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A thinker who “never learned how to think,” a musician who fills his violin case with dirty laundry, in short, an artist manqué, Nagel in his yellow aesthete’s suit seems bent on investing his artistic talent and energies in the business of living. His love is a desperate attempt to give meaning to his life; a metaphysical eros, it is the means whereby he hopes to justify his very existence. That is why its failure brings such drastic consequences. By the time he starts wooing Martha, he is simply concerned to survive, however meagerly. The pastoral dream of life with Martha that he evokes in chapter 16 is symptomatic of the psychological regression that Nagel undergoes toward the end of the novel.
Despite the special circumstances of Nagel’s attachment to Dagny, his love conforms to a romantic archetype, best exemplified by Goethe’s Sturm und Drang novel The Sufferings of Young Werther (1
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