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 infinite run it does not matter a jot that a North American girl-child named 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.
This tension between the presence of Lolita and the absence of Dolores Haze, who ultimately dies "in childbed, giving birth to a stillborn girl" (4), underscores the difference between the powerful but solipsistic life-giving strategies of Humbert Humbert and a subject hoping to pursue a separate life, one outside the confines of Humbert's art.
And that is the novel's ultimate tragedy: Humbert's arabesque takes place in the real time of Dolores Haze (itself a pseudonym); he may have chosen the fantastic form of his narrative, but it requires the Procrustean transformation of a precocious "girl-child" into a timeless fiction called "Lolita.
Conviene agregar que el romanticismo de Humbert Humbert no es el de los melodramas que cautivahan a la pequena Dolores Haze
, sino el de Holderlin y Von Kleist, el del cazador que busca la evanescente belleza de la flor azul y al conseguirla esta dispuesto a beber arsenico antes de que mengue la intensidad de su hallazgo.