''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
- 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
- Page 63 and 64: - 57 - imagination of Gretchen best
- Page 65 and 66: - 59 - deed been through an experie
- Page 67 and 68: - 61 - there must be some "model" a
- Page 69 and 70: - 63 - P NI N In their appreciation
- Page 71 and 72: - 65 - For the sake of convenience
- Page 73 and 74: - 67 - Pnin's appearance is comic,
- Page 75 and 76: - 69 - all-the time. He suffers an
- Page 77 and 78: - 71 - existence" (13). In his pres
- Page 79 and 80: - 73 - is going to give, on his per
- Page 81 and 82: - 75 - exist in such big sea" (60).
- Page 83 and 84: - 77 - directly from Pnin's peculia
- Page 85 and 86: - 79 - them at least 10ok like his
- Page 87 and 88: - 81 - indeed only the very thinnes
- Page 89 and 90: - 83 - but the group of academics w
- Page 91 and 92: - 85 - "schools and trends", and is
- Page 93 and 94: - 87 - which induces the reader to
- Page 95 and 96: - 89 - and-smiles at, there emerges
- Page 97 and 98: - 91 - More depth and reality are a
- Page 99 and 100: - 93 - cp. 180). The narrator also
- Page 101 and 102: 95 - being accurate in every point,
- Page 103 and 104: - 97 - standing of a "truly human b
- Page 105 and 106: - 99 - eternal beauty, and his conv
- Page 107 and 108: - 101 - One luckless early critic w
- Page 109 and 110: - 103 - says "well-read" Humbert Hu
- Page 111 and 112: - 105 - surface, into the initial m
- Page 113: - 107 - age. She was the "initial g
- Page 117 and 118: - 111 - He is equally inaccurate in
- Page 119 and 120: - 113 - with Quilty; and, of course
- Page 121 and 122: - 115 - or to hold her on his knee
- Page 123 and 124: - 117 - ations ) (98). And he descr
- Page 125 and 126: - 119 - a strident, harsh high voic
- Page 127 and 128: - 121 - When Humbert talks of his d
- Page 129 and 130: - 123 -- could victimize her poor d
- Page 131 and 132: - 125 - this twelve-year-old girl s
- Page 133 and 134: - 127 - done her morning duty" (161
- Page 135 and 136: - 129 - experience, up to a certain
- Page 137 and 138: - 131 - her: "... -a life full of t
- Page 139 and 140: - 133 - Looking at it for a moment
- Page 141 and 142: - 135 - and Axel Rex delightful. Bu
- Page 143 and 144: - 137 - critics have made her, and
- Page 145 and 146: - 139 - not record images of the sy
- Page 147 and 148: - 141 - ous hallucination" (287). 6
- Page 149 and 150: - 143 - No hereafter is acceptable
- Page 151 and 152: - 145 - be possible for him to be t
- Page 153 and 154: - 147 - and it is also appropriate
- Page 155 and 156: - 149 - But Humbert's view of Lolit
- Page 157 and 158: - 151 - the truth of the theory dev
- Page 159 and 160: - 153 - part of it. Even with the i
- Page 161 and 162: - 155 - THE REAL LIFE OF SEBASTIAN
- Page 163 and 164: - 157. - consistent set of characte
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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