Much like Marlow’s Aunt, Kurtz’s Intended personifies European civilisation – or at least, the idealised, sentimentalised portrayal of Western civilisation disseminated in 19th century Britain. This is reflected in the Intended’s very surroundings, which are lofty, grandiose and ostentatious. The Intended herself is so pale she appears almost anaemic, quite visibly symbolic of purity, piousness and altruism. Indeed, the Intended is frequently connected to images of light and heaven. The Intended has the utmost conviction in Kurtz’s morality and scrupulousness, and remains ignorant of his brutality and depravity. Once again, Conrad has used a woman to embody the utter naiveté and myopia of imperial Europe – the Intended’s romanticised perception of Kurtz echoes Europe’s romanticisation of a truly inhumane and sordid enterprise.
