After a break of several years, during which she published two other novels - 'Perunuv den' (1994) and 'Ztracené deti' (1997) - Daniela Hodrová has in 'Komedie' (2003) again taken up the themes of the 'Olsany Trilogy' ('Podoboji', 'Kukly' and 'Théta', all first published in 1991). With its narrative style bordering on fiction and autobiography and with its loose composition 'Komedie' is most like 'Théta'. In the conception of its narrated stories and also the function of the narrator whose speech continuously mixes and overlaps with speech snippets of many characters, however, it employs even more daringly than the other novels a high degree of intentional and unintentional disorderliness, which stems from the use of fragments to tell the story. In a polyphonic stream, with many layers of intertextual references (often made both to Hodrová's own works and to those of other authors), the article seeks to highlight a certain integrating semantic action, which branches out and intensifies despite all the fragmentation of the story line. The dense network of repeating and interconnected motifs, whose parallelism and contrasts, as well as the climatic dynamism of the sentences giving the impression of continuous action, creates their own world in 'Komedie', which maintains its equilibrium while 'on the verge of chaos'. So, for example, two opposite yet mutually complementary codes of the human lot emerge: the barren plain, into which our lives descend, and the auguring little hand of the Libuse doll found among the graves, which points to the darkness while at the same time lighting the way.