Conrad and Masculinity

230 Notes
30 Hampson, Betrayal and Identity, p. 252.
31 Geddes, pp. 124, 127.
32 ‘Monsieur George, the young, arduous, and honest protagonist, is opposed
by Captain Blunt, the “black knight” . . . The other villain, Ortega, and
Rita’s sister, Thérèse, assume the roles of the “evil magician and the witch
. . . who seem to have a suggestion of erotic perversion about them” . . .
These two sinister figures are opposed by Dominic and Rose who are neatly
fitted into the “moral antithesis” underlying the characterization in the
romance’ (Erdinast-Vulcan, Joseph Conrad and the Modern Temper, p. 187).
The quotations in Erdinast-Vulcan’s text are from Northop Frye, Anatomy
of Criticism (Princeton, NJ: Princeton University Press, 1957), p. 196.
33 Robert Hampson notes that Ortega presents M. George ‘with a distorted
reflection of himself’, but also helps him to ‘re-define himself’, confident
of his own sanity in contrast to Ortega’s madness (Hampson, Betrayal and
Identity, pp. 265–6).
34 Geddes, p. 134.
35 Conrad, letter of 1 August 1919 to Sidney Colvin, in G. Jean-Aubry, Joseph
Conrad: Life and Letters, 2 vols (London: Heinemann, 1927), II, p. 224,
quoted Geddes, p. 137.
36 Pamela Bickley and Robert Hampson, ‘“Lips That Have Been Kissed”:
Boccaccio, Verdi, Rossetti and The Arrow of Gold’, L’Époque Conradienne,
1988, pp. 77–91 (p. 91).
37 Hampson, Betrayal and Identity, p. 251.
38 Hampson, Betrayal and Identity, pp. 266, 255, 257.
39 Hampson, Betrayal and Identity, p. 267, quoting Paul L. Wiley, Conrad’s
Measure of Man (Madison: University of Wisconsin Press, 1954), p. 166. For
feminist readings of hysteria, see Chapter 3, notes 28 and 29 above.
40 Hampson, Betrayal and Identity, p. 257.
41 Robert Hampson, ‘The Late Novels’, in The Cambridge Companion to Joseph
Conrad, ed. J. H. Stape (Cambridge: Cambridge University Press, 1996), pp.
140–59 (p. 150).
Chapter 8 Vision and the Economies of Empire and
Masculinity
1 Elizabeth Bronfen, Over Her Dead Body: Death, Femininity and the Body
(Manchester: Manchester University Press, 1992), p. 3.
2 Jeffrey Meyers describes the knife as ‘an obvious symbol of his [Ricardo’s]
penis’ (which is rather different from reading the knife as phallus, that is
as a symbol of masculine power). This somewhat literal approach colours
his whole reading of the episode, discussed below. Meyers, p. 86.
3 Robert Hampson notes that in The Rover the relationship of Arlette and
Real is ‘charted ocularly’ (‘The Late Novels’, p. 153).
4 De Lauretis, pp. 68, 195.
5 Conrad makes extended ironic use of Edenic associations in Victory, as he
does also in Nostromo.
6 Susan Gubar mistakenly writes that ‘Heyst saves a girl called Lena (after the
seductress Magdalena) from “murdering silence” in an all-female orchestra