Vladimir Nabokov

“Lolita, luz da minha vida, fogo da minha virilidade. Meu pecado, minha alma. Lo-li-ta: A ponta da língua faz uma viagem de três passos pelo céu-da-boca abaixo e, no terceiro, bate nos dentes. Lo. Li. Ta. Pela manhã, um metro e trinta e dois a espichar dos soquetes; era Lo, apenas Lo. De calças práticas, era Lola. Na escola, era Dolly. Era Dolores na linha pontilhada onde assinava o nome.Mas nos meus braços era sempre Lolita.”

“Perhaps, somewhere, some day, at a less miserable time, we may see each other again.”

“Lolita: Oh my Carmen, my little Carmen…Humbert: Charmin’ Carmen. Started garglin’Lolita: I remember those sultry nightsHumbert: Those pre-raphaelitesLolita: No, come on. And the stars and the cars and the bars and the barmen.Humbert: And the bars that sparkled and the cars that parkled…And the curs that barkled and the birds that larkled.Lolita: And oh my charmin, our dreadful fightsHumbert: Such dreadful blightsLolita: And the something town where arm in…arm, we went, and our final row, and the gun I killed you with, o my Carmen…the gun I am holding now”

“A warm flow of pain was gradually replacing the ice and wood of the anaesthetic in his thawing, still half-dead, abominably martyred mouth. After that, during a few days he was in mourning for an intimate part of himself. It surprised him to realize how fond he had been of his teeth. His tongue, a fat sleek seal, used to flop and slide so happily among the familiar rocks, checking the contours of a battered but still secure kingdom, plunging from cave to cove, climbing this jag, nuzzling that notch, finding a shred of sweet seaweed in the same old cleft; but now not a landmark remained, and all there existed was a great dark wound, a terra incognita of gums which dread and disgust forbade one to investigate. And when the plates were thrust in, it was like a poor fossil skull being fitted with the grinning jaws of a perfect stranger.”

“the gin kept my heart alive but bemazed my brain”

“I am trying to describe these things not to relive them in my present boundless misery, but to sort out the portion of hell and the portion of heaven in that strange, awful, maddening world- nymphet love. (135)”

“The isms go, the ist dies, art remains”

“If onlyit were possible to juicily belch up the lifeone's lived, chew it anew and gulp it down,and then once more to roll it with a fat,ox-like tongue, to squeeze from its eternaldregs the former sweetness of crisp grass,drunk with the morning dew and the bitternessof lilac leaves!”

“...My taut heartlurches heavily, like a sack in a cart, clatteringdownhill, towards a cliff, towards an abyss!It can't be stopped!”

“We loved - and it has all gone, somewhere...We loved - and now our love is frozen,and now it lies, one wing spread out, raisingits little feet - a dead sparrow on the dampgravel... But we loved... we flew...”

“You see - the moulded whimsy of a friezeon a portico keeps us from recognizing,sometimes, the symmetry of the whole...You will leave; we'll forget one another;but now and then the name of a street,or a street organ weeping in the twilight,will remind us in a more vivid and moretruthful way than thought could resurrector words convey, of that main thingwhich was between us, the main thing whichwe do not know ... And in that hour, the soulwill miraculously sense the charmof past trifles, and we will understandthat in eternity all is eternal”

“We are still groping perhaps, but we grope intelligently, like a gynecologist feeling a tumor.”

“So I tom-peeped across the hedges of years, into wan little windows. And when, by means of pitifully ardent, naively lascivious caresses, she of the noble nipple and massive thigh prepared me for the performance of my nightly duty, it was still a nymphet's scent that in despair I tried to pick up, as I bayed through the undergrowth of dark decaying forests.”

“Bueno, algún día, si quieres venirte a vivir conmigo… Crearé un nuevo Dios y le agradeceré con gritos desgarradores si me das una esperanza microscópica.”

“Él me destrozó el corazón. Tú apenas me destruiste la vida”

“La miré y la miré, y supe con tanta certeza como que me he de morir, que la quería más que a nada imaginado o visto en la tierra, más que a nada anhelado en este mundo.”

“Yo me empecinaba en mi paraíso escogido:Un paraíso cuyos cielos tenían el color de las llamas infernales, pero con todo un paraiso”

“...el veneno estaba en la herida y la herida permaneció siempre abierta”

“Nos queríamos con amor prematuro, con la violencia que a menudo destruye vidas adultas”

“...me pregunto si fue entonces, en el resplandor de aquel verano remoto, cuando empezó a hendirse mi vida.”

“Nos enamoramos simultáneamente, de una manera frenética, impúdica, agonizante.”

“She considered me as if grasping all at once the incredible -- and somehow tedious, confusing and unnecessary -- fact that the distant, elegant, slender, forty-year-old valetudinarian in velvet coat sitting beside her had known and adored every pore and follicle of her pubescent body. In her washed-out gray eyes, strangely spectacled, our poor romance was for a moment reflected, pondered upon, and dismissed like a dull party, like a rainy picnic to which only the dullest bores had come, like a humdrum exercise, like a bit of dry mud caking her childhood.”

“Do all people have that? A face, a phrase, a landscape, an air bubble from the past suddenly floating up as if released by the head warden's child from a cell in the brain while the mind is at work on some totally different matter? Something of the sort also occurs just before falling asleep when what you think you are thinking is not at all what you think. Or two parallel passenger trains of thought, one overtaking the other.”

“And what agony, thought Krug the thinker, to love so madly a little creature, formed in some mysterious fashion (even more mysterious to us than it had been to the very first thinkers in their pale olive gloves) by the fusion of two mysteries, or rather two sets of a trillion of mysteries each; formed by a fusion which is, at the same time, a matter of choice and a matter of chance and a matter of pure enchantment; thus formed and then permitted to accumulate trillions of its own mysteries; the whole suffused with consciousness, which is the only real thing in the world and the greatest mystery of all.”

“On Translating Eugene Onegin 1What is translation? On a platterA poet's pale and glaring head,A parrot's screech, a monkey's chatter,And profanation of the dead.The parasites you were so hard onAre pardoned if I have your pardon,O, Pushkin, for my stratagem:I traveled down your secret stem,And reached the root, and fed upon it;Then, in a language newly learned,I grew another stalk and turnedYour stanza patterned on a sonnet,Into my honest roadside prose--All thorn, but cousin to your rose.2Reflected words can only shiverLike elongated lights that twistIn the black mirror of a riverBetween the city and the mist.Elusive Pushkin! Persevering,I still pick up Tatiana's earring,Still travel with your sullen rake.I find another man's mistake,I analyze alliterationsThat grace your feasts and haunt the greatFourth stanza of your Canto Eight.This is my task--a poet's patienceAnd scholastic passion blent:Dove-droppings on your monument.”

“Unfortunately his urge to write had suddenly petered out and he did not know what to do with himself. He was not sleepy having slept after dinner. The brandy only added to the nuisance. He was a big heavy man of the hairy sort with a somewhat Beethovenlike face. He had lost his wife in November. He had taught philosophy. He was exceedingly virile. His name was Adam Krug.”

“Delvig's best poem is the one he dedicated to Pushkin, his schoolmate, in January 1815. A boy of sixteen, prophesying in exact detail literary immortality to a boy of fifteen, and doing it in a poem that is itself immortal - this is a combination of intuitive genius and actual destiny to which I can find no parallel in the history of world poetry.”

“Next day, after lunch, I went to see "our" doctor, a friendly fellow whose perfect bedside manner and complete reliance on a few patented drugs adequately masked his ignorance of, and indifference to, medical science.”

“This is, I believe, it: not the crude anguish of physical death but the incomparable pangs of the mysterious mental maneuver needed to pass from one state of being to another.”

“And what is death, if not a face at peace - its artistic perfection.”

“It is childish to study a work of fiction in order to gain information about a country or about a social class or about the author.”

“In an Anglo-Saxon thriller, the villain is generally punished, and the strong silent man generally wins the weak babbling girl, but there is no governmental law in Western countries to ban a story that does not comply with a fond tradition, so that we always hope that the wicked but romantic fellow will escape scot-free and the good but dull chap will be finally snubbed by the moody heroine.”

“Some people-and I am one of them-hate happy ends. We feel cheated. Harm is the norm. Doom should not jam.”

“That man, especially when he slept, when his features were motionless, showed me my own face, my mask, the flawlessly pure image of my corpse […] in a state of perfect repose, this resemblance was strikingly evident, and what is death, if not a face at peace – its artistic perfection? Life only marred my double; thus a breeze dims the bliss of Narcissus; thus, in the painter’s absence, there comes his pupil and by the superfluous flush of unbidden tints disfigures the portrait painted by the master.”

“She was an extravagantly slender girl. Her ribs showed. The conspicuous knobs of her hipbones framed a hollowed abdomen, so flat as to belie the notion of "belly." Her exquisite bone structure immediately slipped into a novel - became in fact the secret structure of that novel, besides supporting a number of poems.”

“There would have been a lake. There would have been an arbor in flame-flower. There would have been nature studies—a tiger pursuing a bird of paradise, a choking snake sheathing whole the flayed trunk of a shoat. There would have been a sultan, his face expressing great agony (belied, as it were, by his molding caress), helping a callypygean slave child to climb a column of onyx. There would have been those luminous globules of gonadal glow that travel up the opalescent sides of juke boxes. There would have been all kinds of camp activities on the part of the intermediate group, Canoeing, Coranting, Combing Curls in the lakeside sun. There would have been poplars, apples, a suburban Sunday. There would have been a fire opal dissolving within a ripple-ringed pool, a last throb, a last dab of color stinging red, smarting pink, a sigh, a wincing child.”

“One evening at a remote provincial college through which I happened to be jogging on a protracted lecture tour, I suggested a little quiz—-ten definitions of a reader, and from these ten the students had to choose four definitions that would combine to make a good reader. I have mislaid the list, but as far as I remember the definitions went something like this. Select four answers to the question what should a reader be to be a good reader: 1. The reader should belong to a book club. 2. The reader should identify himself or herself with the hero or heroine. 3. The reader should concentrate on the social-economic angle. 4. The reader should prefer a story with action and dialogue to one with none. 5. The reader should have seen the book in a movie. 6. The reader should be a budding author. 7. The reader should have imagination. 8. The reader should have memory. 9. The reader should have a dictionary. 10. The reader should have some artistic sense.The students leaned heavily on emotional identification, action, and the social-economic or historical angle. Of course, as you have guessed, the good reader is one who has imagination, memory, a dictionary, and some artistic sense–-which sense I propose to develop in myself and in others whenever I have the chance.”

“Leave your incidental Dick.”

“Actually he was a pessimist, and, like all pessimists, a ridiculously unobservant man.”

“But then I have long since grown accustomed to the thought that what we call dreams is semi-reality, the promise of reality, a foreglimpse and a whiff of it; that is they contain, in a very vague, diluted state, more genuine reality than our vaunted waking life which, in its turn, is semi-sleep, an evil drowsiness into which penetrate in grotesque disguise the sounds and sights of the real world, flowing beyond the periphery of the mind—as when you hear during sleep a dreadful insidious tale because a branch is scraping on the pane, or see yourself sinking into snow because your blanket is sliding off.”

“The nostalgia I have been cherishing all these years is a hypertrophied sense of lost childhood, not sorrow for lost banknotes.”

“Humbert Humbert: You know, I've missed you terribly. Lolita Haze: I haven't missed you. In fact, I've been revoltingly unfaithful to you. Humbert Humbert: Oh? Lolita Haze: But it doesn't matter a bit, because you've stopped caring anyway. Humbert Humbert: What makes you say I've stopped caring for you? Lolita Haze: Well, you haven't even kissed me yet, have you?”

“There was no Lo to behold.”

“You lose your immortality when you lose your memory.”

“There is nothing so banal in the world,' said Ada 'than pitching stones at a hawfinch.”

“This is the whole of the story and we might have left it at that had there not been profit and pleasure in the telling; and although there is plenty of space on a gravestone to contain, bound in moss, the abridged version of a man's life, detail is always welcome.”

“And the most poignant thing was not Lolita's absence from my side, but the absence of her voice from the chorus.”

“One night between sunset and riverOn the old bridge we stood, you and I.Will you ever forget it, I queried,- That particular swift that went by?And you answered, so earnestly: Never!And what sobs made us suddenly shiver,What a cry life emitted in flight!Till we die, till tomorrow, for ever,You and I on the old bridge one night.”

“No, it is not my sense of the immorality of the Humbert Humbert-Lolita relationship that is strong; it is Humbert's sense. He cares, I do not. I do not give a damn for public morals, in America or elsewhere. And, anyway, cases of men in their forties marrying girls in their teens or early twenties have no bearing on Lolita whatever. Humbert was fond of "little girls"—not simply "young girls." Nymphets are girl-children, not starlets and "sex kittens." Lolita was twelve, not eighteen, when Humbert met her. You may remember that by the time she is fourteen, he refers to her as his "aging mistress.”

“Before his and Pushkin's advent Russian literature was purblind. What form it perceived was an outline directed by reason: it did not see color for itself but merely used the hackneyed combinations of blind noun and dog-like adjective that Europe had inherited from the ancients. The sky was blue, the dawn red, the foliage green, the eyes of beauty black, the clouds grey, and so on. It was Gogol (and after him Lermontov and Tolstoy) who first saw yellow and violet at all. That the sky could be pale green at sunrise, or the snow a rich blue on a cloudless day, would have sounded like heretical nonsense to your so-called "classical" writer, accustomed as he was to the rigid conventional color-schemes of the Eighteenth Century French school of literature. Thus the development of the art of description throughout the centuries may be profitably treated in terms of vision, the faceted eye becoming a unified and prodigiously complex organ and the dead dim "accepted colors" (in the sense of "idées reçues") yielding gradually their subtle shades and allowing new wonders of application. I doubt whether any writer, and certainly not in Russia, had ever noticed before, to give the most striking instance, the moving pattern of light and shade on the ground under trees or the tricks of color played by sunlight with leaves.”