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Humberts descriptions of lolita
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A Lover or A Pedophile In his novel, Lolita, Vladimir Nabokov shares the disturbing desires of Humbert Humbert, a 37 year old man who becomes obsessed with pre-teen girls, after meeting his first love at a young age. He then meets 12 year old, Dolores Haze, also known as Lolita, who he becomes immediately infatuated with. There are many instances throughout the whole novel, where both Lolita and Humbert say that they are in love. However, Humbert Humbert’s feelings toward Lolita are expressed in an evil non-romantic way, because he has vicious thoughts, and is manipulative and selfish.
Humbert Humbert writes all of his malicious and lewd thoughts about young pre-teen girls or as he calls them, “nymphets.” He states that only men who are at
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Humbert murders Charlotte, with hopes of Lolita never finding out. Humbert knew that once Charlotte is dead, he will be able to acquire Lolita all for himself, since he is the only legal guardian she has left. Instead of telling her the truth about her mother, he tells her that she is in the hospital dealing “with something abdominal” (Nabokov 112). He refuses to tell her that her mother had just passed, because he knows all their “fun,” and fooling around will come to an end, because Lolita would be ashamed of his presence. Humbert knows that telling her would mean that his desires and cravings would have to be stopped, which he deeply fears. He is afraid that once he loses Lolita, all his desires would never be fulfilled once more, by another nymphet. He only cherishes Lolita, with the mindset that she will give him what he wants the most - sex. Consequently with being selfish towards Lolita, he also threatens to tell her that he will leave her off at an orphanage if she continues to misbehave and disobey him. This shows that he does not truly love her if he is willing to abandon her to be taken care of by a group of strangers. He only says this to force her to stay along with him, and to act like he is an innocent, trustworthy man, with hopes of having his cravings fulfilled. Furthermore, he also selfishly blames his wicked desires on Lolita, by saying that “it was she who …show more content…
He describes Humbert as a “moral abomination” (Metcalf), for his lewd, pedophilic actions. There are many instance throughout the whole novel, that shows that he is a person who is not worthy of approval. He selfishly looks after Lolita, so his desires will be successfully fulfilled and delivered by her, in return from nurturing her. He murders someone who has loved him, just so he can have a relationship with a nymphet. Metcalf explains that he has destroyed the true spirit of Lolita with the way he treats her. 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. Her childhood has become horrific, and immoral because of Humbert. He has corrupted her into becoming anyone and anything far from a child. This proves that Humbert had never loved her, because he was able to change Lolita through his manipulation, and
Esperanza tries to be a good friend to Sally, but ends up appearing immature and silly. Esperanza feels shame, as she “wanted to be dead”, to “turn into the rain”, and have “my eyes melt into the ground like black snails” (Cisneros 97). With sensory-rich imagery, the author uses similes and metaphors to describe Esperanza’s feelings of utter mortification as she embarrasses herself in front of Sally. Esperanza becomes confused about her newfound sexuality and her loss of innocence when she begins acting strangely, yet awkwardly around boys. She doesn’t know whether to act like a child or an adult because although she wants to be mature and glamorous like Sally, and she gets exposed to the harsh nature of society. The disillusioned view of becoming mature and having boys notice her is especially realized by Esperanza when she gets raped at a carnival. Through detailed imagery, Cisneros describes the dirtiness of the boy, elaborating on “his dirty fingernails against my skin” and “his sour smell again” (Cisneros 100) and the confusion and anger from Esperanza. After this experience, Esperanza blames Sally instead for covering up the truth about boys and is heartbroken about the real truth of sexuality and men. It is clear that Esperanza vividly remembers this awful experience, and just reflecting on this experience causes her thoughts to
"They turn casually to look at you, distracted, and get a mild distracted surprise, you're gone. Their blank look tells you that the girl they were fucking is not there anymore. You seem to have disappeared.(pg.263)" In Minot's story Lust you are play by play given the sequential events of a fifteen year old girls sex life. As portrayed by her thoughts after sex in this passage the girl is overly casual about the act of sex and years ahead of her time in her awareness of her actions. Minot's unique way of revealing to the reader the wild excursions done by this young promiscuous adolescent proves that she devalues the sacred act of sex. Furthermore, the manner in which the author illustrates to the reader these acts symbolizes the likeness of a list. Whether it's a list of things to do on the weekend or perhaps items of groceries which need to be picked up, her lust for each one of the boys in the story is about as well thought out and meaningful as each item which has carelessly and spontaneously been thrown on to a sheet of paper as is done in making a list. This symbolistic writing style is used to show how meaningless these relationships were but the deeper meaning of why she acted the way she did is revealed throughout the story. Minot cleverly displayed these catalysts in between the listings of her relationships.
In Aldous Huxley’s novel, “Brave New World,” published in 1932, two idiosyncratic, female characters, Lenina and Linda, are revealed. Both personalities, presented in a Freudian relationship (Linda being John’s mother and Lenina being his soon to be lover), depict one another in different stages of life and divulge ‘a character foil’. Lenina and Linda are both ‘Betas,’ who hold a strong relationship with the men in their lives, especially John. It can be stated that John may partially feel attracted towards Lenina, because she is a miniature version of Linda, in her youth. They both support the term of ‘conditioning,’ yet also question it in their own circumstances. Nonetheless, they both are still sexually overactive and criticized for such immoral decisions. Linda espouses it from her heart, while Lenina supports the process partially due to peer pressure and society’s expectations. Both female characters visit the Reservation with Alpha – Plus males, and both find a common feeling of revulsion towards it. Linda and Lenina are similar in many ways, yet they hold their diverse views on the different aspects of life.
The pleasure he receives outweighs the consequence of emptiness he finally feels after he defends those girls and they do not respond to his pleasurable feelings. Updike in his short story "A&P" uses characterization to illustrate that heroics based upon animalistic sexual appetite, which objectifies women, will lead to a hard and unsuccessful life. Updike uses the characterization of Sammy to illustrate that animalistic sexual appetite objectifies women. Sammy describes Queenie in a sexual manner when he described (try to avoid using the same word twice in a single sentence; try a synonym--to find synonyms there's a cool thesaurus website by Merrium Webster at www.m-w.com. Also note that you have shifted from present to past tense here; when writing on art you normally stay in the present tense throughout).
Initially, Rios illustrates a young boy perplexed by a new-found maturity. As the maturation from childhood to adolescence begins, he is facing unfamiliar feelings about the opposite sex. An example of this is apparent as Rios explains that the boy cannot talk to girls anymore; at least “not the same way we used to” (Rios 453). Since his emotions have new depth and maturity, the young boy realizes the nature of his friendships has changed. Innocence is further lost as the girls who are former friends, “weren’t the same girls we used to know” (453). The boy has matured from his casual, youthful interactions, and is now seeing the girls in a new light. Another example of his maturity manifests sexually as he reflects about the girls, “and all the things we wanted to do with them” (454). Although he is unsure how to act upon his thoughts, the innocence is none the less tainted by his desires for mature relations with the young girls. The maturity and sexual maturity bring forth a storm of emotions that prove to be both exhilarating and confusing for the young boy.
Claudia has a strong desire to be included, but her different opinions about life unfortunately create difficulties for her fitting into society. She sees the world from a very different perspective than others. From very early on, Claudia's desires differ from the majority's opinion. She desires to have emotions; society,though, desires possessions. Furthermore, Claudia is physically revolted by what seems to be the epitome of beauty in society's eyes. She feels that she is the only one who feels that little white baby dolls with yellow hair and blue eyes are not beautiful. In a bold attempt to destroy the common perception of beauty, Claudia mangles the dolls she receives, "to see of what it was made, to discover the dearness, to find the beauty, the desirability that had escaped me, but apparently only me" (20). She desires to be included in the unity of society. However, Claudia wants to be included on her own terms. She does not want to limit or conform her beliefs to fit what society wants her ...
she was pretty and that was everything” (225). This captivation with herself along with the constant looking in the mirrors and thinking her mother was only pestering her all the time because her mother’s own good looks were long gone by now (225) shows a sign of immaturity because she believes everything revolves around whether or not someo...
The more “ugly” incidents she is subjected to, the more extreme and abundant do her desires evolve to be. The climax is when Pecola is raped by the antagonist of the novel, her own father, Cholly Breedlove. Eventually, she loses her sanity and reaches out to Soaphead to ask for blue eyes. Disgusted with the molestation, people find another reason to despise Pecola and to ignore her. Becoming delusional, Pecola surmises that people ignore her because they are jealous; “Everybody’s jealous. Every time I look at somebody, they look off” (p. 193). Pecola consequently creates an imaginary friend (p. 191) to talk to as a defence mechanism to deal with the pain of being raped, and neglected by her own
...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.
In one of the most elaborately vivid scenes in the novel, Humbert excites himself to a sexual climax while Lolita sits, unaware, on his lap. Rejoicing in the unexpected and unnoticed fulfillment, he asserts that, "Lolita ha[s] been safely solipsized" (60)...
...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.
Humbert reminds the reader of his effectiveness at both seduction and therefore dominance early in the novel: “I was, and still am, despite [my misfortunate], an exceptionally handsome man.” (25) Even after all that he has went through, as this is written in his prison cell, he still claims to be as powerful as he ever was. And with such a disposition, he boasts of his ability to dominate the opposition by seducing any female, (even though he does so sometimes with exceptional motives.) He exemplifies it by wedding ...
With his 1955 novel Lolita, Vladimir Nabokov invents a narrator by the name of Humbert Humbert who is both an exquisite wordsmith and an obsessive pedophile. The novel serves as the canvas upon which Humbert Humbert will paint a story of love, lust, and death for the reader. His confession is beautiful and worthy of artistic appreciation, so the fact that it centers on the subject of pedophilia leaves the reader conflicted by the close of the novel. Humbert Humbert frequently identifies himself as an artist and with his confession he hopes “to fix once for all the perilous magic of nymphets” (Nabokov, Lolita 134). Immortalizing the fleeting beauty and enchanting qualities of these preteen girls is Humbert Humbert’s artistic mission
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
Using a conceit, he belittles the impact of sex and the power it has over him, even though it may be untrue. Knowing that she has thought about it before, he assures her that by withholding sex from him is something so small that it does not give her power in the relationship. ‘Mark this flea, and mark this. How little that which thou deniest me is. It suck’d me first, and now sucks thee,’.