is based on mutual misunderstanding, and the love between Jan and his girl friend, a girl who works in the sports goods shop, is mechanical because of the girl's record-oriented sexual behaviour. The loves of the orgy in Barbara's villa belong to the most comic loves of the novel because of the participants' meaningless automatic sexual motions and gestures.
A mythical love between Daphnis and Chloe, which was suggested by the Czech emigrant Jan as an ideal love and also as an alternative to the love of the Western people with which he was much disappointed, is insufficient and incomplete with it's barrenness and sterility which is symbolized by the dull and listless sexual organs drooped down to the yellow sands of the nudist beach.
Most of the loves of the novel The Book of Laughter and Forgetting are laughable loves that make their appearances in variation which comprises, with the unity of the themes, a framework of the architectonics of the novel. And through the absurd laughable loves of the novel, which are permeated with ironies and paradoxes the writer of the novel brings us to an awareness of the crises of modern life which has neither hopes nor perspectives in the eastern world as well as in the western world for the meantime.
Unlike the love between Mirek and Zdena which is distorted by their egoism as well as their political ideology, the love of Tamina for her late husband Pavel is pure and devotional. However, her desperate love for her husband, which is a great contrast to the mechanical and orgasmic supremacist love of the Western World, is also blind and unrealistic because of her ignorances to the influences of time that of which is the nature of forgetting.
The love triangle between Karel, his wife Marketa, and their friend Eva in Part Two entitled ‘Mother’ is an entirely physical love, exclusive of the soul. Even though their physical ecstasies have some positive qualities like liberating the body from the oppressed soul, their success was conditioned on getting rid of his wife's head and her husband's head as well upon his wife's betraying her husband, during sex.
The student's love with Kristina, butcher's wife, in the Part Five entitled ‘Litost’ is one of the most comic loves of the novel. While making love with her in his room, his soul is in ecstasies, while his body is desperate to reach inside her body more than twenty five times, without any success. He is made the victim of the litost, full of sorrow, misery, regret, and other feelings likewise. On the other hand, at the moment when the student is made the victim of litost, the author of the novel falls to a victim to the litost as well, because he fears that his nation is now at the crisis with it's very existence as the result of ‘organized forgetting’ work done by the totalitarian regime and it's ‘president of forgetting'.
Part Seven entitled ‘Border’, the last part of the novel, has many laughable and comic loves. The love between Jan and his mistress Hedvika is based on mutual misunderstanding, and the love between Jan and his girl friend, a girl who works in the sports goods shop, is mechanical because of the girl's record-oriented sexual behaviour. The loves of the orgy in Barbara's villa belong to the most comic loves of the novel because of the participants' meaningless automatic sexual motions and gestures.
A mythical love between Daphnis and Chloe, which was suggested by the Czech emigrant Jan as an ideal love and also as an alternative to the love of the Western people with which he was much disappointed, is insufficient and incomplete with it's barrenness and sterility which is symbolized by the dull and listless sexual organs drooped down to the yellow sands of the nudist beach.
Most of the loves of the novel The Book of Laughter and Forgetting are laughable loves that make their appearances in variation which comprises, with the unity of the themes, a framework of the architectonics of the novel. And through the absurd laughable loves of the novel, which are permeated with ironies and paradoxes the writer of the novel brings us to an awareness of the crises of modern life which has neither hopes nor perspectives in the eastern world as well as in the western world for the meantime.
목차
Ⅰ. 머리말
Ⅱ. 「잃어버린 편지들」의 우스꽝스러운 사랑들
Ⅲ. 「어머니」의 우스꽝스러운 사랑들
Ⅳ. 「천사들」의 우스꽝스러운 사랑들
Ⅴ. 「리토스트」의 우스꽝스러운 사랑들
Ⅵ. 「경계」의 우스꽝스러운 사랑들
Ⅶ. 맺음말
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