One metaphor arises from the "doubleness that clung to the street," the doppelgänger every person and every object owns. That "insistent sense of recognition"—the dawning of the creative process, the birth of metaphor—immediately becomes attached to the Hebraism-and-Hellenism issue in Isabel and Fishbein's ensuing argument. For Fishbein the uniformity of lampposts in America evinces its dreary sameness, the diverse lampposts in Europe its individuality. But Isabel sees them as "some kind of religious icon" belonging to an "advanced religion," monotheism.
The Pagan Rabbi