Diderot’s novel, Jacques le Fataliste et son Maître (Jacques the Fatalist and his Master) relates in a particular manner to the works of his predecessors or contemporary writers. Its intertextuality lies mainly in allusions, quotations, references, parody, pastiche, rewriting, commentary or cultural cross-reference, thus offering an insight into a significant number of literary works, which actually corresponds to an intertextual dialogue or to a journey through the literature worldwide. The road chronotope or the theme of journey that becomes in Jacques the Fatalist and his Master the frame-narrative within which several secondary narratives are embedded can be recognized from the very first lines, since the questions and answers in the incipit set in relation the theme of journey, whose purpose is not stated, and the principle of pleasure. The theme of journey enables Diderot to insert a series of reported speech sequences within the body of the main dialogue, or simply to imagine, within a single narrative sequence, a complex dialogue integrating several fragments of reported speech. In Jacques the Fatalist, Diderot embraces the Romanesque tradition initiated by Boccaccio in his 1352 Decameron, which is made up of several secondary narratives. Due to this aesthetics of embedded narratives, Diderot's text proves to be dynamic and authentic at the same time. As far as the implicit intertextual practices are concerned, Jacques the Fatalist relates to Rabelais, but also implicitly refers to Cervantes’ Don Quixote. Nevertheless, the strategy concerning the intertextual practices in Jacques… should be regarded from various perspectives: on the one hand it displays a sense of admiration for certain authors quoted in the novel, such as Richardson, Molière, Sterne, Goldoni, La Fontaine, Montaigne; on the other hand, the text voices sharp criticism when it refers to the writings by the Abbot Prevost, Voltaire, Plato or Jean-Jacques Rousseau.