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(Ultimately, what saved Mr. X was his commitment to reason; he held reason as an absolute, even if he did not know its full meaning and application; an absolute that survived through the hardest periods he had to endure in his struggle to regain his psychological health—to remark and release the soul he had spent his life negating. Due to his determined perseverance, he won his battle. Today—after quitting his job and taking many calculated risks—he is a brilliant success, in a career he loves, and on his way up to an ever-increasing range of achievement. He is still struggling with some remnants of his past errors. But, as a measure of his recovery and of the distance he has traveled, I would suggest that you reread my opening paragraph before I tell you that I saw a recent snapshot of him which caught him smiling, and of all the characters in Atlas Shrugged the one whom the quality of that smile would suit best is Francisco d’Anconia.)

There are countless cases similar to this; this is merely the most dramatically obvious one in my experience and involves a man of unusual stature. But the same tragedy is repeated all around us, in many hidden, twisted forms—like a secret torture chamber in men’s souls, from which an unrecognizable cry reaches us occasionally and then is silenced again. The person, in such cases, is both “man the victim” and “man the killer.” And certain principles apply to them all.

Man is a being of self-made soul—which means that his character is formed by his basic premises, particularly by his basic value-premises. In the crucial, formative years of his life—in childhood and adolescence—Romantic art is his major (and, today, his only) source of a moral sense of life. (In later years, Romantic art is often his only experience of it.)

Please note that art is not his only source of morality, but of a moral sense of life. This requires careful differentiation.

A “sense of life” is a preconceptual equivalent of metaphysics, an emotional, subconsciously integrated appraisal of man and of existence. Morality is an abstract, conceptual code of values and principles.

The process of a child’s development consists of acquiring knowledge, which requires the development of his capacity to grasp and deal with an ever-widening range of abstractions. This involves the growth of two interrelated but different chains of abstractions, two hierarchical structures of concepts, which should be integrated, but seldom are: the cognitive and the normative. The first deals with knowledge of the facts of reality—the second, with the evaluation of these facts. The first forms the epistemological foundation of science—the second, of morality and of art.

In today’s culture, the development of a child’s cognitive abstractions is assisted to some minimal extent, even if ineptly, half-heartedly, with many hampering, crippling obstacles (such as anti-rational doctrines and influences which, today, are growing worse). But the development of a child’s normative abstractions is not merely left unaided, it is all but stifled and destroyed. The child whose valuing capacity survives the moral barbarism of his upbringing has to find his own way to preserve and develop his sense of values.

Apart from its many other evils, conventional morality is not concerned with the formation of a child’s character. It does not teach or show him what kind of man he ought to be and why; it is concerned only with imposing a set of rules upon him—concrete, arbitrary, contradictory and, more often than not, incomprehensible rules, which are mainly prohibitions and duties. A child whose only notion of morality (i.e., of values) consists of such matters as: “Wash your ears!”—“Don’t be rude to Aunt Rosalie!”—“Do your homework!”—“Help papa to mow the lawn (or mama to wash the dishes)!”—faces the alternative of: either a passively amoral resignation, leading to a future of hopeless cynicism, or a blind rebellion. Observe that the more intelligent and independent a child, the more unruly he is in regard to such commandments.