This paper argues that Conrad, though seemingly sceptical on Christianity, uses a complex network of religious symbols in Victory in order to present the victory of Christian love over Satanic forces. The symbolic structure of the novel is based on a struggle between two forces for the soul of the central character Axel Heyst: the force of the Christ and the Satanic force which are symbolically represented by Lena and Jones respectively. While Lena and Jones consistently represent the good and the evil respectively, Heyst is an ambiguous character, standing midway between the two or belonging to both of them in turn. And through the victory of Lena`s Christ-like virtues over Jones` evil powers, Heyst`s soul is redeemed in the end. The victory in Victory is ultimately that of human goodness over the evil forces in the world. This human goodness is represented by the self-sacrificing love of a human being for another, the supreme virtue in Christianity. In this novel, Conrad dramatically emphasizes the value of human goodness through his effective use of religious symbols. (Kwangwoon University)