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54 pages 1 hour read

Milan Kundera

The Joke

Fiction | Novel | Adult | Published in 1967

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Part 7Chapter Summaries & Analyses

Part 7 Summary: “Ludvik, Jaroslav, Helena”

On the day of the Ride of the Kings, the three narratives of Ludvik, Jaroslav, and Helena begin to overlap. After hearing about Lucie’s brutal past from Kostka and his failed tryst with Helena, Ludvik wants to return to Prague as quickly as possible. He wakes up too late for the morning train, however, and must wait until the afternoon. As he walks around the town, he begins to see his situation—and his entire life—as a “bad joke.” He realizes that the Ride of the Kings festival is taking place and moves through the crowds to the festival site. He has tried to avoid this kind of situation, but he finds himself caught up in the energy of the day.

Jaroslav feels exhausted. He talks to a radio reporter, Helena, about the Ride of the Kings. Though folk ceremonies such as this have had their funding drastically cut in recent years, he refuses to criticize the authorities, instead praising their support. Though he wants to, he cannot bring himself to say that “real folk art is dead” (254). As he returns to his house, he sees Vladimir being prepared to take part in the ceremony as the titular king. By tradition, the king is not permitted to talk until the evening.

In her mind, Helena thanks Ludvik for showing her “sensuality, tenderness, cruelty, pleasure, pain” (260). She knows that her husband will be visiting the town today with his young lover. Though Zemanek is cordial, Helena is internally seething.

Ludvik thinks about the history of the Ride of the Kings. He thinks about the role he once played in the ceremony and imagines Lucie as part of the ritual. He wonders why Lucie never explained to Kostka that she and Ludvik had a brief, tragic relationship. A man approaches Ludvik and introduces himself as Pavel Zemanek. Ludvik is surprised to meet him. He makes dull conversation with his sworn enemy, as well as Zemanek’s young lover, Miss Broz. He is filled with the rising dread that Zemanek will ask Ludvik to forgive him for his role in his dismissal from the Party many years earlier.

Still feeling fatigued, Jaroslav spots Ludvik in the crowd. He curses his one-time friend, who has seemingly been avoiding him. As he watches the festivities, he talks to Mr. Koutecky. The old man reveals that Vladimir cannot possibly be playing the role of king because he was seen elsewhere only a short time ago. Jaroslav is confused. He studies the elaborately dressed king, unable to discern whether his son is hidden beneath the veil. He becomes increasingly forlorn with the state of the world and decides to confront his confusion by returning home.

Ludvik walks through the town with Zemanek and Miss Broz. They talk about the generational differences between themselves and the young people around them. Much to Ludvik’s annoyance, he is charmed by Miss Broz. He feels as though her existence is just another part of Zemanek’s mockery, especially considering the unsatisfying outcome of his attempt to cuckold Zemanek. He is certain that he will refuse any attempt by Zemanek to reconcile.

Ludvik is mortified when Zemanek points out Helena in the crowd. He seems already aware of his wife’s affair. As Ludvik’s thoughts become increasingly frantic, they approach Helena, who is with her young assistant, Jindra. After polite conversation, Zemanek and his lover make their excuses and leave. Ludvik feels “humiliation and shame” (283). Though he knows that she will react badly, he informs Helena that he does not share her love and insists that he must leave. He hurries away from her, convinced that his life is just a bad joke. As he enters a restaurant, he sees a sign advertising a folk concert that evening.

Helena is distraught. As she tries to deal with Ludvik’s abandonment, Jindra clutches her hand. Though she is much older than him, he is obviously in love with her. Helena knows that Jindra often carries medication with him. She is struck by an impulse to take whatever medicine she can find in his jacket pocket and imagines Ludvik finding her dead body. She finds a bottle of pills and takes them all. She writes a suicide note addressed to Ludvik and then gives it to Jindra, telling him to deliver it by hand. He misinterprets her demeanor and kisses her on the lips, filling her head with sudden, excited thoughts. Then, he goes to deliver the letter.

Ludvik sits in the restaurant garden. As he eats and thinks about the nature of the world, Jindra brings the letter to him. Neither man knows what is inside. Ludvik, fascinated by the young man who views him as a rival lover to a woman he does not desire, orders a drink. When he eventually reads the letter, he understands what has happened and rushes to help Helena. They search through the building for Helena, worried that she is already dead. Eventually, they find her in an outside toilet. She is “pale but alive” (300). As Ludvik tries to help her, she angrily beats him away, but she is weak. She collapses, and Ludvik goes to find a doctor. Inside the building, he reads the label of the pill bottle and realizes that rather than a potent medicine, Jindra’s pills are actually laxatives. Helena will survive, though she will suffer from great humiliation. As Ludvik tries to return to Helena, Jindra hits him in the face. Ludvik leaves, reminded of Alexej’s suicide years before.

Speaking to his wife, Jaroslav learns that Vladimir is not the king. Jaroslav feels betrayed, but his wife explains that Vladimir did not want to be made king simply because of his father’s reputation. He was “ashamed to be a privileged child” and went to the motorcycle races instead of taking part in the ceremony (305). Jaroslav is furious. He breaks plates in his kitchen and then storms out. He sits outside with his violin, thinking ahead to the concert he is scheduled to play that evening. As he sits in a field, Ludvik approaches him and asks whether he can play alongside his old friend in the concert.

Ludvik describes approaching Jaroslav and asking to play with him. After having avoided Jaroslav, the sight of the dejected man makes him feel “a sudden guilty love for him” (311). He joins the band, and they play folk music. Standing in for another musician, Ludvik is told that his playing is still “excellent.” As the night goes on, the crowd begins to change. The audience is younger and more boisterous. Jaroslav loses interest in playing for these young people, but his bandmates remind him that the authorities have booked them to play until a scheduled time. The band plays on but becomes more insular and focused on their music. Jaroslav stops singing and becomes suddenly “very pale.” Ludvik goes to help his friend as the other bandmates are slow to realize what is happening. One of the bandmates is a doctor; he diagnoses Jaroslav with a heart attack, but he is certain that Jaroslav will live. Ludvik, thinking about destiny and life, goes to call an ambulance as the young people’s boisterous party continues around him.

Part 7 Analysis

Jaroslav fears that Vladimir is not taking part in the Ride of the Kings and races through the town, trying to confront the figure on horseback. When he spots the veiled king, he cannot be sure whether Vladimir is hidden behind the costume. Jaroslav’s interaction with the veiled king is a metaphor for the way that the Performance of Identity has superseded true identities and relationships. The characters feel alienated and alone, as illustrated by the unhappiness of people like Ludvik and Jaroslav. Even though Jaroslav is Vladimir’s father, he cannot recognize his son during what is supposed to be the most important moment of his life. He sees only the social role—the king—and whether that role is being performed by his son or not determines the validity of the identity Jaroslav himself has spent his adult life performing. The ceremony is a culmination of Jaroslav’s life’s work; Vladimir has been offered the role as a way to reward Jaroslav for continuing a tradition that has been enacted in the town for centuries and means a great deal to Jaroslav.

Vladimir disagrees with his father’s delight. Whereas Jaroslav is happy, particularly for himself, Vladimir sees the situation as a damning example of nepotism. He wants to earn the right to be the king for himself, not because of his father’s work. He rebels and allows someone else to play the role but allows his father to believe that he took part in the ceremony. Jaroslav could have happily deluded himself into believing that Vladimir was the veiled king, but a nagging suspicion told him that something was not right. Like so much in this alienated society and Jaroslav’s inauthentic relationship with folk traditions, there is an artificiality to this situation. He stares at the veiled king and wants to see his son, but he cannot be happy because his doubts will not leave his mind. This is a metaphor for the characters’ relationship with society, which they want to condone even though they cannot shake their sense of alienation.

At the end of the novel, both Ludvik and Jaroslav have had their alienation laid bare. Ludvik has transformed from an optimistic, politically minded student into an alienated and bitter middle-aged man who has failed in his longtime quest for revenge. Jaroslav has dedicated his life to preserving folk traditions but has come to realize that those traditions represent The Artificial Past. Ludvik and Jaroslav grew up together but drifted apart. Now, they are united in their alienation. They play music together, even though they both acknowledge that these folk songs are inherently inauthentic. They keep playing, even as the crowd becomes increasingly disinterested. This time, however, they are not playing to preserve cultural traditions, promote a political message, or entertain an audience. Instead, they are playing for each other. They find emotional validation in this performance as they are no longer subject to the expectations of strangers or society at large. After drifting apart, the two friends are happy to be reunited. The songs become a shared expression of their pain and alienation, a feeling remedied by the acknowledgment that—while they may feel alienated from society—they still have each other. Finding authentic connection by embracing an inauthentic tradition neither of them believes in anymore is yet another absurdity, but, at last, absurdity brings Ludvik comfort.

Jaroslav is convinced to keep playing as the Party has booked the band to finish at a certain time. He plays so long and so intensely that he has a heart attack. Ironically, the heart attack is caused by the Party’s bureaucratic demands. They do not care about what he plays, nor about the intensity at which he plays; they only care that he performs his function in society. In a sense, Jaroslav’s intensity is an act of defiance. He is choosing to find meaning and purpose in a performance that has long seemed hollow to him. However, he is no longer playing for the Party and is instead playing for himself and Ludvik. The Party’s totalitarian demand that he perform an enthusiastic loyalty he does not feel has, absurdly, given Jaroslav the opportunity to reconnect to the genuine passion he had lost. Jaroslav experiences such a sense of purpose and satisfaction that after a long period of alienation, his heart is overwhelmed. The intensity of the performance stems from the force of the emotion he is experiencing, feelings that have become so alien and unfamiliar that they nearly kill him. Jaroslav, Ludvik is told, will survive, having rekindled his love for his friend, music, and life.

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