''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
- 144 - behind the comic texture of its surface, with one aspect of man's search for what Nabokov calls "true reality". Humbert's admiration and passion for nymphets has been said to be "_a metaphysical as well as a phys- ical compulsion.,, 78 To understand this, it is useful to remember that "nympholepsy" is defined as A state of rapture supposed to be inspired in men by nymphs, hence, an ecstasy or frenzy, esp. that caused by desire of the unattainable, and "nympholept" as One who is inspired by a vý? lent enthusiasm, esp. for the unattainable. Two passages from Laughter in the Dark and Lolita respectively express that this is the state both Albinus and Humbert Humbert suffer from. Albinus has dreamt of hundreds of girls, but has never got to know them. He feels that ... they had just slid past him, leaving for a day or two that hopeless sense of loss which makes beauty what it is: a distant lone tree against golden heavens; ripples of light on the inner curve of a bridge; a thing quite impossible to capture (LD, 10). Humbert, too, feels that there is something which it is impossible to capture, something which man may yearn for and struggle to reach, and which eludes him all the same. But. like Albinus he feels that some of that elusive quality is caught and encased in child-women. He feels that by grasping their beauty and perfection man may transcend this world and time, pass beyond "the mirror you break your nose against" (L, 220), and be admitted into Wonderland; be taken as near the unattainable as it will ever
- 145 - be possible for him to be taken; for in them, the nymphets80 on their "intangible island of entranced time" (L, 19) he discovers the infinite ... perfections [which] fill the gap between the little given and the great promised - the great rose-grey never-to-behad (L, 257). Hence his secret horror of mere human, grown-up, "terrestrial women" (L, 20); his fear that Lolita should grow up and lose that quality, and hence his "Never grow up"(L, 22), which can now no longer be taken simply as the wish of a sexual pervert, but rather as the expression of the desperate wish, com- mon to all men, that beauty might be durable, and not subject to change, and not transitory. At this point Edgar Allan Poe comes to mind, whose Annabel Lee and William Wilson are parodied in Humbert's memoir, and whose name Humbert uses jokingly on various occasions (L, 44,75,118,185). Here it appears that he is introduced not merely for the sake of parody, , but because there exists some af- finity between his mind and Humbert's. The essential point is not that Poe, like Humbert, suffered from attacks of insanity (caused, he explains, by "the horrible never-ending oscillation between hope & despair" when he sees his wife ill and then recover- ing and then ill again, and undergoes seven times altogether "all the agonies of her death. "81) The essential point, which establishes the similarity between him and Humbert, is the fact that he, too, is in pursuit of beauty impossible for man to cap-
- 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
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- Page 117 and 118: - 111 - He is equally inaccurate in
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- Page 129 and 130: - 123 -- could victimize her poor d
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- Page 133 and 134: - 127 - done her morning duty" (161
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- Page 137 and 138: - 131 - her: "... -a life full of t
- Page 139 and 140: - 133 - Looking at it for a moment
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- Page 149: - 143 - No hereafter is acceptable
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- Page 161 and 162: - 155 - THE REAL LIFE OF SEBASTIAN
- Page 163 and 164: - 157. - consistent set of characte
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- Page 179 and 180: - 173 - seems to him too colourless
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-<br />
144<br />
-<br />
behind the comic texture of its surface, with one<br />
aspect of man's search <strong>for</strong> what Nabokov calls "true<br />
reality". Humbert's admiration and passion <strong>for</strong> nymphets<br />
has been said to be "_a metaphysical as well as a phys-<br />
ical<br />
compulsion.,,<br />
78<br />
To understand this, it is useful<br />
to remember that "nympholepsy" is defined as<br />
A state of rapture supposed to be inspired<br />
in men by nymphs, hence, an ecstasy or<br />
frenzy, esp. that caused by desire of the<br />
unattainable,<br />
and "nympholept" as<br />
One who is inspired by a vý? lent enthusiasm,<br />
esp. <strong>for</strong> the unattainable.<br />
Two passages from Laughter in the Dark and Lolita<br />
respectively express that this is the state both<br />
Albinus and Humbert Humbert suffer from. Albinus<br />
has dreamt of hundreds of girls, but has never got<br />
to know them. He feels that<br />
...<br />
they had just slid past him, leaving <strong>for</strong><br />
a day or two that hopeless sense of loss<br />
which makes beauty what it is: a distant<br />
lone tree against golden heavens; ripples<br />
of light on the inner curve of a bridge; a<br />
thing quite impossible to capture (LD, 10).<br />
Humbert, too, feels that there is something which it<br />
is impossible to capture, something which man may<br />
yearn <strong>for</strong> and struggle to reach, and which eludes<br />
him all the same. But. like Albinus he feels that<br />
some of that elusive quality is caught and encased<br />
in child-women. He feels that by grasping their<br />
beauty and perfection man may transcend this world<br />
and time, pass beyond "the mirror you break your<br />
nose against" (L, 220), and be admitted into Wonderland;<br />
be taken as near the unattainable as it will ever