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Humbert in lolita vladimir nabokov produces the

Annabel Lee, Jonathan Swift, Reincarnation, Edgar Allan Poe

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In Lolita, Vladimir Nabokov produces the character of any clear anti-hero in Humbert, a man that has is guilty of pedophilia, probably rape and murder. The majority of the book, however , is devoted to Humbert’s narration of his affair with his stepdaughter, a “nymphet” named Dolores Haze or, in Humbert’s mind, Lolita. For Humbert, the various varieties of love this individual feels to get the fresh girl happen to be inextricably related to his lust and sex desires.

This kind of paper examines the operating theme of Humbert’s sexuality and lust in Nabokov’s Lolita. For Humbert, love can simply be seen inside the context of his strong desire to sexually possess the subject of his attention. Thus, he is not able to express any kind of love for the young Lolita – filial or perhaps romantic – without turning her into a subject of his lust.

The first part of this paper looks at how Humbert cared for the various other women in his life, coming from Annabel Leigh, Valeria, Charlotte now Haze as well as the insane Rita. This section covers how, intended for Humbert, the level of sexual attraction determines whether a woman will be treated with love.

Another part of the newspaper then clashes Humbert’s relations with the other women with his defining romantic relationship with the nymphet Lolita.

This paper examines arguments that Humbert’s Humbert’s attentions had been akin to pedophilia or rasurado or that his lust was caused by its forbidden nature, compared to other theories that state how Humbert’s sexual desire is likewise an expression of his like for the adolescent Lolita. This newspaper argues that Humbert’s willingness to devote murder onto her behalf is usually proof that he not only lusted but also liked the nymphet Lolita. However , due to his tendency to maintain control in his relationships, particularly with Dolores and Annabel Leigh, Humbert’s first-person story accounts should also be examine with skepticism as to his interpretations with the motives and decisions from the young girls.

Different women

Lolita is by simply no means the sole girl or perhaps woman in Humbert’s existence. In the new, he information at four other females, all of whom shed light on his fascination with Lolita.

His replies to Annabel Leigh, Valeria, Charlotte Haze and finally to Rita also shows just how his responses to nymphets are also always creative, psychologically unbalanced and intensely sensual.

Annabel Leigh severe critic of psycholanalytic theory, Nabokov has always cheaper theories that Humbert’s lust for his Lolita was bought upon in large part by simply his unanswered, unreciprocated, unreturned love for Annabel Leigh, the girl he has had a desire for since he was 13 years old. However , a closer examining of Humbert’s narration and an study of her very name would show normally.

Humbert identifies Annabel because “a lovely child” (12), an downright admission the preadolescent woman is not really a woman. Nevertheless , neither is usually Humbert a male during this time. Despite their efforts, however , their particular affair is never consummated, a real possibility which “drove our healthy and balanced bodies to such as state of animation that not your cold green water… may bring relief” (12).

Annabel dies simply months later on of typhus, the initially many immediate deaths with this novel, following your long-ago death of Humbert’s mother. This kind of loss of Annabel precludes any kind of chance of Humbert ever “possessing (his) darling” (13).

This unrequited adolescent love affair essentially halts Humbert’s sexual maturity, and could have got laid the inspiration for his lifelong infatuation with the preadolescent girls whom he would afterwards term while “nymphets. inches

Annabel represents Humbert’s first love. If perhaps his admission is appropriate, then Annabel would be the just other female that Humbert truly loved, aside from his Lolita. A single reason for this inference may be the way Humbert tries to “possess” Annabel, both on the deserted French beach front and later, actually after her death. Critic Stephen Jay Parker qualities Humbert’s “rift” to his inability to fulfill his sexual desires with Annabel Leigh (Parker 72).

Instead of a straightforward psychological inspiration, however , essenti Daniel Thomieres observes that a careful audience could observe how Humbert can easily interpret these events as he wishes, to generate himself sympathetic before starting into the details of his adult relationship with Lolita. Since proof, Thomieres rightly points out that Humbert could not possibly recall Annabel’s physical attributes. Humbert provides lost her photograph and admits the way he sees Annabel in his head is also “the way I realize Lolita” (11). Through the first person narration, Thomieres also discerns that Humbert does not permit Annabel speak for herself. In a sense, Annabel provides “(her) bod (y) and den(ies) her brain so as to incarnate that illusion for Humbert” (Thomieres 168). Humbert says that your woman wanted him as much as he desired her, but nowhere fast in the accounts does this individual give Annabel a voice.

Thomieres moves as far as to suggest that Annabel Leigh might not have been with us, and may only be Humbert’s trick to justify his “rape and violent imprisonment of Dolores” (167). As his relationship with Annabel shows, Humbert shows a desire for power and a need to control the images of the objects of his obsession. In the absence of actual sex possession, Humbert now recreates Annabel in the mind, a recreation that conveniently matches the current physical state of his stepdaughter Dolores (Thomieres 171). All things considered, later in the novel, Humbert weaves tales of imaginary lovers in his past, to appease the curiosity of his partner Charlotte. It is therefore reasonable to question if Humbert does the same to get his visitors in his account of Annabel Leigh.

Nabokov’s choice of name for this character is significant as well.

The young girl’s name recalls Edgar Allan Poe’s poem Annabel Shelter. By file format, Humbert’s very own Annabel Leigh also evokes Virginia Clemm, Poe’s child bride. Furthermore, critic L. L. Shelter extends the reference of Annabel’s mom Mrs. Leigh, who was “born Vanessa van Ness, inches to Jonathan Swift’s Vanessa. These term references almost all allude to the stories of young girls who had been involved in love affairs with older men (Lee 117).

Ultimately, because of this book, the significance of such names could pale in comparison to the cultural icon status in the name “Lolita. “

To conclude, the brief account of Annabel Leigh presents strong insight into Humbert Humbert’s character. If she did can be found, Annabel offers an explanation to get Humbert’s infatuation with Dolores. If she actually is a entertainment or a trick for sympathy, the accounts of Annabel still illustrates Humbert’s constant need to control the objects of his affection. Through his first-person narration, range of name and the blurring of his mental image of Annabel/Lolita, Humbert uncovers a tendency to regulate and possess the bodies and images of those he swears to love.


Humbert is first attracted to Valeria because of “the imitation the girl gave of a little girl” (25). This individual soon realized, however , that her childlikeness was actually a picture. Her curly hair was coloured and her unshaven legs began to experience prickly. Instead of a thin, smooth, young and hairless nymphet, Valeria was “large, puffy, short-legged and big breasted” (26). In Humbert’s head, the only attribute that corresponded to staying childlike was Valeria’s “brainlessness. “

Four years into their marriage, Valeria admits to a affair with another man, a Russian taxi cab driver. Humbert’s account of his feelings during what should have recently been a disastrous moment is fairly telling. Rather than being damage, Humbert clarifies how this individual felt suffocated by “a mounting fury – not really because I had developed any fondness for that number of fun, Mme Humbert, but mainly because matters of legal and illegal combination were personally lone to decide” (28).

Humbert uses the reason of “legal and against the law conjunctions” to justify his rage and anger, as opposed to the more common reason of a busted heart (Norton). In his reconstruction, Humbert requires pains to mask his lack of control of his partner and the succeeding loss of satisfaction this entails. In a way, his inability to manage or even reprimand Valeria magnifying mirrors Humbert’s inability to control or consummate his possession of Annabel Leigh. Intended for Humbert, the worst pain was induced not by fact that Valeria – who, in his brain, was unattractive – would not love him. Instead, Valeria chose to act towards her own joy. As a grownup, she was free to take up with an additional man and to leave her husband. Though he wanted to reprimand her, there is ultimately practically nothing Humbert could do to avoid her.

Valeria’s actions shed further mild on Humbert’s choice of Lolita. Compared to his narration of Annabel Leigh, Valeria’s story rings even more true.

This is certainly due in part to the fact that Valeria has an important – even though short – voice: “There is another gentleman in my life” (27). Unlike Annabel, Humbert’s account allows Valeria to articulate her won wishes. Furthermore, this account is replete with Humbert’s failures, his dropping place “on the losing end of the balance of power” (Norton).

For vengeance, Humbert can only concoct the unlikely bank account of Valeria and her new husband’s humiliating role in an anthropological experiment. As with Annabel ahead of her and Charlotte and Dolores

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