But just make someone who has fallen in love listen to his stomach rumble, and the unity of body and soul, that lyrical illusion of the age of scienc… - Milan Kundera

I looked at her; I saw a slipshod permanet crumpling her hair into a shapeless mass of curls; I saw a brown overcoat, pitifully threadbare and a bit too shot; I saw a face both unobtrusively attractive and attractively unobtrusive; I sensed in this young woman tranquillity, simplicity and modesty, and I felt that these were qualities I needed; moreover, it seemed to me that we were very much akin: all I had to do was to go up and start talking to her and she would smile as if a long-lost brother had suddenly appeared before her.

What does it mean to demonstrate in the streets, what is the significance of that collective activity so symptomatic of the twentieth century? In stupefaction Ulrich watches the demonstrators from the window; as they reach the foot of the palace, their faces turn up, turn furious, the men brandish their walking sticks, but “a few steps farther, at a bend where the demonstration seemed to scatter into the wings, most of them were already dropping their greasepaint: it would be absurd to keep up the menacing looks where there were no more spectators.” In the light of that metaphor, the demonstrators are not men in a rage; they are actors performing rage! As soon as the performance is over they are quick to drop their greasepaint! Later, in the 1960s, philosophers would talk about the modern world in which everything had turned into spectacle: demonstrations, wars, and even love; through this “quick and sagacious penetration” (Fielding), Musil had already long ago discerned the “society of spectacle.

... in that state he is unaware of his age, his wife, his children, his worries, and so he has no fear, because the source of fear is in the future, and a person freed of the future has nothing to fear.