The main problem that the scheming Ellsworth Toohey has with Howard Roarke is that 1 educator answer; Is the painting of Peter Keating which he showed to. Sometimes it's hard to keep track of what Peter Keating is up to during The He meets and Ellsworth Toohey and accepts the man as a sort of mentor. Keating Their marriage is a disaster, and Keating grows increasingly bitter and unstable. Ellsworth Toohey is an advocate of 'selflessness' and preached a doctrine of 'For the greater This was how he manipulated Peter Keating. What do feminists think of the relationship between Dominique Francon and Howard Roark in Ayn.
There have been a lot of people asking about the character of Dominique Francon in the book The Fountainhead, by Ayn Rand. This essay will attempt to clarify her character in the context of that story. For lack of a better term, let us talk about the characters of The Fountainhead in terms of power.
There are six major characters in The Fountainhead, each of which demonstrates a different archetypal relationship to the creative potential of human beings. Howard Roarke is the pure creator, independent: He has the power to create and uses it, and does not allow that power to be directed by anyone but his own will.
He is derivative and dependent. He can only work with what others give, including opinions about his own self-worth. Guy Francon is just like Peter Keating, except that Peter was gradually turned from being a creator to being a user. For Peter, it began when his mother wanted him to be an architect rather than an artist; from that point on, he lost his will to create by degrees until he had no capacity left.
For Guy, he has always accepted the role of user and feels no attraction to any other state of being. Ellsworth Toohey wants to make everyone dependent, so that they must turn to him for whatever they need. Gail Wynand is also a creator, like Roark, who realizes that people need his power to create — they must feed off of him.
What's with Dominique Francon?
He hates this, and in reaction, plays on this need to punish his enemy. But Wynand had sold his power to society in order to gain what he believed was the upper hand. It is this realization which undoes him toward the end, though Roark constantly tries to get him to see that there is no reason to care about his past, so long as he gives up on his plan of revenge and turns his attention to creating.
And last, Dominique Francon: She sees that people need her to create, and she also hates this need. Her response is to not give people what they want. By removing her power from the world, it cannot be misused. In this way she expresses her hatred for the world by starving of it of the very thing it needs most. Wynand believed he was causing the world pain by misusing the needs of people, and yet this still allowed them to survive; Dominique wants to see the world die by depriving it of what it needs to continue.
Of course, she is also depriving herself, and so there is a kind of suicide implicit in her course of action. She tries to defeat him because she loves the power he wields so much which is also an expression of love for herself, because she recognizes this same power within herself. So whatever she does to Roark, she is also doing to herself. So basically, Toohey goads Dominique on and brings out her worst elements, brings out her pessimism, and brings out her fears about what is in store for Roark.
And he encourages her to join with him in boosting Peter Keating and fighting Howard Roark. And so she forms an alliance with Ellsworth Toohey.
They have completely opposite motives. And so, Toohey is able to, uh, convince Dominique to form an alliance with him and they work together in this way. Now, this continues through the beginning of Part 2 of the novel.
Uh, Dominique takes certain actions to try to take clients away from Roark and to send them off to Peter Keating. He starts to get clients. He completes the Enright House. He completes the Cord Building. This is when he conceives of his scheme of the Stoddard Temple. And his goal here is twofold. Again, he wants to, um—he wants to oppose Howard Roark.
And this is how he acts toward Dominique Francon, as well. Now, the Stoddard Temple in this respect is a success, so Roark is stopped in his career. And in the person of Dominique Francon he does exactly what he set out to do. He reinforces her worst convictions and her, uh—he reinforces these mistaken beliefs that she has about the world, and he basically drives her to, you know, want to do the worst to herself, to bring the suffering upon herself.
He does everything he can—working on Peter Keating, working on Dominique Francon. He does everything he can to bring this marriage about. And in encouraging the marriage, Toohey is trying to goad her along on the path of self-destruction. Peter Keating is not a strong enough force.
The Fountainhead - Wikipedia
Marrying Peter Keating is not going to be enough to destroy Dominique. So Toohey concocts yet another plan, and that is to try to put Dominique Francon in the path of Gail Wynand.
And so he is the one, again, who sort of engineers this scheme by which Dominique Francon is in effect going to sell herself, prostitute herself to Gail Wynand so that Peter Keating can get the Stoneridge commission. Now, ultimately, all of this fails in the case of Dominique Francon. What she discovers over the course of her development through the novel is that, ultimately, she was wrong about, you know, the nature of the world and the chance of someone like Howard Roark for success in the world.
And by the end of the novel you know, Toohey fails with her utterly.
She is, in the end of the novel, free of the world. She comes to see that, you know, Roark does have a chance. And in the end, she goes back to Howard Roark and, you know, is able to live in the same way that he lives in the world, free of other people and unconcerned with the rest of the world.
So in terms of Ellsworth Toohey, what we see with respect to Dominique is he has the goal of trying to destroy her spiritually, trying to bring out her worst elements, trying to encourage her along on the path of self-destruction.
And in the case of Dominique, he fails in that. From the moment he sees the first drawings of the Enright House, Toohey recognizes Roark as someone that he has to oppose and fight. Toohey basically is a—in essence, is a—is a person who has no independent creative spirit of his own.
He has the ability to recognize greatness, and recognize the innovative qualities, the spiritual greatness that Howard Roark represents, and recognizes the greatness that his architecture represents. He is the paragon of spiritual second-handedness.Howard and Dominique
And he recognizes that someone like Howard Roark is a threat to him. In a world that seeks out the best, that seeks out greatness, and that—and that, you know, wants to find people like Howard Roark to—you know, the innovative creators. This it the the reaction—this is—this is the reaction that Toohey has. But between smile and sentences, his eyes went back to the man with the orange hair.
He looked at the man as he looked occasionally at the pavement from a window on the 30th floor, wondering about his own body were it to be hurled down, and what would happen when it struck against that pavement.
And enshrine in their place mediocrities—to raise up Peter Keating and to destroy Howard Roark. And, initially, his attitude towards Howard Roark is to just ignore him. And, you know, the—by implication, Roark is not worthy of talking about. And all he talks about is Peter Keating and how wonderful his buildings are. This is his initial attempt to boost Keating and oppose Roark. You know, Roark continues to get commissions. He continues to get clients.
Eventually Toohey has to bring out the bigger guns. So when Dominique, you know, comes to him and points out how Roark is succeeding, again, this is when Toohey concocts the plan for the Stoddard Temple. You know, that building that carries the message that man is great and noble, and, you know and that brings out the sort of individualist spirit.
He convinces him to sue Howard Roark as a fraud, and he manages, you know, to set back Roark in his career. Um, you know, to have him successfully sued by a client, you know, in effect for committing fraud, and smear him across the pages of the papers as an unreliable, unworthy architect who nobody should have anything to do with.
So he exceeds in this goal, but in the end, you know, this is not enough to stop Howard Roark. And over the course of the novel, Roark manages to succeed in spite of everything Toohey does.
It has no relation to the work that he wants to do and the kinds of clients that he wants to find. And the scene that captures this beautifully is—so after the Stoddard Temple fiasco, after Tooley has accomplished what he wanted to, Roark has been sued. The Stoddard Temple is going to be, you know, disfigured. And Roark goes to see the building. Well, in Part 2, we get the story of his childhood. And we see, you know, through the various incidents that are shown, you know, we see some of the kinds of things—we see some of—we get an indication into some of his motives and the kinds of things that are driving him.
And, you know, at the age of 15, he formulates the goal of collecting souls, and this is what he acts on through his entire life. Now, he—his basic method of collecting souls is by preaching the philosophy of collectivism, preaching the philosophy of altruism. And we see this, you know, in the way that he acts toward Katie Halsey, toward Keating, toward all the people he comes into contact with as a vocational advisor, you know, in college. He advises people to give up the—you know, when he sees somebody who is passionate about a certain career, his advice is to give that up.
So this is his basic mode of operation. And Ayn Rand described the character of Ellsworth Toohey in her notes in preparing for the novel.
This is part of her description of Ellsworth Toohey. Basically, Toohey is noncreative. He has nothing of his own to offer to himself or to others. His evil lies in the fact that he knows it, accepts it, and glories in it. Toohey knew himself to be incapable of intrinsic superiority or independence. He made of this his virtue. He dedicated himself to the destruction of all superiority and all independence. He accepted consciously the negation of all values, of all ideals, of all that is high and noble in men, with the full realization of the meaning of such values, not in frustrated for an ideal, but in cold and deliberate hatred of all integrity.
He chose to be consciously evil. He is the great nihilist of the spirit. So Toohey has surreptitiously over many years been planting his employees in The Banner. And his goal, ultimately, is to take over editorial control of The Banner.
He fights them indirectly.
He fights them through internal corruption. So when the Cortlandt Homes incident occurs, Toohey, you know, obviously is going to be fighting Howard Roark.