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Conrad and Masculinity CONRAD AND MASCULINITY by EMMA FOX. A thesis submitted to the Faculty of Arts of the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY. School of English, Faculty of Arts, University of Birmingham, Edgbaston, Birmingham, B152TT, England. January 1995, University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. 104 Worship, And The Heroic In History (1841) are entitled 'The Hero as Man of Letters. Johnson, Rousseau, Burns' and 'The Hero as King. Cromwell, Napoleon: Modern Revolutionism' (Carlyle 1993). If we consider writers like Haggard, Buchan and the Boy's Own authors, it is plain that the heroic literature of Conrad's era tends towards something of a revival of the hero as social and normative - and Conrad is often read, on the surface, as roughly continuing in this tradition. However, we have already begun to discover that the view of Conrad as fitting comfortably into the traditional genres of his time is flawed. We often, in fact, find in him something very different from the normative, story-book hero: for instance, the deviant hero taken to an extreme that is Falk. For all his horrific past, Falk has a hugeness and purity of instinct that are not present in the surrounding normal members of civilized society. The standards Hermann evokes to judge Falk are fastidious and petty, and not an equal opposition to the grand scale of Folk's actions: he wanted to know from Falk how dared he to come and tell him this? Did he think himself a proper person to be sitting in this cabin where his wife and children lived?[....He had never heard] tell of such impudence (178-179). To talk of 'proper persons' and 'impudence' to a cannibalistic multiple murderer is to take a pea-shooter to a tank: in the end, it is of Falk, not Hermann that the Captain will exclaim - as of a hero - 'What a man!' (180). At the outset, the Captain talks of 'my enemy Falk and my friend Hermann', yet Conrad quite deliberately dissolves and confuses the traditional normative-heroic triad of hero, hero's enemy and hero's ABSTRACT. The thesis seeks to demonstrate that Conrad does not fit at all into the manly-heroic tradition which his work is often approached as belonging to. By tracing the entwining of masculine and homoerotic imagery in his major and minor works, as well as in the often neglected late novels, it is possible to discover ample evidence to suggest that he would be more accurately - if somewhat shockingly for critical tradition placed in the tradition of homosexual literature. Appended to the main body of the thesis is a glossary of homosexual codewords - words that were widely understood to refer to what was then the otherwise unmentionable crime of homosexuality from the late nineteenth and early twentieth centuries. This glossary is drawn both from the homosexual prose and poetry of the era, as well as from what evidence we have of wider public usages in contemporary newspapers, court-reports, diaries, letters, etc.. At present, there is no recognition of, or collation of, the vast majority of these words in any dictionary of historical or sexual slang. CONTENTS. page A NOTE ON THE TEXT ............................................................................. iv LIST OF ABBREVIATIONS ........................................................................ vi INTRODUCTION ..................................................................................... 1 Masculinity, Heroism And Conrad ................................................... 1 The Edwardian Background: Reason, Confidence And Doubt ........................................................................................ 4 Edwardian Doubt: Literature And Uncertainty .............................. 10 Edwardian Manliness, Edwardian Homosexuality ......................... 16 Reading Ambiguity And Sexuality .................................................. 35 Conrad And Homosexuality ............................................................ 40 CHAPTER ONE. 'I am just the man they take me for1 (267): Masculine Identity In Nostromo ...................................................... 48 CHAPTER TWO. 'I did not know how good a man I was till then 1 ('Youth 1, 36): The Heroic Male Identity In Early Conrad 'Folk','Youth'and'The End Of The Tether1 ,...,........,....,,. 93 CHAPTER THREE. 'Hints for nightmares' (41): Confusion And Manhood in Heart Of Darkness .............................................. 124 CHAPTER FOUR. 'On the edge of outer darkness' ('Karain 1, 34); 'something else besides' (Jim. 31): Conrad And The Masculine Hero In Lord Jim, 'Karain' and 'The Secret Sharer' ................................................................................................ 174 CHAPTER FIVE. 'Not exactly a story for boys' ( Chance, 311): Heterosexual Love And The Role Of Women For The Male Hero In Chance, Victory And Other Later Works ................ 228 CHAPTER SIX. 'Only one word to give' (Rescue, 274); 'but had he really anything to conceal? 1 (Suspense, 207): Men, Women And The Question Of Affirmation In The Last Novels The Rescue, The Rover And Suspense .,......,,.,...,,.,. 283 CONCLUSION ........................................................................................ 346 APPENDIX I: A GLOSSARY OF LA TE NINETEENTH AND EARL Y TWENTIETH CENTURY HOMOSEXUAL CODEWORDS ....................... 353 INTRODUCTION TO GLOSSARY ......................................................... 353 GLOSSARY: BRIEF LISTING ........................................................................................ 362 FULL CITATIONS ................................................................................... 364 APPENDIXII: ILLUSTRATIONS ................................................................. 530 A NOTE ON TWO DRAWINGS BY CONRAD ...................................... 530 TWO DRAWINGS BY CONRAD ........................................................... 532 BIBLIOGRAPHY ....................................................................................... 533 IV A NOTE ON THE TEXT. In any quotation from Conrad's writings, dots within square brackets - [...] indicate an omission I have made from Conrad's text; dots not enclosed within square brackets -... indicate an ellipsis already present in Conrad's text. Conrad's writings are peppered with such ellipses and hence some distinction between his ellipses and my omissions needed to be made. However, as the frequent irruption of such brackets does tend to detract somewhat from a smooth passage for the eye across the page, and as no other writer I quote uses ellipses with anything like Conrad's liberality (hence making any confusion between ellipsis and omission unlikely) I have not pursued this policy with the other writers from whom I quote. Double quotation-marks within single quotation-marks -'"....."' ,or single quotation-marks within an indented quotation, are used as customarily, to indicate when the material quoted is direct speech within a text. However, once again, Conrad constitutes a special case: many of his novels, or parts of his novels, are presented in the form of lengthy direct-speech narrations by one character (as, for instance, with Marlow's narration of Heart Of Darkness). In the case of quotations from a passage spoken by any narrator of a work (or of a substantial part of a work), if the passage forms part of the main body of his narration rather than a conversation taking place within that narration, or a conversational exchange with his listeners I have omitted the extra quotation-marks. In the Glossary Citations, bold type indicates the word or phrase whose use the quotation is intended to illustrate, An asterisk following a word or phrase elsewhere in the quotation indicates that the word or phrase so marked is itself a homosexual codeword and that it appears V elsewhere in the Glossary. To avoid unnecessary repetition, the quotation in which the asterisked word appears will not always be repeated under the subsequent or previous citations for that word: such repetition only occurs where the use of the original asterisked word is a particularly significant or striking one. vi LIST OF ABBREVIATIONS. For full details of the texts referred to below, see Bibliography under 'Works By Joseph Conrad'. Folly Almayer's Folly: A Story Of An Eastern River Outcast An Outcast Of The Islands 'Narcissus' The Nigger Of The 'Narcissus': A Tale Of The Sea Jim Lord Jim: A Tale 'Tether' 'The End Of The Tether' Darkness Heart Of Darkness Record A Personal Record 'Preface' to Record 'A Familiar Preface' in A Personal Record Eyes Under Western Eyes Arrow The Arrow Of Gold: A Story Between Two Notes Notes Notes On Life And Letters vii I hate set dissertations - and above all things in the world, 'tis one of the silliest things in one of them, to darken your hypothesis by placing a number of tall, opaque words, one before another, in a right line, betwixt your own and your reader's conception when in all likelihood, if you had looked about, you might have seen something standing,
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