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Dominique in The Fountainhead by Ayn Rand


In this case, Roak lives as the embodiment of his work. He represents his buildings, especially because "a house can have integrity, just like a person"" (136). Roark stands to serve purpose akin to the Heller house that ".is made by its own need, while ".others are made by the need to impress"" (136). It is the same divide that sets Roark apart from other the architects, casting him an ideal individual and forming him into a model of exaltation.
             Dominique knew exactly such about Roark and his projects before they had even formally met. In confidence to Ellsworth, she had said Howard's job on the Enright House was "too beautiful [and] shouldn't have offered it for men like you to look at"" (244). At first, most spectators and critics didn't acknowledge any success in Roark's buildings. Either they had nothing to say or bluntly rejected his modernistic approach. They should have seen that his structures were far more than modern, that he was free in his work with the sky as his limit and the earth his stability. Dominique had been learning this when "she could see his hands shaping the setbacks, the corners, the roofs of all the structure below, " finding herself allured to that of which he was capable of (324). He was great because "a man is made of what he creates of himself"" (681). He created a standard, an honest one that exceeded all other architects, and she, convinced that he was too great for their mediocre world and she must rid him from it, understood this supremely. .
             There was always a magnificent level of understanding between the two. But perhaps one conundrum Dominique couldn't unravel her mind from was how Roark came to posses such noble rank in character. Dominique knew what to expect of most men and we witness this during her first encounter with Peter Keating when she says, "That's what I'd expect you to say and I don't like to hear what I expect"" (118.) Roark was ultimately unique with the element of surprise.


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