The Unbearable Lightness of Being

The Unbearable Lightness of Being

by

Milan Kundera

Teachers and parents! Our Teacher Edition on The Unbearable Lightness of Being makes teaching easy.

Tomas Character Analysis

Tereza’s husband, Sabina’s lover, and Simon’s father. Tomas is a successful neurosurgeon and serial womanizer when he first meets Tereza. Most notably, he has a long-term affair with Sabina. Tereza later comes to Prague, ready to give her life to him, and Tomas thinks that she is like a helpless infant who has been floated downriver to him in a basket. To Tomas, sex is all about violence and power, and he has the upper hand in all his sexual relationships. Tomas, however, has zero power when the Russians occupy Czechoslovakia after the Prague Spring. He is offered a job abroad, and he manages to convince Tereza to move to Zurich, but she soon grows tired of Tomas’s philandering and returns to Prague. Tomas is miserable without her and is powerless to stay away. He quits his job, quoting one of Beethoven’s quartets, saying: “Es muss sein!” Tomas’s love for Tereza is out of his control, thus “It must be!” that he returns to Czechoslovakia despite its oppressive Communist regime. Back in Prague, Tomas begins to resent Tereza, and he quickly slips back into his womanizing—another manifestation of “Es muss sein!” and something he can’t seem to control. While Tomas still has power over Tereza, his control over his own life is slipping. He can’t manage to have sex with other women without first drinking alcohol, and he writes an article for an intellectual newspaper that ruins his professional life. The article is considered anti-communist by the regime, and when he refuses to issue a retraction, Tomas is summarily dismissed from his job. He works as a country doctor for a while, but he soon quits and becomes a window washer, as he believes the regime won’t care about him if he holds a menial job. Tereza and Tomas move to the country, where Tomas grows old and is completely stripped of his power before he dies in a car crash with Tereza. Tomas serves to illustrate Kundera’s argument that true equality—in sex and in politics—is impossible; there will always be one who has power over another.

Tomas Quotes in The Unbearable Lightness of Being

The The Unbearable Lightness of Being quotes below are all either spoken by Tomas or refer to Tomas. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Time, Happiness, and Eternal Return Theme Icon
).
Part 1, Chapter 2 Quotes

The heaviest of burdens crushes us, we sink beneath it, it pins us to the ground. But in the love poetry of every age, the woman longs to be weighed down by the man’s body. The heaviest of burdens is therefore simultaneously an image of life’s most intense fulfillment. The heavier the burden, the closer our lives come to the earth, the more real and truthful they become.

Conversely, the absolute absence of a burden causes man to be lighter than air, to soar into the heights, take leave of the earth and his earthly being, and become only half real, his movements as free as they are insignificant.

Related Characters: Tomas, Sabina
Page Number: 5
Explanation and Analysis:
Part 1, Chapter 3 Quotes

There is no means of testing which decision is better, because there is no basis for comparison. We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself? That is why life is always like a sketch. No, “sketch” is not quite the word, because a sketch is an outline of something, the groundwork for a picture, whereas the sketch that is our life is a sketch for nothing, an outline with no picture.

Einmal ist keinmal, says Tomas to himself. What happens but once, says the German adage, might as well not have happened at all. If we have only one life to live, we might as well not have lived at all.

Related Characters: Tomas (speaker)
Page Number: 8
Explanation and Analysis:
Part 1, Chapter 6 Quotes

Tomas came to this conclusion: Making love with a woman and sleeping with a woman are two separate passions, not merely different but opposite. Love does not make itself felt in the desire for copulation (a desire that extends to an infinite number of women) but in the desire for shared sleep (a desire limited to one woman).

Related Characters: Tomas, Tereza
Page Number: 15
Explanation and Analysis:
Part 2, Chapter 8 Quotes

Something else raised him above the others as well: he had an open book on his table. No one had ever opened a book in that restaurant before. In Tereza’s eyes, books were the emblems of a secret brotherhood. For she had but a single weapon against the world of crudity surrounding her: the books she took out of the municipal library, and above all, the novels. She had read any number of them, from Fielding to Thomas Mann. They not only offered the possibility of an imaginary escape from a life she found unsatisfying; they also had a meaning for her as physical objects: she loved to walk down the street with a book under her arm. It had the same significance for her as an elegant cane for the dandy a century ago. It differentiated her from others.

Related Characters: Tomas, Tereza
Related Symbols: Books
Page Number: 47-8
Explanation and Analysis:
Part 2, Chapter 11 Quotes

Early in the novel that Tereza clutched under her arm when she went to visit Tomas, Anna meets Vronsky in curious circumstances: they are at the railway station when someone is run over by a train. At the end of the novel, Anna throws herself under a train. This symmetrical composition—the same motif appears at the beginning and at the end—may seem quite “novelistic” to you, and I am willing to agree, but only on condition that you refrain from reading such notions as “fictive,” “fabricated,” and “untrue to life” into the word “novelistic.” Because human lives are composed in precisely such a fashion.

Related Characters: Tomas, Tereza
Related Symbols: Books
Page Number: 52
Explanation and Analysis:
Part 2, Chapter 15 Quotes

Let me return to this dream. Its horror did not begin with Tomas’s first pistol shot; it was horrifying from the outset. Marching naked in formation with a group of naked women was for Tereza the quintessential image of horror. When she lived at home, her mother forbade her to lock the bathroom door. What she meant by her injunction was: Your body is just like all other bodies; you have no right to shame; you have no reason to hide something that exists in millions of identical copies. In her mother’s world all bodies were the same and marched behind one another in formation. Since childhood, Tereza had seen nudity as a sign of concentration camp uniformity, a sign of humiliation.

Related Characters: Tomas, Tereza, Tereza’s Mother
Page Number: 57
Explanation and Analysis:
Part 2, Chapter 20 Quotes

“Here is a painting I happened to drip red paint on. At first I was terribly upset, but then I started enjoying it. The trickle looked like a crack; it turned the building site into a battered old backdrop, a backdrop with a building site painted on it. I began playing with the crack, filling it out, wondering what might be visible behind it. And that’s how I began my first cycle of paintings. I called it “Behind the Scenes.” Of course, I couldn’t show them to anybody. I’d have been kicked out of the Academy. On the surface, there was always an impeccably realistic world, but underneath, behind the backdrop’s cracked canvas, lurked something different, something mysterious or abstract.”

Related Characters: Sabina (speaker), Tomas, Tereza
Page Number: 63
Explanation and Analysis:
Part 3, Chapter 2 Quotes

The bowler hat was a motif in the musical composition that was Sabina's life. It returned again and again, each time with a different meaning, and all the meanings flowed through the bowler hat like water through a riverbed. I might call it Heraclitus’ (“You can’t step twice into the same river”) riverbed; the bowler hat was a bed through which each time Sabina saw another river flow, another semantic river: each time the same object would give rise to a new meaning, though all former meanings would resonate (like an echo, like a parade of echoes) together with the new one. Each new experience would resound, each time enriching the harmony. The reason why Tomas and Sabina were touched by the sight of the bowler hat in a Zurich hotel and made love almost in tears was that its black presence was not merely a reminder of their love games but also a memento of Sabina’s father and of her grandfather, who lived in a century without airplanes and cars.

Related Characters: Tomas, Sabina, Franz
Related Symbols: Sabina’s Black Bowler Hat
Page Number: 88
Explanation and Analysis:
Part 5, Chapter 21 Quotes

The pain grew more intense. He could not speak. It occurred to him that his womanizing was also something of an “Es muss sein!”—an imperative enslaving him. He longed for a holiday. But for an absolute holiday, a rest from all imperatives, from all “Es muss sein!" If he could take a rest (a permanent rest) from the hospital operating table, then why not from the world operating table, the one where his imaginary scalpel opened the strongbox women use to hide their illusory one-millionth part dissimilarity?

Related Characters: Tomas, Tereza
Page Number: 234
Explanation and Analysis:
Part 5, Chapter 22 Quotes

He thought: In the clockwork of the head, two cogwheels turn opposite each other. On the one, images; on the other, the body’s reactions. The cog carrying the image of a naked woman meshes with the corresponding erection-command cog. But when, for one reason or another, the wheels go out of phase and the excitement cog meshes with a cog bearing the image of a swallow in flight, the penis rises at the sight of a swallow.

Moreover, a study by one of Tomas’s colleagues, a specialist in human sleep, claimed that during any kind of dream men have erections, which means that the link between erections and naked women is only one of a thousand ways the Creator can set the clockwork moving in a man’s head.

And what has love in common with all this? Nothing. If a cogwheel in Tomas’s head goes out of phase and he is excited by seeing a swallow, it has absolutely no effect on his love for Tereza.

Related Characters: Tomas, Tereza
Page Number: 236
Explanation and Analysis:
Part 6, Chapter 29 Quotes

What remains of the dying population of Cambodia?

One large photograph of an American actress holding an Asian child in her arms.

What remains of Tomas?

An inscription reading HE WANTED THE KINGDOM OF GOD ON EARTH

What remains of Beethoven?

A frown, an improbably man, and a somber voice intoning “Es muss sein!

What remains of Franz?

An inscription reading A RETURN AFTER LONG WANDERINGS.

And so on and so forth. Before we are forgotten, we will be turned into kitsch. Kitsch is the stopover between being and oblivion.

Related Characters: Tomas, Franz, Simon, Marie-Claude, The American Actress
Page Number: 277-8
Explanation and Analysis:
Part 7, Chapter 4 Quotes

But most of all: No one can give anyone else the gift of the idyll; only an animal can do so, because only animals were not expelled from Paradise. The love between dog and man is idyllic. It knows no conflicts, no hair-raising scenes; it knows no development. Karenin surrounded Tereza and Tomas with a life based on repetition, and he expected the same from them.

Related Characters: Tomas, Tereza, Karenin
Page Number: 298
Explanation and Analysis:

If Karenin had been a person instead of a dog, he would surely have long since said to Tereza, “Look, I’m sick and tired of carrying that roll in my mouth every day. Can’t you come up with something different?’’ And therein lies the whole of man’s plight. Human time does not turn in a circle; it runs ahead in a straight line. That is why man cannot be happy: happiness is the longing for repetition

Related Characters: Tomas, Tereza, Karenin
Page Number: 298
Explanation and Analysis:
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The Unbearable Lightness of Being PDF

Tomas Quotes in The Unbearable Lightness of Being

The The Unbearable Lightness of Being quotes below are all either spoken by Tomas or refer to Tomas. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Time, Happiness, and Eternal Return Theme Icon
).
Part 1, Chapter 2 Quotes

The heaviest of burdens crushes us, we sink beneath it, it pins us to the ground. But in the love poetry of every age, the woman longs to be weighed down by the man’s body. The heaviest of burdens is therefore simultaneously an image of life’s most intense fulfillment. The heavier the burden, the closer our lives come to the earth, the more real and truthful they become.

Conversely, the absolute absence of a burden causes man to be lighter than air, to soar into the heights, take leave of the earth and his earthly being, and become only half real, his movements as free as they are insignificant.

Related Characters: Tomas, Sabina
Page Number: 5
Explanation and Analysis:
Part 1, Chapter 3 Quotes

There is no means of testing which decision is better, because there is no basis for comparison. We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself? That is why life is always like a sketch. No, “sketch” is not quite the word, because a sketch is an outline of something, the groundwork for a picture, whereas the sketch that is our life is a sketch for nothing, an outline with no picture.

Einmal ist keinmal, says Tomas to himself. What happens but once, says the German adage, might as well not have happened at all. If we have only one life to live, we might as well not have lived at all.

Related Characters: Tomas (speaker)
Page Number: 8
Explanation and Analysis:
Part 1, Chapter 6 Quotes

Tomas came to this conclusion: Making love with a woman and sleeping with a woman are two separate passions, not merely different but opposite. Love does not make itself felt in the desire for copulation (a desire that extends to an infinite number of women) but in the desire for shared sleep (a desire limited to one woman).

Related Characters: Tomas, Tereza
Page Number: 15
Explanation and Analysis:
Part 2, Chapter 8 Quotes

Something else raised him above the others as well: he had an open book on his table. No one had ever opened a book in that restaurant before. In Tereza’s eyes, books were the emblems of a secret brotherhood. For she had but a single weapon against the world of crudity surrounding her: the books she took out of the municipal library, and above all, the novels. She had read any number of them, from Fielding to Thomas Mann. They not only offered the possibility of an imaginary escape from a life she found unsatisfying; they also had a meaning for her as physical objects: she loved to walk down the street with a book under her arm. It had the same significance for her as an elegant cane for the dandy a century ago. It differentiated her from others.

Related Characters: Tomas, Tereza
Related Symbols: Books
Page Number: 47-8
Explanation and Analysis:
Part 2, Chapter 11 Quotes

Early in the novel that Tereza clutched under her arm when she went to visit Tomas, Anna meets Vronsky in curious circumstances: they are at the railway station when someone is run over by a train. At the end of the novel, Anna throws herself under a train. This symmetrical composition—the same motif appears at the beginning and at the end—may seem quite “novelistic” to you, and I am willing to agree, but only on condition that you refrain from reading such notions as “fictive,” “fabricated,” and “untrue to life” into the word “novelistic.” Because human lives are composed in precisely such a fashion.

Related Characters: Tomas, Tereza
Related Symbols: Books
Page Number: 52
Explanation and Analysis:
Part 2, Chapter 15 Quotes

Let me return to this dream. Its horror did not begin with Tomas’s first pistol shot; it was horrifying from the outset. Marching naked in formation with a group of naked women was for Tereza the quintessential image of horror. When she lived at home, her mother forbade her to lock the bathroom door. What she meant by her injunction was: Your body is just like all other bodies; you have no right to shame; you have no reason to hide something that exists in millions of identical copies. In her mother’s world all bodies were the same and marched behind one another in formation. Since childhood, Tereza had seen nudity as a sign of concentration camp uniformity, a sign of humiliation.

Related Characters: Tomas, Tereza, Tereza’s Mother
Page Number: 57
Explanation and Analysis:
Part 2, Chapter 20 Quotes

“Here is a painting I happened to drip red paint on. At first I was terribly upset, but then I started enjoying it. The trickle looked like a crack; it turned the building site into a battered old backdrop, a backdrop with a building site painted on it. I began playing with the crack, filling it out, wondering what might be visible behind it. And that’s how I began my first cycle of paintings. I called it “Behind the Scenes.” Of course, I couldn’t show them to anybody. I’d have been kicked out of the Academy. On the surface, there was always an impeccably realistic world, but underneath, behind the backdrop’s cracked canvas, lurked something different, something mysterious or abstract.”

Related Characters: Sabina (speaker), Tomas, Tereza
Page Number: 63
Explanation and Analysis:
Part 3, Chapter 2 Quotes

The bowler hat was a motif in the musical composition that was Sabina's life. It returned again and again, each time with a different meaning, and all the meanings flowed through the bowler hat like water through a riverbed. I might call it Heraclitus’ (“You can’t step twice into the same river”) riverbed; the bowler hat was a bed through which each time Sabina saw another river flow, another semantic river: each time the same object would give rise to a new meaning, though all former meanings would resonate (like an echo, like a parade of echoes) together with the new one. Each new experience would resound, each time enriching the harmony. The reason why Tomas and Sabina were touched by the sight of the bowler hat in a Zurich hotel and made love almost in tears was that its black presence was not merely a reminder of their love games but also a memento of Sabina’s father and of her grandfather, who lived in a century without airplanes and cars.

Related Characters: Tomas, Sabina, Franz
Related Symbols: Sabina’s Black Bowler Hat
Page Number: 88
Explanation and Analysis:
Part 5, Chapter 21 Quotes

The pain grew more intense. He could not speak. It occurred to him that his womanizing was also something of an “Es muss sein!”—an imperative enslaving him. He longed for a holiday. But for an absolute holiday, a rest from all imperatives, from all “Es muss sein!" If he could take a rest (a permanent rest) from the hospital operating table, then why not from the world operating table, the one where his imaginary scalpel opened the strongbox women use to hide their illusory one-millionth part dissimilarity?

Related Characters: Tomas, Tereza
Page Number: 234
Explanation and Analysis:
Part 5, Chapter 22 Quotes

He thought: In the clockwork of the head, two cogwheels turn opposite each other. On the one, images; on the other, the body’s reactions. The cog carrying the image of a naked woman meshes with the corresponding erection-command cog. But when, for one reason or another, the wheels go out of phase and the excitement cog meshes with a cog bearing the image of a swallow in flight, the penis rises at the sight of a swallow.

Moreover, a study by one of Tomas’s colleagues, a specialist in human sleep, claimed that during any kind of dream men have erections, which means that the link between erections and naked women is only one of a thousand ways the Creator can set the clockwork moving in a man’s head.

And what has love in common with all this? Nothing. If a cogwheel in Tomas’s head goes out of phase and he is excited by seeing a swallow, it has absolutely no effect on his love for Tereza.

Related Characters: Tomas, Tereza
Page Number: 236
Explanation and Analysis:
Part 6, Chapter 29 Quotes

What remains of the dying population of Cambodia?

One large photograph of an American actress holding an Asian child in her arms.

What remains of Tomas?

An inscription reading HE WANTED THE KINGDOM OF GOD ON EARTH

What remains of Beethoven?

A frown, an improbably man, and a somber voice intoning “Es muss sein!

What remains of Franz?

An inscription reading A RETURN AFTER LONG WANDERINGS.

And so on and so forth. Before we are forgotten, we will be turned into kitsch. Kitsch is the stopover between being and oblivion.

Related Characters: Tomas, Franz, Simon, Marie-Claude, The American Actress
Page Number: 277-8
Explanation and Analysis:
Part 7, Chapter 4 Quotes

But most of all: No one can give anyone else the gift of the idyll; only an animal can do so, because only animals were not expelled from Paradise. The love between dog and man is idyllic. It knows no conflicts, no hair-raising scenes; it knows no development. Karenin surrounded Tereza and Tomas with a life based on repetition, and he expected the same from them.

Related Characters: Tomas, Tereza, Karenin
Page Number: 298
Explanation and Analysis:

If Karenin had been a person instead of a dog, he would surely have long since said to Tereza, “Look, I’m sick and tired of carrying that roll in my mouth every day. Can’t you come up with something different?’’ And therein lies the whole of man’s plight. Human time does not turn in a circle; it runs ahead in a straight line. That is why man cannot be happy: happiness is the longing for repetition

Related Characters: Tomas, Tereza, Karenin
Page Number: 298
Explanation and Analysis: