individuals. This is one of the few connections possible between individuals in an existential and often hostile and corrupt environment. As Panichas (1999) writes in Modern Age, ôAs Heyst moves out of his self-chosen isolation on the island of Samburanàhe asserts faith in the essential dignity of the human beingàhe personifies the emotion of recognition as he collides with the power of the world, and finds that he cannot kill the invisible God within himö (204). In other words, by her sacrifice, love, and faith, Lena symbolizes the rebirth of faith and meaning in HeystÆs life, even if such a monumental recognition comes right before his own death.
Except for Wang, HeystÆs servant, most of the other characters in the novel represent the often hostile, evil forces of life that might make a man like Heyst, who possesses morals, want to isolate himself to a remote land where ôHis nearest neighboràwas an indolent volcanoö (Conrad 2003, 4). There is Schomberg and his wife who try to set Heyst up as the victim of the desperados Mr. Jones, Martin Ricardo, and Pedro. These villains are ruthless and serve to reinforce the skepticism and isolationism of Heyst. All of these men have few redeeming qualities and the misogynist Mr. Jones is referred to as ôan insolent specter on leave from Hadesö (Victory 2003, 3).
Only the love of Lena and his unlikely love for her in return demonstrate to Heyst his life of isolation may have been lived by mistaken rules, which is to say not lived at all. While Heyst will come discover the only thing of value in an often corrupt and hostile environment is faith, especially faith in others, he learns so late in life. He learns it after Lena sacrifices herself to prove her love for him and just before immolating himself in a fire meant as both of their funeral pyres. As Panichas (1999) points out, the major question probed by Conrad in Victory is: ôCan a man of moral sensitivity function i...