Best 76 quotes in «lolita quotes» category

Prizing elegance, sweet emotions, and fantasy more than morals and truth; wallowing in fleeting romance rather than trying to give meaning to life, when who knows what's going to happen to you anyway; ignoring virtue and conventions to cherish only the pleasures you are definitely experiencing now: this is the Cocoro of Rococo. No matter how much deep thought, hard work, and agonizing effort went into coaxing out some insight, if that insight is boring, or not beautiful, it doesn't matter. And even if something is made just for laughs, if you find it pleasing, it has value. Other people's opinions and labor do not figure into your assessment; choosing things with your own personal sense of "I like this, I don't like that" is the ultimate individualism that sustains the very foundation of Rococo. Rococo, therefore, embodies the spirit of punk rock and anarchism more than any philosophy. Only in Rococo—elegant yet in bad taste, extravagant yet defiant and lawless—can I discover the meaning of life.

Queer, how I misinterpreted the designations of doom.

Rope-skipping, hopscotch. That old woman in black who sat down next to me on my bench, on my rack of joy (a nymphet was groping under me for a lost marble), and asked if I had stomachache, the insolent hag. Ah, leave me alone in my pubescent park, in my mossy garden. Let them play around me forever. Never grow up.

Speak, Memory is strictly autobiographic. There is nothing autobiographic in Lolita.

The Girl Scout’s motto is also mine. I fill my life with worthwhile deeds such as — well, never mind what. My duty is —to be useful. I am a friend to male animals. I am cheerful. I am thrifty and I am absolutely filthy in thought, word, and deed.

The list of lifesavers left him numb, clueless - the action, indifferent.

¡Que rara es la vida! La suerte nos abandona cuando más propicia deseamos que nos sea.

... she had painted her lips and was holding in her hollowed hands a beautiful, banal, Eden-red apple.

She had to save herself from every last one of them. All of them, the people at the orphanage, the foster care system, the middle school, they were all outsiders and strangers and a possible threat.....The counselor couldn't prove otherwise.

There was no Lo to behold.

The spiritual and the physical had been blended in us with a perfection that must remain incomprehensible to the matter-of-fact, crude, standard-brained youngsters of today.

She was all rose and honey.

Wanted, wanted: Dolores Haze. Hair: brown. Lips: scarlet. Age: five thousand three hundred days. Profession: none, or "starlet". Where are you hiding, Dolores Haze? Why are you hiding, darling? (I talk in a daze, I walk in a maze, I cannot get out, said the starling).

With your little claws, Lolita.

wut good lo l

The softness and fragility of baby animals caused us the same intense pain. She wanted to be a nurse in some famished Asiatic country; I wanted to be a famous spy.

The stars that sparkled, and the cars that parkled, and the bars, and the barmen, were presently taken over by her

Thus, neither of us is alive when the reader opens this book. But while the blood still throbs through my writing hand, you are still as much part of blessed matter as I am, and I can still talk to you from here to Alaska. Be true to your Dick. Do not let other fellows touch you. Do not talk to strangers. I hope you will love your baby. I hope it will be a boy. That husband of yours, I hope, will always treat you well, because otherwise my specter shall come at him, like black smoke, like a demented giant, and pull him apart nerve by nerve. And do not pity C. Q. One had to choose between him and H.H., and one wanted H.H. to exist at least a couple of months longer, so as to have him make you live in the minds of later generations. I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art. And this is the only immortality you and I may share, my Lolita.

Unattached details take all the sparkle out of your conversation.

—we were bristling at each other as if she were still mine.

What I've always taken away from his words is the sense that we all have something that confines us, that seeks to define us, label us, belittling us in the process, shortchanging our potential. Can it be that that is our sanctuary, our refuge, our way to liberty?

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

Why did I hope we would be happy abroad? A change of environment is that traditional fallacy upon which doomed loves, and lungs, rely.

You talk like a book.

Alas, I was unable to transcend the simple human fact that whatever spiritual solace I might find, whatever lithophanic eternities might be provided for me, nothing could make my Lolita forget the foul lust I had inflicted upon her. Unless it can be proven to me -to me as I am now, today, with my heart and my beard, and my putrefaction- that in the infinitue run it does not matter a jot that a North American girl-child names Dolores Haze had been deprived of her childhood by a maniac, unless this can be proven (and if it can, then life is a joke), I see nothing for the treatment of my misery but the melancholy and very local palliative of articulate art. To quote an old poet: The moral sense in mortals is the duty We have to pay on mortal sense of beauty.

All I ever wanted, nira I expected: Nonette, upon whom my life pivots. The name I give my fire when I lay down, defenseless before its majestic awfulness. A little no, a little negation. A French girly pout, the syllables for which have been found at last. All my hurt dug up, exposed for dissection in the glaring light, and finally melted away by the loving caresses of her yielding thighs. And the girl who took such simple job in this terrible duty. Nonette.

A moment later I heard my sweetheart running up the stairs. My heart expanded with such force that it almost blotted me out. I hitched up the pants of my pajamas, flung the door open: and simultaneously Lolita arrived, in her Sunday frock, stamping, panting, and the she was in my arms, her innocent mouth melting under the ferocious pressure of dark male jaws, my palpitating darling!

And I still have other smothered memories, now unfolding themselves into limbless monsters of pain.

And I thought to myself how those fast little articles forget everything, everything, while we, old lovers, treasure every inch of their nymphancy

And I catch myself thinking today that our long journey had only been defiled with a sinuous trail of slime the lovely, trustful, dreamy, enormous country that by then, in retrospect, was no more to us than a collection of dog-eared maps, ruined tour books, old tires, and her sobs in the night - every night, every night - the moment I feigned sleep.

Aurora, you're a child, live like one, don't act like one. Enjoy the innocence, dump the immaturity.

As palavras sem a experiência não teriam qualquer significado.

Él me destrozó el corazón. Tú destrozaste mi vida.

Because her name is not Lolita; her real name is Dolores, which as you know in Latin means `dolor.' So her real name is associated with sorrow and with anguish and with innocence. While Lolita becomes a sort of lightheaded, seductive and airy name, the Lolita of our novel is both of these at the same time. And in our culture here today, we only associate it with one aspect of that little girl, and the crassest interpretation of her.

Enchia-me o peito uma tempestade de soluços.

Even in death, her mother was winning.

for did it not mean I was losing my darling, just when I had secretly made her mine?

For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm. There are not many such books. All the rest is either topical trash or what some call the Literature of Ideas, which very often is topical trash coming in huge blocks of plaster that are carefully transmitted from age to age until somebody comes along with a hammer and takes a good crack at Balzac, at Gorki, at Mann.

For my nymphet I needed a diminutive with a lyrical lilt to it. One of the most limpid and luminous letters is "L". The suffix "-ita" has a lot of Latin tenderness, and this I required too. Hence: Lolita. However, it should not be pronounced as you and most Americans pronounce it: Low-lee-ta, with a heavy, clammy "L" and a long "o". No, the first syllable should be as in "lollipop", the "L" liquid and delicate, the "lee" not too sharp. Spaniards and Italians pronounce it, of course, with exactly the necessary note of archness and caress. Another consideration was the welcome murmur of its source name, the fountain name: those roses and tears in "Dolores." My little girl's heartrending fate had to be taken into account together with the cuteness and limpidity. Dolores also provided her with another, plainer, more familiar and infantile diminutive: Dolly, which went nicely with the surname "Haze," where Irish mists blend with a German bunny—I mean, a small German hare.

For some reason, I kept seeing it—it trembled and silkily glowed on my damp retina—a radiant child of twelve, sitting on a threshold, "pinging" pebbles at an empty can.

Gaston Godin, [...], had me gewaarschuwd dat het wel eens zo'n instelling zou kunnen blijken waar meisjes wordt geleerd, [...] 'lekker te ruiken in plaats van hun hersens te gebruiken'.

Good by-aye!" she chanted, my American sweet immortal dead love; for she is dead and immortal if you are reading this.

He also knew the language of The Klingons, but the army had no use for it.

Heart-Shaped Glasses (When the Heart Guides the Hand), the first single from Eat Me, Drink Me, features a video filmed by Titanic director James Cameron. In it, Manson croons to Wood, who – with bobbed hair, gloves and a demure frock – blankly masturbates in an audience of writhing lesbians, Manson’s image reflected in her heart-shaped glasses. I wanted to like the song, but found Manson’s threadbare voice and overdubbed music annoying, and the chorus - 'Don’t break my heart/and I won’t break your heart-shaped glasses' – suggested a pugilistic retribution ('Dump me, and I’ll punch your lights out!') more in keeping with Norman Mailer than Nabokov.

He wrote to his father every day. His platoon called his dad a girlfriend.

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?

I appealed to her stale flesh very seldom, only in cases of great urgency and despair.

I had ceased to be Humbert the Hound, the sad-eyed degenerate cur clasping the boot that would presently kick him away. I was above the tribulations of ridicule, beyond the possibilities of retribution. In my self-made seraglio, I was a radiant and robust Turk, deliberately, in the full consciousness of his freedom, postponing the moment of actually enjoying the youngest and frailest of his slaves.

I ask you, what would you do if you could erase one bad memory and retain all that was beautiful in your life? Would you not move heaven and earth - and get loads of therapy - to have that?

I could not kill her, of course, as some have thought. You see, I loved her. It was love at first sight, at last sight, at ever and ever sight.