“a little downy girl still wearing poppiesstill eating popcorn in the colored gloamwhere tawny Indians took paid croppersbecause you stole herfrom her wax-browed and dignified protectorspitting into his heavy-lidded eyeripping his flavid toga and at dawnleaving the hog to roll upon his new discomfortthe awfulness of love and violetsremorse despair while youtook a dull doll to piecesand threw its head awaybecause of all you didbecause of all I did notyou have to die”

“While you took a dull doll to pieces and threw its head away.”

“I think bourgeois fathers – wing-collar workers in pencil-striped pants, dignified, office-tied fathers, so different from young American veterans of today or from a happy, jobless Russian-born expatriate of fifteen years ago – will not understand my attitude toward our child. Whenever you held him up, replete with his warm formula and grave as an idol, and waited for the postlactic all-clear signal before making a horizontal baby of the vertical one, I used to take part both in your wait and in the tightness of his surfeit, which I exaggerated, therefore rather resenting your cheerful faith in the speedy dissipation of what I felt to be a painful oppression; and when, at last, the blunt little bubble did rise and burst in his solemn mouth, I used to experience a lovely relief as you, with a congratulatory murmur, bent low to deposit him in the white-rimmed twilight of his crib.”

“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.”

“You have to be an artist and a madman, a creature of infinite melancholy, with a bubble of hot poison in your loins and a super-voluptuous flame permanently aglow in your subtle spine (oh, how you have to cringe and hide!), in order to discern at once, by ineffable signs―the slightly feline outline of a cheekbone, the slenderness of a downy limbs, and other indices which despair and shame and tears of tenderness forbid me to tabulate―the little deadly demon among the wholesome children; she stands unrecognized by them and unconscious herself of her fantastic power.”

“We fell to wrestling again. We rolled all over the floor, in each other's arms, like two huge helpless children. He was naked and goatish under his robe, and I felt suffocated as he rolled over me. I rolled over him. We rolled over me. They rolled over him. We rolled over us.”

“Old Azureus's manner of welcoming people was a silent rhapsody. Ecstatically beaming, slowly, tenderly, he would take your hand between his soft palms, hold it thus as if it were a long sought treasure or a sparrow all fluff and heart, in moist silence, peering at you the while with his beaming wrinkles rather than with his eyes, and then, very slowly, the silvery smile would start to dissolve, the tender old hands would gradually release their hold, a blank expression replace the fervent light of his pale fragile face, and he would leave you as if he had made a mistake, as if after all you were not the loved one - the loved one whom, the next moment, he would espy in another corner, and again the smile would dawn, again the hands would enfold the sparrow, again it would all dissolve.”