Best 76 quotes in «lolita quotes» category

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.

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 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.

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

Unattached details take all the sparkle out of your conversation.

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).

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.

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

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

With your little claws, Lolita.

There was no Lo to behold.

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?

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.

wut good lo l

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.

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.

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

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 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.

As palavras sem a experiência não teriam qualquer significado.

Él me destrozó el corazón. Tú destrozaste mi vida.

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

Enchia-me o peito uma tempestade de soluços.

Even in death, her mother was winning.

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.

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

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.

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 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.

If you can get to be you, why can't I get to be me?

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 have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. No matter how many times we reopen 'King Lear,' never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert's father's timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them.

Every fairy tale offers the potential to surpass present limits, so in a sense the fairy tale offers you freedoms that reality denies. In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance. The affirmation lies in the way the author takes control of reality by retelling it in his own way, thus creating a new world. Every great work of art, I would declare pompously, is a celebration, an act of insubordination against the betrayals, horrors and infidelities of life. The perfection and beauty of form rebels against the ugliness and shabiness of the subject matter. This is why we love "Madame Bovary" and cry for Emma, why we greedily read "Lolita" as our heart breaks for its small, vulgar, poetic and defiant orphaned heroine.

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.

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'.

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

I’ll put off reading Lolita for six more years until she turns 18.

I'm thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art, And this is the only immortality that you and I may share, my Lolita.

In a nervous and slender-leaved mimosa grove at the back of their villa we found a perch on the ruins of a low stone wall. She trembled and twitched as I kissed the corner of her parted lips and the hot lobe of her ear. A cluster of stars palely glowed above us between the silhouettes of long thin leaves; that vibrant sky seemed as naked as she was under her light frock. I saw her face in the sky, strangely distinct, as if it emitted a faint radiance of its own. Her legs, her lovely live legs, were not too close together, and when my hand located what it sought, a dreamy and eerie expression, half-pleasure, half-pain, came over those childish features. She sat a little higher than I, and whenever in her solitary ecstasy she was led to kiss me, her head would bend with a sleepy, soft, drooping movement that was almost woeful, and her bare knees caught and compressed my wrist, and slackened again; and her quivering mouth, distorted by the acridity of some mysterious potion, with a sibilant intake of breath came near to my face. She would try to relieve the pain of love by first roughly rubbing her dry lips against mine; then my darling would draw away with a nervous toss of her hair, and then again come darkly near and let me feed on her open mouth, while with a generosity that was ready to offer her everything, my heart, my throat, my entrails, I gave her to hold in her awkward fist the scepter of my passion.

I often reread passages of "Lolita" for its exquisite language. To me, "Lolita" has no message, no purpose, other than to exist as a marvel of literary creation. It has wit, intelligence and style. It pointedly makes no attempt to serve a higher moral purpose, and previous attempts by critics to find one have proven ludicrous. The annotated edition is accompanied by a brilliant afterword by Nabokov that is a lucid reminder of the pure joy of writing, its interplay with life.

I should have known (by the signs made to me by something in Lolita -- the real child Lolita or some haggard angel behind her back) that nothing but pain and horror would result form the expected rapture. Oh, winged gentleman of the jury!