not as sexualised as Humbert views it, but by virtue of the fact that he acknowledges changing names and place settings in order to preserve anonymity, it conveys to the reader the inner machinations of his psyche. This emphasis on sexualised setting does not replace the plot but simply draws the focus of the reader to be more holistic in order to view the character of Humbert as not solely the product of his actions. Perhaps more importantly, his well chosen selection of nominative sexualisation is an art form within the novel; a creative process concerning the aesthetic, not the descriptive. Linguistics Humbert Humbert again alludes to the aesthetic nature of the novel when he acknowledges that he has ‘only words to play with’. This becomes dominant through Lolita: wordplay taunts the reader, the jury, even the degraded memory of the deceased Lolita. ‘Lolita’ entered the Oxford English Dictionary after the publication of the eponymous novel and has come to be synonymous with the type of ‘precocious schoolgirl’ of Nabokov’s creation. Were he a real figure, perhaps he would be gratified that not only the memory of Dolores Haze, but specifically his version of Dolly—Lolita—pervades the social consciousness, after his command to the printer to ‘fill the page’ with her name. Humbert Humbert continually aims to gain intellectual dominance over the reader. This is achieved in multiple ways; firstly his dialogue with the supposed jury. There is a mocking of the confessional style which the novel is touted as: he maintains mock self-righteousness through his addressing the audience as ‘ladies and gentlemen of the jury’ and specifically the ‘gentlewomen’ whose temperaments may be offended by such salacious details as the ones told by Humbert., The impact is that the reader is unclear whether H>