Focusing on Vladimir Nabokov's Lolita (1955), Lewis Carroll's Alice's Adventures Under Ground (1886), J. M. Barrie's Peter and Wendy (1911), Henry Darger's The Story of the Vivian Girls, in what is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion, and John Ashbery's Girls on the Run (1999), this dissertation investigates how the Victorian cult of the girl child may have its roots in another Victorian interest, ancient Greek culture. While this dissertation adds to the scholarship on literary pedophilia, it makes a distinction between the pedophile and the nympholept. Whereas the pedophile wishes to sexually possess children, the nympholept does not necessarily wish to sexually possess his nymph; rather, the nympholept is moved to create art inspired by his nymph, or girl child. This dissertation introduces the idea of sublimation into art to the discourse of girl children. Just as classical nymphs had to sublimate themselves into landscapes in order to escape their male pursuers, we see how the girl children in this study are sublimated into literary or visual art in order metaphorically to preserve themselves. While forging a connection between the cult of the girl child to nympholepsy, this study also connects nympholepsy to what Bruno Bettelheim in The Uses of Enchantment (1976) calls "enchantment," that is, using fantastical stories in order to navigate certain unknowns, mainly adulthood and death. This dissertation takes this a step further and asserts that nympholepts used enchantment as a means to entrap nymphs. While bringing up the inevitable charge of pedophilia, this project is not interested in the pedophile but in the nympholept and the means through which he sublimates a girl child into visual or literary art. The opening chapter examines Lolita alongside the taxonomy for classical Greek nymphs and explores both the minutia and larger themes in Lolita that relate to this classification. Chapter two examines Carroll's relationship to Alice Liddell in light of nympholepsy and the triangulation of pleasure between Carroll, Alice, and Alice's Adventures Under Ground, which the chapter recognizes as a highly eroticized fetish object. Chapter three studies the subversive sexuality and desires of Wendy Darling while arguing that Peter Pan, instead of being a little boy who refuses to grow up, is a Pan figure. The final chapter discusses how nympholepsy plays out in the art and writings of Darger and Ashbery's nympholepsy. The dissertation concludes with a creative epilogue that explores the theme of "reenchantment" that I discuss in chapter four.