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THEORIES OF LAW

  1. Does Luban see any problems with the way that Fuller’s eight virtues direct professional ethics?
  2. In describing the lawyer of character as ‘the lawyer-statesman,’ does Kronman suggest that the good lawyer must necessarily be involved in politics? If not, what is the connection between law and politics that, according to Kronman, makes the description ‘lawyer-statesman’ an appropriate one?
  3. According to Kronman, what is the virtue that is central to being a good lawyer? Why? How is that needed, or developed, in legal practice?
  4. What are Mortensen’s concerns about ‘the ethics of care? About the ‘lawyer as a friend?’

Sample Solution

ator, while the continuing complimentary language reflects Humbert’s persuasive and manipulative manner which is concealed beneath the reader’s reaction of flattery and fondness. Within the novel, the reader is encouraged to take an active part in the discourse, undermining the character of Lolita as disabling her ability to gain empathy. Nabokov creates distance between the reader and Lolita, ‘whose meek temper Lo ought to have copied’ which is suggestive of the similarity and compatibility the narrator intends to evoke between Humbert and the narratee, while they are disassociated with Lolita’s suffering. Similarly, frequent addresses to the jury throughout the text imply the central issue of Humbert’s guilt, seen through the phrases ‘winged gentlemen of the jury’ and ‘ladies and gentlemen of the jury’, which put the narrator in a position to be judged and allow him to familiarise himself with the reader in order to seek sympathy. Therefore, it is evident that direct addresses to his readership enable Nabokov to encourage them to accept and sympathise with his monstrous male hero. In addition to this, it may be argued that the reader is encouraged to accept Nabokov’s monstrous narrator due to Humbert’s mystified and deluded depiction of himself, which prevents the reader from being able to acknowledge his true character and is instead only able to accept the fraudulent identities he creates for himself. Throughout Lolita, the autodiegetic narrator elevates his own status in order to defend his unusual attraction, referring to himself as a ‘comic, clumsy, wavering Prince Charming’ to further the illusion of the paedophilic narrator as the hero of the text, while the reference to ‘Prince Charming’ romanticises and idealises his character. Further, Nabokov’s use of the alliterative adjectives ‘comic’, ‘clumsy’ juxtapose the perfection of the ‘prince’, enhancing the deluded and contrasting portrayal of Humbert. The frequent references to the ‘Enchanted Hunter’ imply a mystical and ethereal nature to the narrator, suggesting his illusive character, while ‘hunter’ reflects a power and possession equal to that of the ‘prince’, showing the contrasting nature of his depiction. As well as this, transitions between English and French when describing the narrator are used by Nabokov to create a sense of confusion, with the line ‘I was and still am, despite mes malheurs, an exceptionally handsome male’ a clear attempt by Humbert to disguise his flaws with his shift in language, ending ultimately in a contradictory depiction of a flawed yet perfect being, which clearly implies his juxtaposing character. Such a view is furthered by the six variants of the narrator’s name during his encounter with Miss Cormorant, ‘Mr. Humbird’, ‘Dr. Humburg’, ‘Mr Humberson’, suggesting the elusive nature of Humbert and his lack of a consistent identity. In addressing him with several differing names, Nabokov clearly implies the mystical nature of his narrator, supporting the view that he encourages the reader to accept his monstrous male hero through the inconsistent portrayal of his character.
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