Metaphysical fallacies contain the only clues we have to what thinking means to those who engage in it. - Hannah Arendt

The Venetians catalogue everything, including themselves. ‘These grapes are brown,’ I complain to the young vegetable-dealer in Santa Maria Formosa. ‘What is wrong with that ? I am brown,’ he replies. ‘I am the housemaid of the painter Vedova,’ says a maid, answering the telephone. ‘I am a Jew,’ begins a cross-eyed stranger who is next in line in a bookshop. ‘Would you care to see the synagogue?’
Almost any Venetian, even a child, will abandon whatever he is doing in order to show you something. They do not merely give directions; they lead, or in some cases follow, to make sure you are still on the right way. Their great fear is that you will miss an artistic or ‘typical’ sight. A sacristan, who has already been tipped, will not let you leave until you have seen the last Palma Giovane. The ‘pope’ of the Chiesa dei Greci calls up to his housekeeper to throw his black hat out the window and settles it firmly on his broad brow so that he can lead us personally to the Archaeological Museum in the Piazza San Marco; he is afraid that, if he does not see to it, we shall miss the Greek statuary there.
This is Venetian courtesy. Foreigners who have lived here a long time dismiss it with observation : ‘They have nothing else to do.’ But idleness here is alert, on the qui vive for the opportunity of sightseeing; nothing delights a born Venetian so much as a free gondola ride. When the funeral gondola, a great black-and-gold ornate hearse, draws up beside a fondamenta, it is an occasion for aesthetic pleasure. My neighbourhood was especially favoured this way, because across the campo was the Old Men’s Home. Everyone has noticed the Venetian taste in shop displays, which extends down to the poorest bargeman, who cuts his watermelons in half and shows them, pale pink, with green rims against the green side-canal, in which a pink palace with oleanders is reflected. Che bello, che magnifici, che luce, che colore! - they are all professori delle Belle Arti. And throughout the Vene

[H]e was genuinely incapable of uttering a single sentence that was not a cliché.[…] Eichmann, despite his rather bad memory, repeated word for word the same stock phrases and self-invented clichés (when he did succeed in constructing a sentence of his own, he repeated it until it became a cliché) each time he referred to an incident or event of importance to him.[…] The longer one listened to him, the more obvious it became that his inability to speak was closely connected with an inability to think, namely to think from the standpoint of somebody else. No communication was possible with him, not because he lied but because he was surrounded by the most reliable of all safeguards against the words and the presence of others, and hence against reality as such.

Totalitarianism begins in contempt for what you have. The second step is the notion: “Things must change — no matter how, Anything is better than what we have.” Totalitarian rulers organize this kind of mass sentiment, and by organizing it articulate it, and by articulating it make the people somehow love it. They were told before, thou shalt not kill; and they didn’t kill. Now they are told, thou shalt kill; and although they think it’s very difficult to kill, they do it because it’s now part of the code of behavior. They learn whom to kill and how to kill and how to do it together. This is the much talked about Gleichschaltung — the coordination process. You are coordinated not with the powers that be, but with your neighbor — coordinated with the majority. But instead of communicating with the other you are now glued to him. And you feel of course marvelous. Totalitarianism appeals to the very dangerous emotional needs of people who live in complete isolation and in fear of one another.