《緩慢》繼承了昆德拉複調小說的藝術特色，大體上分為三條主線：對伊比鳩魯思想的簡單闡述，對維望〃德農小說《沒有明天 》的描述， 對當代表象社會中各種現象的呈現，三條線互相交織，共同構成《緩慢》的主體框架。這三條主線符合昆德拉所勾畫的古希臘──十八世紀──當代社會享樂主義譜系，這三個時代在小說框架下互相交叉，三個不同的歷史處境探討了同一命題。這三個時代的享樂主義思想差別多過於相似，所以作家將這三者並列呈現，更多是想指出時代演進過程當中出現的闕失和斷裂，我們可以把這種斷裂歸納為真實和表象關係的顛覆。本文旨在通過對《緩慢》中建立的享樂主義譜系探討真實和表象的關係是如何影響到對「歡樂」的理解。

Carrying on the artistic features of Kundera‟s polyphonic novels, La Lenteur roughly revolves around three axes: the simple explication about Epicure‟s thoughts, the description of Vivant Denon's No Tomorrow, and the presentation about the various phenomena of the contemporary society of spectacles; the three axes are interwoven to construct the main framework of La Lenteur. The three axes consist with the hedonistic genealogy sketched by Kundera — ancient Greece, the eighteenth century and the contemporary society. The three ages intersect within the framework of the novel, while the three different historical situations explore the same proposition. The hedonistic thoughts of the three ages are more different than similar; therefore, the author juxtaposes the three ages, inclined to point out the lacks and breakages found during
the process of the evolution of ages, which we can generalize as the subversion of the relationship between the reality and images. This article is meant to investigate how the relationship between the reality and images affects the understanding about “pleasure” through the hedonistic genealogy established in La Lenteur.