Humbert's Sexual Relationships In Lolita

Furthermore, Humbert further provides a dishonest narrative through his creation of a ‘grotesque theatrical character’ (Courtier 1996), in order to disassociate himself from the monster he truly is. This is aided by how Nabokov uses a diary-like structure to allow Humbert to experiment with his own format, for example ‘Main character: Humbert the Hummer. Time: Sunday morning in June. Place: sunlit living room.’ (Nabokov 1955) which resembles a script that Humbert himself has created when in reality he is reciting yet another lust-filled encounter with Lolita. Throughout this passage, and the novel, Nabokov switches from third person to first person narrative which further illustrates Humbert’s confusion over his desires, and how he

The men who show their obsessions in Fear and Lolita do so in a more aggressive manner. Humbert, who has always had in interest in young girls, is instantly taken with Dolores, the 12 year old daughter of his landlady - “It was love at first sight, at last sight, at ever and ever sight.” She is the whole reason for his decision to stay at the house, as he is initially put off by her mother, the domineering Charlotte. Humbert takes extreme measures by marrying Charlotte for the sole purpose of staying close to Dolores. After Charlotte’s death, Humbert takes Dolores on the road for an indefinite road trip. He is so attached to her that he becomes easily panicked when he is faced with the possibility of her leaving him. This causes him to be incredibly possessive over her, limiting her interaction with friends her own age to prevent

So far, so good. Having had intercourse with Lolita earlier that morning Humbert, not surprisingly, sees her as his victim, sees both her childlike innocence and the signs of his own brutal assault on that innocence. But at the end of the passage, Humbert's understanding of Lolita and her "lost innocence" changes radically as he proclaims her to

And when «she knows it's happening: that thing, that connection» between them, when she dances for him and «making him fall in love with her» she says to him: «We've got all we need. We don't need love. Don't diminish yourself – don't reveal yourself as a sentimental sap. You're dying to do it, but don't. Let's not lose this.» (p. 231). She knows she's driving him nuts, she knows that her rejection of his feelings makes him want to attach to her sentimentaly even more. She dances for him and teaches him what life really is. She – a 34-year-old illiterate janitor, teaches him – colledge proffessor, ex-dean, a member of highest rank of society class, what life is all about.

Essential to LeBlanc’s analysis of how Edna becomes the “metaphorical lesbian” and climaxes in her metaphorical love at the end of the story is Edna’s gradual recognition of her changed self. One of the examples of Edna’s reconstruction is the emphasis on her physical body (an interesting analysis

    The relationship between Humbert Humbert and Lolita is no doubt a unique one. Many people who read the novel argue that it is based on "lust", but others say that Humbert really is in "love" with Lolita. However, there is some astounding evidence that Humbert has an obsessional-compulsive disorder with Lolita. The obsession is clearly illustrated when Humbert's actions and behavior are compared to the experts' definitions and descriptions of obsession. In many passages, Humbert displays obsessional tendencies through his descriptive word choice and his controlling personality. Many people are obsessive, so this is not an alien subject. We see it everyday in the entertainment industry as well as in

While many works of fiction portray love through a utopian perspective where true love is easy to achieve, the story of Cyrano follows a failed quest for intimacy, where Cyrano’s own tragic flaws stop him from achieving the romance he dreams of. It is these same tragic flaws that help to define Cyrano as a tragic hero in Edmond Rostand’s Cyrano de Bergerac, and it is these same flaws that eventually lead to Cyrano’s tragic fall. However, some of these flaws are also the admirable traits of the large-nosed hero’s character that also help to define him as hero. Due to this fact, Cyrano is able to gain respect from others, but never truly reaches his ultimate goal of having Roxane’s love. While Cyrano never truly experiences Roxane’s

One of the aspects that drove him to indulge in those lacking experiences is trusting Julia so quickly without doubting she could possibly betray him. Consequently with the constant long for authentic affection, he was ready to throw himself at anyone who offered it just to satisfy his desires. After many years of suppressing these feeling from the thought police he had believed that he found

Teresa is “a girl he liked since they were in catechism classes”(Soto, 1) and he wants to have a relationship with her which would influence a sense of belonging with her. His first attempt to talk to her was when “he wanted to leave when she did”(Soto, 2) the effort he is using to gain one girl’s acceptance is outstanding, and shows how he wants to belong not as much with his peers but with Teresa. At lunch, Victor is “scanning the horizon for a glimpse of Teresa”(Soto, 2) Victor is looking for Teresa to maybe talk to her or just to watch her, Victor is too shy to talk to her because he gets all flustered just when he looks at her, so the most he can do is try to low-key impress her. When they get to French class the teacher asks if anyone can speak French, “Victor raises his hand, wanting to impress Teresa”(Soto,3) even though he can’t actually speak French, he lies to try to get her attention. Victor seems like, all he wants is Teresa to be his girl ad think he is cool.

The two passages, written by Humbert Humbert, describes two of his ‘nymphet’ loves. In the passage, both Annabelle and Lolita gets introduced. Read the passages carefully. Then, write an essay that compares H.H.’s perspective of the two characters to show his feelings on both of them.

Lesbianism plays a significant role in the book. It may be seen as the alternative world that the author knows nothing about, but latter explores it eagerly, making it an irreplaceable element of her personality. She finds out that lesbians were able for form communities and she was able to become part of them in several countries. Furthermore, the author explores all aspects of lesbian love ranging from genuine to

It not only threatens, but also breaks through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's lovemaking and terms it “brutal desire”. She feels guilt and a sense of sin when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine clothes, and rhinestones, and the illusion that a beau is available whenever she wants him, she seeks tenderness and beauty in a world of her own making.

Nabokov admire words and believed that the proper language could elevate any material to the level of art. In Lolita, language effectively triumphs over shocking content and gives it shades of beauty that perhaps it does not deserve. Lolita is filled with black subjects, including rape, murder, pedophilia, and incest. However, Humbert, in telling his story, uses puns, literary allusions, and repeating linguistic patterns to render this dark tale in an enchanting form. In this way, Humbert seduces his readers as fully and slyly as he seduces Lolita herself.

Lolita becomes ill, and is forced to go to the hospital. Humbert comes into the hospital one morning only to find that she has been checked out of by another man.

From the first, he juxtaposes the ordinary with the sexual in his descriptive odes to love as well as simple statement reflecting her youth. The juxtaposition of youth and sexual desire is the driving force behind the novel and the controversy. The wording, however, is a mixture of romantic lyricism and obscene allusion. The tension is derived through the sensuous beauty of the words rather than the image of the young girl, just “four feet ten”. “The tip of the tongue taking a trip of three steps” refers to Humbert’s tongue and the palate he wishes to “tap at three on the teeth” is Lolita’s. Evidently, Humbert’s clever choice of words masks the interdict aspect of his sexual desires for Lolita. Poetic lines such as “light of my life, fire of my loins” become fundamental in understanding the contextual allusion from immorality in Humbert’s deviant sexual desires and behavior.