Lolita by Vladimir Nabokov PDF

Lolita, a novel by Vladimir Nabokov, explores the complex and controversial relationship between Humbert Humbert and his young stepdaughter, Dolores Haze, whom he nicknames Lolita. Set against the backdrop of mid-20th century America, the narrative delves into themes of obsession, manipulation, and the nature of love and desire. Humbert's unreliable narration raises questions about morality and the impact of trauma. This work is essential for literary scholars and readers interested in modernist literature and psychological character studies. Nabokov's intricate prose and vivid imagery make it a significant contribution to 20th-century fiction.

Key Points

Explores the controversial relationship between Humbert Humbert and Dolores Haze, known as Lolita.
Examines themes of obsession, manipulation, and the complexities of love and desire.
Features an unreliable narrator that challenges readers' perceptions of morality.
Set in mid-20th century America, reflecting societal norms and taboos of the time.

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Vladimir Nabokov. Lolita

Spellchecked by M. Avrekh, 21 Dec 1999

FOREWORD

"Lolita, or the Confession of a White Widowed Male," such were the

two titles under which the writer of the present note received the strange

pages it preambulates. "Humbert Humbert," their author, had died in legal

captivity, of coronary thrombosis, on November 16, 1952, a few days before

his trial was scheduled to start. His lawyer, my good friend and relation,

Clarence Choate Clark, Esq., now of the District of Columbia bar, in asking

me to edit the manuscript, based his request on a clause in his client's

will which empowered my eminent cousin to use the discretion in all matters

pertaining to the preparation of "Lolita" for print. Mr. Clark's decision

may have been influenced by the fact that the editor of his choice had just

been awarded the Poling Prize for a modest work ("Do the Senses make

Sense?") wherein certain morbid states and perversions had been discussed.

My task proved simpler than either of us had anticipated. Save for the

correction of obvious solecisms and a careful suppression of a few tenacious

details that despite "H.H."'s own efforts still subsisted in his text as

signposts and tombstones (indicative of places or persons that taste would

conceal and compassion spare), this remarkable memoir is presented intact.

Its author's bizarre cognomen is his own invention; and, of course, this

mask--through which two hypnotic eyes seem to glow--had to remain unlifted

in accordance with its wearer's wish. While "Haze" only rhymes with the

heroine's real surname, her first name is too closely interwound with the

inmost fiber of the book to allow one to alter it; nor (as the reader will

perceive for himself) is there any practical necessity to do so. References

to "H.H."'s crime may be looked up by the inquisitive in the daily papers

for September-October 1952; its cause and purpose would have continued to

come under my reading lamp.

For the benefit of old-fashioned readers who wish to follow the

destinies of the "real" people beyond the "true" story, a few details may be

given as received from Mr. "Windmuller," or "Ramsdale," who desires his

identity suppressed so that "the long shadow of this sorry and sordid

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business" should not reach the community to which he is proud to belong. His

daughter, "Louise," is by now a college sophomore, "Mona Dahl" is a student

in Paris. "Rita" has recently married the proprietor of a hotel in Florida.

Mrs. "Richard F. Schiller" died in childbed, giving birth to a stillborn

girl, on Christmas Day 1952, in Gray Star, a settlemen in the remotest

Northwest. "Vivian Darkbloom" has written a biography, "My Cue," to be

publshed shortly, and critics who have perused the manuscript call it her

best book. The caretakers of the various cemeteries involved report that no

ghosts walk.

Viewed simply as a novel, "Lolita" deals with situations and emotions

that would remain exasperatingly vague to the reader had their expression

been etiolated by means of platitudinous evasions. True, not a single

obscene term is to be found in the whole work; indeed, the robust philistine

who is conditioned by modern conventions into accepting without qualms a

lavish array of four-letter words in a banal novel, will be quite shocked by

their absence here. If, however, for this paradoxical prude's comfort, an

editor attempted to dilute or omit scenes that a certain type of mind might

call "aphrodisiac" (see in this respect the monumental decision rendered

December 6, 1933, by Hon. John M. Woolsey in regard to another, considerably

more outspoken, book), one would have to forego the publication of "Lolita"

altogether, since those very scenes that one might ineptly accuse of

sensuous existence of their own, are the most strictly functional ones in

the development of a tragic tale tending unswervingly to nothing less than

a moral apotheosis. The cynic may say that commercial pornography makes the

same claim; the learned may counter by asserting that "H.H."'s impassioned

confession is a tempest in a test tube; that at least 12% of American adult

males--a "conservative" estimate according to Dr. Blanche Schwarzmann

(verbal communication)--enjoy yearly, in one way or another, the special

experience "H.H." describes with such despare; that had our demented diarist

gone, in the fatal summer of 1947, to a competent psycho-pathologist, there

would have been no disaster; but then, neither would there have been this

book.

This commentator may be excused for repeating what he has stressed in

his own books and lectures, namely that "offensive" is frequently but a

synonym for "unusual;" and a great work of art is of course always original,

and thus by its very nature should come as a more or less shocking surprise.

I have no intention to glorify "H.H." No doubt, he is horrible, is is

abject, he is a shining example of moral leprosy, a mixture of ferocity and

jocularity that betrays supreme misery perhaps, but is not conducive to

attractiveness. He is ponderously capricious. Many of his casual opinions on

the people and scenery of this country are ludicrous. A desperate honesty

that throbs through his confession does not absolve him from sins of

diabolical cunning. He is abnormal. He is not a gentleman. But how magically

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his singing violin can conjure up a tendresse, a compassion for Lolita that

makes us entranced with the book while abhorring its author!

As a case history, "Lolita" will become, no doubt, a classic in

psychiatric circles. As a work of art, it transcends its expiatory aspects;

and still more important to us than scientific significance and literary

worth, is the ethical impact the book should have on the serious reader; for

in this poignant personal study there lurks a general lesson; the wayward

child, the egotistic mother, the panting maniac--these are not only vivid

characters in a unique story: they warn us of dangerous trends; they point

out potent evils. "Lolita" should make all of us--parents, social workers,

educators--apply ourselves with still greater vigilance and vision to the

task of bringing up a better generation in a safer world.

John Ray, Jr., Ph.D.

Widworth, Mass

* PART ONE *

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta:

the tip of the tongue taking a trip of three steps down the palate to tap,

at three, on the teeth. Lo. Lee. Ta.

She was Lo, plain Lo, in the morning, standing four feet ten in one

sock. She was Lola in slacks. She was Dolly at school. She was Dolores on

the dotted line. But in my arms she was always Lolita.

Did she have a precursor? She did, indeed she did. In point of fact,

there might have been no Lolita at all had I not loved, one summer, a

certain initial girl-child. In a princedom by the sea. Oh when? About as

many years before Lolita was born as my age was that summer. You can always

count on a murderer for a fancy prose style.

Ladies and gentlemen of the jury, exhibit number one is what the

seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this

tangle of thorns.

I was born in 1910, in Paris. My father was a gentle, easy-going

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Overview

Lolita by Vladimir Nabokov

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FAQs

What is the significance of the character Lolita in Nabokov's novel?

Lolita, the titular character, represents a complex interplay of innocence and desire. Humbert Humbert, the narrator, describes her in various ways, emphasizing her youth and the different names she is called, such as 'Lo' and 'Dolores.' This multifaceted portrayal highlights her as both an object of obsession and a victim of Humbert's manipulations. Her character serves as a focal point for the themes of obsession, manipulation, and the loss of innocence, making her a pivotal figure in the narrative.

How does Humbert Humbert describe his childhood and upbringing?

Humbert Humbert recounts his childhood, noting that he was born in Paris in 1910 and raised in a privileged environment. His father was a gentle man who owned a luxurious hotel on the Riviera, and his mother died in a freak accident when he was three. He describes his childhood as happy and filled with love, particularly from his father and his aunt Sybil, who served as a governess. This background sets the stage for understanding Humbert's later actions and psychological complexities.

What themes are explored in Nabokov's Lolita?

Lolita explores several profound themes, including obsession, manipulation, and the nature of love. The narrative delves into Humbert's psychological state, revealing the complexities of his desires and the moral implications of his actions. It also examines the dynamics of power and victimhood, particularly through the character of Lolita, who is both an object of desire and a victim of Humbert's obsession. The novel raises ethical questions about responsibility and the impact of adult desires on innocent lives.

What is the narrative style of Lolita and how does it affect the story?

Nabokov employs a richly lyrical and complex narrative style in Lolita, primarily through the voice of Humbert Humbert. The prose is characterized by its elaborate descriptions and poetic language, which serve to both enchant and repulse the reader. This style creates a sense of intimacy with Humbert, allowing readers to experience his thoughts and justifications, while simultaneously confronting the horror of his actions. The contrast between the beauty of the language and the darkness of the subject matter enhances the novel's unsettling impact.

How does the foreword to Lolita set the tone for the novel?

The foreword to Lolita, written by John Ray, Jr., establishes a critical framework for understanding the novel. It discusses the moral and ethical implications of Humbert Humbert's confession and hints at the controversial nature of the text. Ray's commentary on the absence of obscene language and the paradox of the novel's themes prepares readers for a complex exploration of love and obsession, while also addressing the societal reactions to such a provocative narrative.

What role does the setting play in Lolita?

The setting in Lolita is crucial to the development of its themes and characters. Humbert's journey across various American landscapes reflects his internal turmoil and obsession. The contrast between idyllic locations and the dark events that unfold highlights the dissonance between appearance and reality. Settings such as the hotel where Humbert and Lolita stay serve as microcosms of their relationship, encapsulating the tension and manipulation inherent in their interactions.