"Imagination, the supreme delight of the immortal and the immature, should be limited. In order to enjoy life, we should not enjoy it too much"
About this Quote
Nabokov swings a velvet hammer: he flatters imagination as “supreme delight” only to slap it with “should be limited.” The pleasure is in the contradiction. He’s not issuing a Puritan warning against delight; he’s warning against the kind of indulgence that turns delight into a solvent. Imagination, for Nabokov, is both the engine of art and a dangerous drug: it can render ordinary life uncompetitive, flattening it into mere raw material for fantasy, style, or private obsession.
The pairing of “immortal” and “immature” is a particularly Nabokovian wink. “Immortal” suggests the artist’s hunger to outrun time, to build a private eternity in language. “Immature” undercuts that grandeur, implying that the same impulse can be childish, a refusal of limits, consequences, and other people’s reality. He’s exposing the vanity inside the artist’s best faculty.
“In order to enjoy life, we should not enjoy it too much” reads like a paradox designed to protect sensation. Over-enjoyment dulls perception; it’s the hedonic treadmill in a tuxedo. If everything becomes peak experience, nothing is. Nabokov’s intent is ascetic in a strange way: not less beauty, but better calibration. The subtext is craft. His novels fetishize precision, not sprawl; they’re allergic to sentimentality and to the sloppy moralism that comes from being intoxicated by one’s own feelings.
Context matters: a writer forged by exile and historical catastrophe doesn’t romanticize limitless inner freedom. Limits aren’t cages; they’re the frame that keeps the picture from dissolving.
The pairing of “immortal” and “immature” is a particularly Nabokovian wink. “Immortal” suggests the artist’s hunger to outrun time, to build a private eternity in language. “Immature” undercuts that grandeur, implying that the same impulse can be childish, a refusal of limits, consequences, and other people’s reality. He’s exposing the vanity inside the artist’s best faculty.
“In order to enjoy life, we should not enjoy it too much” reads like a paradox designed to protect sensation. Over-enjoyment dulls perception; it’s the hedonic treadmill in a tuxedo. If everything becomes peak experience, nothing is. Nabokov’s intent is ascetic in a strange way: not less beauty, but better calibration. The subtext is craft. His novels fetishize precision, not sprawl; they’re allergic to sentimentality and to the sloppy moralism that comes from being intoxicated by one’s own feelings.
Context matters: a writer forged by exile and historical catastrophe doesn’t romanticize limitless inner freedom. Limits aren’t cages; they’re the frame that keeps the picture from dissolving.
Quote Details
| Topic | Wisdom |
|---|
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