Atlas Shrugged [503]
"Oh no . . ." she whispered, knowing that the gratitude was hers and that it was futile to express it. She was thinking of the years when the works he had just played for her were being written, here, in his small cottage on a ledge of the valley, when all this prodigal magnificence of sound was being shaped by him as a flowing monument to a concept which equates the sense of life with the sense of beauty-while she had walked through the streets of New York in a hopeless quest for some form of enjoyment, with the screeches of a modern symphony running after her, as if spit by the infected throat of a loud-speaker coughing its malicious hatred of existence.
"But I mean it," said Richard Halley, smiling. "I'm a businessman and I never do anything without payment. You've paid me. Do you see why I wanted to play for you tonight?"
She raised her head. He stood in the middle of his living room, they were alone, with the window open to the summer night, to the dark trees on a long sweep of ledges descending toward the glitter of the valley's distant lights.
"Miss Taggart, how many people are there to whom my work means as much as it does to you?"
"Not many," she answered simply, neither as boast nor flattery, but as an impersonal tribute to the exacting values involved.
"That is the payment I demand. Not many can afford it. I don't mean your enjoyment, I don't mean your emotion-emotions be damned!-I mean your understanding and the fact that your enjoyment was of the same nature as mine, that it came from the same source: from your intelligence, from the conscious judgment of a mind able to judge my work by the standard of the same values that went to write it-I mean, not the fact that you felt, but that you felt what I wished you to feel, not the fact that you admire my work, but that you admire it for the things I wished to be admired." He chuckled.
"There's only one passion in most artists more violent than their desire for admiration: their fear of identifying the nature of such admiration as they do receive. But it's a fear I've never shared. I do not fool myself about my work or the response I seek-I value both too highly.
I do not care to be admired causelessly, emotionally, intuitively, instinctively-or blindly, I do not care for blindness in any form, I have too much to show-or for deafness, I have too much to say. I do not care to be admired by anyone's heart-only by someone's head. And when I find a customer with that invaluable capacity, then my performance is a mutual trade to mutual profit. An artist is a trader, Miss Taggart, the hardest and most exacting of all traders. Now do you understand me?"
"Yes," she said incredulously, "I do," incredulously because she was hearing her own symbol of moral pride, chosen by a man she had least expected to choose it.
"If you do, why did you look quite so tragic just a moment ago?
What is it that you regret?"
"The years when your work has remained unheard."
"But it hasn't. I've given two or three concerts every year. Here, in Galt's Gulch. I am giving one next week. I hope you'll come. The price of admission is twenty-five cents."
She could not help laughing. He smiled, then his face slipped slowly into earnestness, as under the tide of some unspoken contemplation of his own. He looked at the darkness beyond the window, at a spot where, in a clearing of the branches, with the moonlight draining its color, leaving only its metallic luster, the sign of the dollar hung like a curve of shining steel engraved on the sky.
"Miss Taggart, do you see why I'd give three dozen modern artists for one real businessman? Why I have much more in common with Ellis Wyatt or Ken Danagger-who happens to be tone deaf-than with men like Mort Liddy and Balph Eubank? Whether it's a symphony or a coal mine, all work is an act of creating and comes from the same source: from an inviolate capacity