EDNote:
Re: the inversion: see p. 196 of AnLo (1991): Miss Pratt : ".
. . You just must allow her to take part in The Hunted Enchanters."
Anthony Stadlen reminded us that even
if Humbert Humbert was not an enchanted hunter, he must have been a
hunted enchanter ( a persecuted "Volschebnik" ) and, iIn relation to Jarmusch, Johnston´s Eugene
Onegin and EH/HE inversions, I now thought of another slight link.
After learning that Jarmusch could have used PF and other "cameo" hints
( Cf. "EDNote: ...as Suellen
Stringer-Hye mentioned in last August's discussion of the film, other
VN novels may also have cameos in it. The title vaguely evokes "Fleur
DeFyler"; or the flowers could remind us of the rose gardeners'
convention taking place at the EH during H and L's stay) I decided to
risk it.
The link applies to the similarities bt. the central ideas both
in "Lolita"´s play "The Enchanted Hunters" and in "Ada, or Ardor" -
when Marina´s charms on stage “eluded Demon’s consciousness, so struck was he by the wonder
of that brief abyss of absolute reality between two bogus fulgurations
of fabricated life”.
We know that in Marina´s play the characters, roles, references and
realities kept changing places and also that play and plot were
inspired in "Eugene Onegin". In
"Lolita" the play EH clearly dealt
with a turning-point after which poetic fiction became a poetic
reality.
I still think that Jarmusch might not simply bring random references,
but is bringing up a special point about what happens after art and
reality undergo an enchanted, or random, "external interference".
Jansy