After many thought-provoking encounters with art in Nausea, Roquentin finally finds hope for an antidote to his suffering in his aspiration to write a novel that will “make people ashamed of their existence.” This conclusion to the story suggests that art—at least in some forms, like music and novels—endows the artist with a legacy that transcends existence itself. Throughout Nausea, Roquentin interacts with art forms that are heavily contingent on things that have existed in the past. He frequently passes the statue of Impétraz, a sculpture of a historical figure. He confronts the portraits in the Bouville museum, all of which depict real people. And most significantly, he has dedicated his life to writing a history of the Marquis de Rollebon, an 18th-century aristocrat. Roquentin’s eventual disenchantment with the Marquis (and his immediate dislike of the other art forms) signals his awakening to the world of existence: he realizes that he has allowed the Marquis’s existence to supersede his own and that he has, in a sense, “loaned him [his] life.”
Now alert to his own existence, Roquentin seeks something that can justify it and cleanse it, and he finally finds it by doing the only thing that soothes his Nausea: listening to “Some of these days,” a jazz record. Roquentin realizes that the melody of the song, which is separate from the record that makes it play, is not “real.” The song affords its composer and singer a legacy untarnished by existence in that they are substantiated only by the echo of the thing they’ve created. Ultimately, this encounter with the record leads Roquentin to conclude that artists—people who create, not just depict or record—can leave behind the legacy of essence without the baggage of existence.
Art and Legacy ThemeTracker
Art and Legacy Quotes in Nausea
What has just happened is that the Nausea has disappeared. When the voice was heard in the silence, I felt my body harden and the Nausea vanish. Suddenly: it was almost unbearable to become so hard, so brilliant. At the same time the music was drawn out, dilated, swelled like a waterspout. It filled the room with its metallic transparency, crushing our miserable time against the walls. I am in the music. Globes of fire turn in the mirrors; encircled by rings of smoke, veiling and unveiling the hard smile of light. My glass of beer has shrunk, it seems heaped up on the table, it looks dense and indispensable. I want to pick it up and feel the weight of it, I stretch out my hand . . . God! That is what has changed, my gestures. This movement of my arm has developed like a majestic theme, it has glided along the song of the Negress; I seemed to be dancing.
Then I realized what separated us: what I thought about him could not reach him; it was psychology, the kind they write about in books. But his judgment went through me like a sword and questioned my very right to exist. And it was true, I had always realized it; I hadn’t the right to exist. I had appeared by chance, I existed like a stone, a plant or a microbe. […]
But for this handsome, faultless man, now dead, for Jean Pacôme, son of the Pacôme of the Défence Nationale, it had been an entirely different matter: the beating of his heart and the mute rumblings of his organs, in his case, assumed the form of rights to be instantly obeyed. For sixty years, without a halt, he had used his right to live. […] He had always done his duty…
The trees floated. Gushing towards the sky? Or rather a collapse; at any instant I expected to see the tree-trunks shrivel like weary wands, crumple up, fall on the ground in a soft, folded, black heap. They did not want to exist, only they could not help themselves […] Tired and old, they kept on existing, against the grain, simply because they were too weak to die, because death could only come to them from the outside: strains of music alone can proudly carry their own death within themselves like an internal necessity: only they don’t exist. Every existing thing is born without reason, prolongs itself out of weakness and dies by chance.
Couldn’t I try… Naturally, it wouldn’t be a question of a tune… But couldn’t I, in another medium?... It would have to be a book; I don’t know how to do anything else. But not a history book: history talks about what has existed—an existent can never justify the existence of another existent. My error, I wanted to resuscitate the Marquis de Rollebon. Another type of book. I don’t quite know which kind—but you would have to guess, behind the printed words, behind the pages, at something which would not exist, which would be above existence. A story, for example, something that could never happen, an adventure. It would have to be beautiful and hard as steel and make people ashamed of their existence.