Who is Toohey and Wynand
The intriguing plot is largely driven by Toohey’s machinations. He hates Dominique for her independence of mind and arranges for Wynand, a notorious playboy, to notice Dominique’s beauty, in order to destroy them in a high-society scandal over her adultery to Keating. What Toohey does not know is that Dominque’s contemptuous toying with society matches her boss’s. When they meet, Wynand is impressed by her total honesty about prostituting herself, unlike his former mistresses’ game playing, and he proposes marriage, to her surprise. She accepts, thinking the more outrageous the liaison is, and the better it is to spite the world. Diesel Jeans In his admiration for her, Wynand reveals to her his hidden values, symbolized by his secret collection of great art works. She soon realizes how much they have in common in valuing quality, not mass mediocrity as she had thought, and begins to respect and love him, although Roark is her greater love.
When Wynand independently recognizes the value of Roark’s work and commissions him to build a house for them, Roark also comes to recognize Wynand’s true character and befriends him, although he has reservations about Wynand’s past actions when he thinks: “I haven’t mentioned to him the worst second bander of all the man who goes after power”. Wynand, after trying Roark’s integrity without shaking it, regains his own. He and Dominique begin to champion Roark in his newspaper against the adverse popular opinion that he has allowed Tbohey (and, formerly, Dominique herself) to foment. But in order to save his newspaper from Toohey’s plot to take it over, Wynand finally betrays Roark. That betrayal drives Dominique back to Roark, leaving Wynand to confront the loss of her and of his newly reborn integrity. Wynand’s complexity as an admirable antihero, another kind of foil to Roark, makes Rand’s point that one is totally responsible for one’s choices. Although Wynand is a success by materialist standards, he has not succeeded as “man qua man,” which is the standard of Rand’s ethical individualist. He realizes the irony that in achieving power by catering to the public’s taste for mediocrity, no matter how competently, he has handed his power over to the very public opinion that he despises. And, in clinging to the newspaper founded on that rot, he again betrays his deepest values in betraying Roark.
In contrast, Roark’s indifference to others neither dominating them, nor catering to them, nor reacting against them suggests a “live and let live” harmlessness (except for that contemptuous mouth that Rand dotes on, which subtly poisons his impact). He simply pursues his own empowerment over his craft and his just rewards from those who value it. Although Roark is indifferent to his employees personally, they are stimulated to do their best in admiration of him and, being justly compensated by him, are aware that he, in turn, holds their work in esteem. Rand shows how, paradoxically, Roark’s innocuous indifference promotes interdependence, at least among the competent.
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