''Vladimir Nabokov's Comic Quest for Reality' - Nottingham eTheses

''Vladimir Nabokov's Comic Quest for Reality' - Nottingham eTheses ''Vladimir Nabokov's Comic Quest for Reality' - Nottingham eTheses

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- 108 - rence of anything that smacks of Freudian psychoanalysis is suspicious of all this from the very start, and this suspicion soon proves to be justified when it becomes clear what Humbert's own reaction to it is. On the two occasions on which he gets involved with it he reveals the same attitude to psychoanalysis as his inventor. Insane though he is, he still sees through what he regards as complete nonsense, and it becomes for him a source of gleeful enjoyment. He first realizes on what shaky ground it stands when, on some obscure expedition, he is supposed to record the psychic reactions of his comrades, gets bored with his task and just makes up a perfectly spurious report, only to find it accepted and printed in some scientific magazine. He finds the same readiness on the part of the doctors to believe anything, when he himself becomes the object of psychoanalysis. No matter what he tells them, it is solemnly accepted as true, analysed with equal solemnity and eventually made to yield such absurd and hilarious diagnoses that Humbert is in the end not cured by the treatment he receives but by the endless fun he derives from it all. He leaves the sanatorium a saner man than the psychiatrists, whom he has so frightened with his invented dreams that they, "the dream-extortionists, dream and wake up shrieking" (36). With Freudian methods thus once more reduced to humbug, there can be no question of taking Humbert's "analysis" of his "case" seriously. Even by providing a psychoanalytical explanation in spite of what his attitude to this sort of approach is, he ridicules it,

- 109 - and implies in the parody that nothing could be more absurd than to try and understand his problem by believing in his "childhood trauma". "As a case history, 'Lolita' will become, no doubt, a classic in psychiatric circles", John Ray mockingly predicts in his Foreword (7). Humbert suspects the same, and parodying and ridiculing the psychoanalytical approach, he frankly mocks not only Freud and his methods but also the future reader and critic of his memoir, one of whose possible reactions he anticipates in the comic "analysis" of his "case". This is not the only instance in which the reader is made the object of parody. Both Ray and Humbert Humbert also anticipate the storm of moral indignation that Lolita was to raise, and parodying it, exclude it, too, as a valid approach. Ray calls Humbert "abject" and "horrible"; "a shining example of moral leprosy" and "abnormal" (6), into which chain of epithets Dupee's "a thorough creep" and "a sex fiend"19fit nicely. Humbert Humbert himself joins in with Ray's comic denouncement of his vice, and so convincing does he manage to sound that he has been said to be con- ducting not only his own defence but also his own pro- secution. 20 There is certainly some truth in this as far as the later parts of his memoir are concerned, but at the beginning, when he talks of a time at which Lolita has not yet entered his life, he seems to be doing no more than giving the reader what he expects. His self-accusations sound too stale and conventional to be taken for expressions of sincere and genuine

-<br />

109 -<br />

and implies in the parody that nothing could be more<br />

absurd than to try and understand his problem by believing<br />

in his "childhood trauma".<br />

"As a case history, 'Lolita' will become, no doubt,<br />

a classic in psychiatric circles", John Ray mockingly<br />

predicts in his Foreword (7). Humbert suspects the<br />

same, and parodying and ridiculing the psychoanalytical<br />

approach, he frankly mocks not only Freud and his methods<br />

but also the future reader and critic of his memoir,<br />

one of whose possible reactions he anticipates in the<br />

comic "analysis" of his "case".<br />

This is not the only instance in which the reader<br />

is made the object of parody. Both Ray and Humbert<br />

Humbert also anticipate the storm of moral indignation<br />

that Lolita was to raise, and parodying it, exclude it,<br />

too, as a valid approach. Ray calls Humbert "abject"<br />

and "horrible"; "a shining example of moral leprosy"<br />

and "abnormal" (6), into which chain of epithets<br />

Dupee's "a thorough creep" and "a sex fiend"19fit<br />

nicely. Humbert Humbert himself joins in with Ray's<br />

comic denouncement of his vice, and so convincing does<br />

he manage to sound that he has been said to be con-<br />

ducting not only his own defence but also his own pro-<br />

secution.<br />

20<br />

There is certainly some truth in this as<br />

far as the later parts of his memoir are concerned,<br />

but at the beginning, when he talks of a time at which<br />

Lolita has not yet entered his life, he seems to be<br />

doing no more than giving the reader what he expects.<br />

His self-accusations sound too stale and conventional<br />

to be taken <strong>for</strong> expressions of sincere and genuine

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