RSGwynn: "If one accepts that CQ may be merely a figment
of HH's imagination, why not go whole hog and assume that all of the events of
the novel... are part of the delusion?...If we believe that his narration is no
more than an inventive trope, a mere literary conceit orchestrated by VN, then
the whole novel dissolves into the irrelevance of a madman's fantasy life and an
author's playing tricks on us that we have failed to comprehend."
JM: I
confess that, quite often, I start to imagine that all the adventures HH
describes in the novel are part of his delusion, because so many of its episodes
are hard to believe. Take Quilty's unrelenting persecution of twelve
year-old Lolita. It's not "in character"* when we hear the ennumeration of his
"bussinesses" from Dolores Schiller, and from himself, while he offers HH a list
of "treats" while bargaining for his life. The false names he plants all over,
his "stage car" modifications, smack of exageration...
I don't remember if it's in the novel proper, or in an interview,
that Nabokov explains that Lolita was really a common, almost plain, little
girl, metamorphosed by HH's fancy. If I'm not mistaken, this statement comes
close to another author's complaint about Emma Bovary's insignificance, and what
a waste it was to place such a trite character in a masterpiece like Flaubert's
Madame Bovary. Consequently, what would Clare Quilty have seen in this
girl to be able to lavish on her such an ammount of time and money? She was
precious to HH and he jealously supposed that she'd be equally precious to
everybody else. Was she so important in dissolute Quilty's world?
In two or three interviews in "Strong Opinions" Nabokov mentions that
"Lolita" was a composition (like a chess problem?) that caused him a
special thrill, and this is something that comes close to what you
called "an inventive trope" ( I'll try to locate these sentences and copy
them here, in the near future). Sometimes I manage to suspend my disbelief
because, in the midst of inventions and distortions, there are moments that seem
to be extremely real, even hauntingly so. The crucial instance, for me, is
related to his lines about how tormented he feels, in "his beard and his
putrefaction" (I quote from memory) and that there's no one who can pardon and
undo the damage he inflicted on a little girl. So, without taking every word
that I find in HH's confession on its face value, I'm still engaged in the
argument that many events in the novel must be considered from its
character's delusional perspective.
I have no certainties, though, and my "negative capabilities" are
stretched to their limits.
Fran Assa writes that "what he
(HH) does in fantasy is not the same as what is done in practice" and
here I must disagree with her. In "The Enchanter" the seducer is
permanently trying to achieve his sexual pleasure without the child's knowledge
(as I think also happens in the davenport-apple scene in "Lolita"). In the
Ur-novel "Arthur's" concrete sexual intrusion isn't consummated and his
more daring attempt leads to his death. (the scene in "The Enchanted Hunters"
seems to proceed from this point onwards, it gains its pace from that which was
left interrupted in "The Enchanter" (are the words enchanted hunters and
the enchanter, in these two novels, only a coincidence?).
For me, HH's perversion in "Lolita" makes him transpose his lurid
fantasies into act and I think that a Lolita of sorts existed, that
there was an almost unforgettable Annabel, that HH married Charlotte Haze, that
she was devastated after she read his diary, that there was a playwright named
Quilty etc. But, again, I cannot be sure of many other "facts" and I
need strong (not slippery) textual evidence that will point in one way
or another to finally settle down with one version of the story. Your arguments
are very instructive because I feel challenged to examine a lot of things more
rationally but without avoiding what my heart has to say,
too .
.........................................................................................................
*Fran
Assa, I agree with you that it is not "simply a matter of opinion what
traits are in HH's character. An author attempts to create a believable
character. If the reader is jarred into thinking that the character has
just stepped out of character, the author has tripped up." My point
is that you hadn't offered arguments in support of your view
about HH's character. After all, he isn't a typícal pedophile and his
behavior is creatively unexpected (perverts tend to be stereotypal).
Actually, this is something that you suggested today when you wrote:
"Since HH reacted with compassion, it seems he was created less a pedophile and
more as a person in love with the particular person. Thus it seems HH is not a
pedophile at all, in the psychological sense, even though he had sexual
relations with this twelve year old. What he does in fantasy is not the
same as what is done in practice. Perhaps he's not a pedophile but rather
obsessive.")