Атлант расправил плечи
The Concerto of Deliverance
Itwasasenseofextremeprecisionandofrelaxation,together,asenseofactionwithoutstrain,whichseemedinexplicablyyouthful—untilherealizedthatthiswasthewayhehadactedandhadexpectedalwaystoact,inhisyouth—andwhathenowfeltwaslikethesimple,astonishedquestion:Whyshouldoneeverhavetoactinanyothermanner?
ItseemedtohimthattheskylineofNewYork,whenitrosebeforehim,hadastrangelyluminousclarity,thoughitsshapeswereveiledbydistance,aclaritythatdidnotseemtorestintheobject,butfeltasiftheilluminationcamefromhim.Helookedatthegreatcity,withnotietoanyvieworusageothershadmadeofit,itwasnotacityofgangstersorpanhandlersorderelictsorwhores,itwasthegreatestindustrialachievementinthehistoryofman,itsonlymeaningwasthatwhichitmeanttohim,therewasapersonalqualityinhissightofit,aqualityofpossessivenessandofunhesitantperception,asifhewereseeingitforthefirsttime—orthelast.
HepausedinthesilentcorridoroftheWayne-Falkland,atthedoorofthesuitehewastoenter;ittookhimalongmoment’sefforttolifthishandandknock;itwasthesuitethathadbelongedtoFranciscod’Anconia.
Therewerecoilsofcigarettesmokeweavingthroughtheairofthedrawingroom,amongthevelvetdrapesandbare,polishedtables.
