Author’s often find great challenges in forming the reader's opinion about their characters. A reader’s bias about the novel’s characters can be formed as early as the first chapter. It is crucial for the author to form rhetoric that compels the reader to either love or hate the particular character. Nabokov’s bias and prejudice in Humbert’s advantage is evident in the narration of Vladimir Nabokov’s Lolita. Nabokov seeks to compel the reader’s opinion of Humbert Humbert through its use of rhetoric to rationalize and romanticize Humbert’s crime of love, I.e rape, murder and kidnapping. With Nabokov’s decision of letting Humbert narrate his and Lo’s despicable story, He’s able to draw attention to his own demise rather than Dolores’s which allows
Humbert preserves Lolitas grace by writing Charlotte Hayes as a vile, unaware woman whose motherly status only exists through blood connection, as one who lacks maternity skills. “It is intolerable... That a child should be so ill-mannered. And so very persevering. When she knows she is unwanted” (51) Humbert only mentions ill comments like so, whenever Mrs. Hayes is mentioned. Humbert juxtaposes the mother and daughter every chance he gets to put Lo on a pedestal. While he does this the readers grasp the bond he has with the underage lover, which furthers the chance of the audience inclination to his bias. “Frigid gentlewomen of the jury! I am going to tell you something very strange: it was she who seduced me”(132) When reading this quote, the first thing the reader notices is the mention of the word ‘frigid.’. By putting emphasis on the jury, it distracts one’s mind from comprehending his switch of persona as from apologetic to the real Humbert who blames Dolores for his action, ie. rape, abuse, kidnapping and murder.. His bipolar attitude is evident in the next few chapters. His use of phrases and sentences like “my lolita.” to “you should watch your diet” inflicts doubts on Humbert's character. Jumps on his persona makes the writer untrustworthy, which rejects the whole point of his narration.
One thing that’s consistent with Humbert’s narration is the beautiful imagery that surrounds his lover, lolita. He as a sociopath puts on a charismatic mask that draws the reader deeper in his
A character’s relationship to another character or their surroundings determines their behavior. In looking at these relationships in literature, it is possible to determine how characters are transformed with regards to the world around them. Global issues, societal hypocrisy, personal difficulties contribute to the ways in which characters react to situations they face. Insight into one’s priorities, or the world’s problems, causes the characters in Candide, The Death of Ivan Ilyich, and The Metamorphosis to question their motives and change their ways of thinking in reaction to the defining events of their lives. The events transform the characters as well as their bonds with others.
In "Livvie" the story is relayed by an omniscient third person narration. The narrator in this case provides insight into each of the characters, yielding to no one inparticular. The narrator uses subtle patterns in association wit...
...ror of Pecola’s first sexual experience: her father rapes her), and a difficult marriage situation (caused by his own drunkenness). The “bads” certainly outweigh the “goods” in his situation. Thus, the reader ought not to feel sympathy for Cholly. But, Morrison presents information about Cholly in such a way that mandates sympathy from her reader. This depiction of Cholly as a man of freedom and the victim of awful happenings is wrong because it evokes sympathy for a man who does not deserve it. He deserves the reader’s hate, but Morrison prevents Cholly covered with a blanket of undeserved, inescapable sympathy. Morrison creates undeserved sympathy from the reader using language and her depiction of Cholly acting within the bounds of his character. This ultimately generates a reader who becomes soft on crime and led by emotions manipulated by the authority of text.
...s of Lolita and Humbert to show the isolation and loneliness they feel, and to show just how different and immoral the situation is. By stressing the dissonance between one persona to the next, he portrays a view of his characters that is sad and shocking, for the public seen is also the reader; the unaware, innocent, “moral” group. By letting us into the different faces of Lolita and Humbert, Nabokov reveals the tragedy in the novel, and allows the reader to vividly feel what is morally right and wrong with Humbert, Lolita, and ourselves.
In studying these texts, the reader is provoked into analysing, comparing and contrasting them. In particular the characters in ‘Rosencrantz and Guildenstern are Dead’ provide intriguing material to consider the human condition. The characters, their personality traits and responses to stimuli, as well as what directs and motivates them, is worthy of discussion.
Although there are numerous approaches employed in understanding literature, the psychoanalytic interpretation most significantly attempts to utilize the symbolic mysteries of a work. In exclusive contrast to the formal approach, which focuses entirely on the wording, the fascinating aspect of the psychoanalytic investigation is that it searches for a purpose beyond that which is strictly in the text. By insinuating the existence of innate and hidden motives, it allows for a broad range of abstract and creative possibilities. When applied to Perrault's, "Little Red Riding Hood," it appropriately suggests evidence toward underlying sexual motivations and tensions. Additionally, this analysis unfolds a constant interplay between forces of the human psyche.
His first redeeming attribute is his real and true love for Lolita. Humbert infact confesses that, “I loved her. It was love at first sight, at last sight and ever sight”(270). If the reader thinks back to the beginning of the novel Humbert refers to Lolita as someone who only brought him lust. Humbert also makes it a point to tell the audience that he only like girls who fall into his nymphetic criteria and anyone who is too old does not appeal to him. When Humbert sees Lolita though after three years of being apart he says that “I insist the world know how much I loved my Lolita, this Lolita, pale and polluted, and big with another’s child, but still gray-eyed, still sooty-lashed, still auburn and almond, still Carmencita, still mine”(278). No matter how she has age and move past her nymphetic stage of life Humbert still loves her. Humbert even goes on to say that, “No matter, even if those eyes of hers world fade to myopic fish, and her nipples swell and crack, and her lovely young velvety delicate delta be tainted and torn-even then I world go mad with tenderness at the mere sight of your dear wan face, at the mere sound of your raucous young voice, my Lolita”(278). This is true love that he is feeling. No matter what happens to her he will still love her. Humbert has
Nabokov shows all throughout the novel the strong parallel between real life characters and folk characters. The four main characters in the novel all play an have their own folkloristic roles in the novel. For example, Charlotte Haze, which is Lolita's mother, is portrayed in the novel as the, "jealous mother who is so frequently the villain in folk tales such as "Cinderella" and "Snow White" (Jones 69). All through out...
Psychoanalysis is the method of psychological therapy originated by Sigmund Freud in which free association, dream interpretation, and analysis of resistance and transference are used to explore repressed or unconscious impulses, anxieties, and internal conflicts (“Psychoanalysis”). This transfers to analyzing writing in order to obtain a meaning behind the text. There are two types of people who read stories and articles. The first type attempts to understand the plot or topic while the second type reads to understand the meaning behind the text. Baldick is the second type who analyzes everything. Since his article, “Allure, Authority and Psychoanalysis” discusses the meaning behind everything that happens in Mary Shelley’s “Frankenstein” we can also examine “The Ones Who Walk Away from Omelas” in the same manner.
Nabokov presents the reader with three touching characters of the mother, father, and son. The characters of the story arouse a sense of compassion and sympathy from the reader due to the helpless situation they are in. For example, the son in the story suffers from a condition called “referential mania.” Referential mania is a case where “the patient imagines that everything happening around him is a veiled reference to his personality and existence” (1166). In other words, the son has this perception where he is in a state of paranoia where he feels as if the objects around him are evil and plotting against him. He feels as if “clouds in the staring sky transmit signs detailing information about him, coats in window stores have a distort opinion of him and misinterpret his actions….he must always be on guard every minute and module of life to decoding of the undulation of things” (1167). The son is always on this mission with the objects trying to decipher the meaning behind why these objects are...
It is apparent that the love between Sonia and Raskolnikov plays a crucial role in Crime and Punishment, pushing Raskolnikov in a direction he otherwise would not have gone. Dostoevsky uses their relationship as a tool to develop the philosophical themes in the novel and prompt profound changes in Raskolnikov’s character. Through their love, Dostoevsky demonstrates the importance of human relationships in finding and maintaining happiness. He also seeks to condemn nihilism and disprove the idea that one cannot make one’s own meaning in life by having Raskolnikov adopt Christian existentialism and find his purpose through Sonia.
...e wide grey world, merely in order to have my way with her child (Lo, Lola, Lolita)” (Nabokov 70). While these were only his ideas he actually married a women, he even disgusted thinking about having any kind of erotic relationship. He even says humorously that anything sexual could only happen “under torture” (Nabokov 70). He was even thinking of killing Charlotte, but he could not do it, until Charlotte was accidently killed by a car and he got Lolita all for himself until Quilty took her from his claws.
Literary critic and the novel’s annotator Alfred Appel Jr. claims “what is extraordinary about Lolita is the way in which Nabokov enlists us, against our will, on Humbert’s side… Humbert has figuratively made the reader his accomplice in both statutory rape and murder” (Durantaye, Style Is Matter: the Moral Art of Vladimir Nabokov 8). Nabokov employs various literary devices such as direct second reader address, metaphor, and allusions through Humbert Humbert as a means to conjure up feelings of empathy. The reader comes to find that . It is clear that Humbert Humbert uses second person address as a way to control how the reader perceives him. Through the use of this narrative mode, he aims to convince the reader that his sexual violence is artistically justifiable and that the art he creates is a remedy for mortality. I will argue is that art is not a remedy for mortality because in Humbert Humbert’s creation of Lolita, t...
Through manipulation, constant dishonesty, and sexual treatment, her outlook on life has been altered into something more pessimistic, and negative. He has ruined her innocence and childhood for her. Lolita herself, even admits to Humbert destroying her by implying that she “was a daisy fresh girl” (Nabokov 140). Lolita implies that she was a delicate, little girl until Humbert comes around to change everything about her. She understands that fooling around with a man full of cruel thoughts, has shifted her into becoming something appalling, who she has never imagined herself ever becoming.
Literary criticism is used as a guideline to help analyze, deconstruct, interpret, or even evaluate literary works. Each type of criticism offers its own methods that help the reader to delve deeper into the text, revealing all of its innermost features. New Criticism portrays how a work is unified, Reader-Response Criticism establishes how the reader reacts to a work, Deconstructive Criticism demonstrates how a work falls apart, Historical Criticism illustrates how the history of the author and the author’s time period influence a text, and last of all, Psychological Criticism expresses how unconscious motivations drive the author in the creation of their work as well as how the reader’s motivations influence their own interpretation of the text (Lynn 139, 191). This creates a deep level of understanding of literature that simply cannot be gained through surface level reading. If not one criticism is beneficial to the reader, then taking all criticisms or a mixture of specific criticisms into consideration might be the best way to approach literary