He yearned to step out of his life the way one steps out of a house into the street. - Milan Kundera

Tomas did not realize at the time that metaphors are dangerous. Metaphors are not to be trifled with. A single metaphor can give birth to love.

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.

And Jakub realized that this child had done no harm, that he was not guilty of anything, and yet had been born with bad eyes and would have them forever. And he reflected further that what he had held against others was something given, something they came into the world with and carried with them like a heavy wire fence. He reflected that he had no privileged right to high-mindedness and that the highest degree of high-mindedness is to love people even though they are murderers.