Daisy's Ghost: a feminist reading by Daisy MillerSay no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essayThe novel Daisy Miller is set in the late 18th century, among high-class European society. At that time, feminism was poorly understood and even misunderstood, both by the sexes and by different social classes. Often a feminist woman, such as a writer, would be accused of plagiarism for their work, with critics assuming that no woman could create such original ideas. In other cases, female authors used pen names to conceal their identities and thus avoid such dilemmas. Women were seen as lacking independent ideals and originality in general. They were assumed to be submissive both to their husbands and to the traditions and values ​​of the time. This is how Daisy Miller's women are depicted, in direct contrast to Daisy herself. Shortly after Daisy Miller was written, several literary magazines featured their reviews of Daisy. In 1879, one in particular responded in a manner typical and expected of that era, and exactly reflected Daisy Miller's characters who participate in the punishment for her actions. Lipponcott Magazine wrote: "Miss Daisy Miller, in almost every circle of society, in any town here, would be regarded with pity bordering on contempt" (What's in a Name? James, "Daisy Miller , Monteiro 252). Throughout the plot. , Daisy is constantly berated for her rebellious actions by those who neither understand nor recognize her progressivism. In the novel Daisy Miller, Daisy's death is an example of societies failure to recognize and understand feminism, and is highlighted through character development, symbolism, and accompanying conflict. Daisy Miller is told almost exclusively through the perspective of Winterbourne, a young American gentleman who has lived most of his life in the city of Geneva. Calculative and observant, Winterbourne spends the majority of the novel analyzing Daisy and her movements. Although the novel centers on Daisy, Winterbourne is the consciousness through which we perceive Daisy, and therefore the conflict. It is significant that the character through whom we perceive Daisy has difficulty understanding her. Winterbourne often remarks on Daisy's beauty, graceful movements and dress: “He was very fond of feminine beauty; he was addicted to observing and analyzing it; and regarding the face of this young woman, he made several observations” – yet he fails to understand his motivations behind the socially erratic behavior constantly displayed (James 16). He's looking for a formula, a way to categorize Daisy into something comprehensible. However, she doesn't fit in, and so Winterbourne assumes that it was her own wrongdoing and Daisy's inherent fault that made her this way. “Winterbourne allowed himself only two possible visions of Daisy, good or bad, which does not suggest that he had learned to make distinctions in the “immense sensitivity” of human experience” (Daisy Miller and the metaphysician, Wilson and Westbrook 270). When Daisy dies, Winterbourne is sad, but almost relieved to be free of the confusion she has given him. “She was a young lady whom a gentleman no longer needs take care to respect. had cared so much about the proper way of regarding Miss Daisy Miller” (James 141) With Daisy's death, Winterbourne can return to his “studies” and his normal way of life, normality being a life coinciding with society and itsactivities. traditions and values, without the stress and distraction of Daisy's behavior. He realizes, however, and too late, that he has misjudged Daisy – but he does not change “…He knows that he has wronged Daisy because he has stayed abroad too long. has become too rigid in his values, but his knowledge does not change him. The author's voice concludes the story by mocking Winterbourne's return” (Daisy Miller: A Study of Changing Intentions, Ohmann 6). While Winterbourne represents assimilation into European ways, its late revelation represents the failure of society and disregard for Daisy's independent and progressive actions. The other man in Daisy's life is captured in the charming and experienced Italian Giovanelli. A somewhat vague character, he comes from unknown origins and is aptly characterized as acting as such: "Giovanninelli chatted and joked and made himself wonderfully agreeable." It was true that if he was an imitation, the imitation was brilliant” (Jacques 96). Playing the role of Daisy's occasional love interest, Giovanelli portrays the flirtatious native and acts as a symbol of Daisy's rebellion. “Daisy was willing to rely on her own judgment and befriend Giovanelli in defiance of society…” (Daisy Miller, Western Hero, Coffin 273). It is also important to note the similarities between Daisy and Giovanelli. Both natural flirts, they are not afraid to do what they want, while holding each other in high esteem. Maybe that's what brings them together. “Only the fortune hunter Giovanelli, observing society with a certain objectivity, is capable of feeling that Daisy is “the most innocent” of creatures who simply does what she wants” (Coffin 273). Giovanelli certainly seems more aware of the implications of his behavior, as his actions are practiced and made "pleasurable." “He must have known, without needing any information from Mrs. Walker, that Daisy's reputation would be harmed if she walked with him on the Pincio” (Wilson and Westbrook 273). However, Giovanelli is simply distrusted, while Daisy is constantly reprimanded and persuaded to change her behavior. As a woman, her actions are not marginalized by her society. Giovanelli, on the other hand, is at least understood. “It is not, however, the familiar foreign object that threatens American integrity; Giovanelli, as Mrs. Walker proves, is easily studied” (Reassembling Daisy Miller, Wardley 246). He has a place in society, even if it is not entirely respectable. He simply goes on with his life, like Winterbourne, while Daisy dies "...a victim of rigid social conventions" (The Revision of Daisy Miller, Dunbar 311). An example for the inability of societies to understand and accept his actions. Another smaller man in Daisy's life is her younger brother, Randolph. Winterbourne's first impression of this young American is that of the turbulence and boldness of the stereotypical American male. “Will you give me a piece of sugar?” “” he asked in a small, high, harsh voice – an immature voice and yet somehow not young” (James 8). Some of Winterbourne's first comments concern Randolph's schooling, as his behavior and knowledge seem erratic to Winterbourne. Randolph acts as an opening for Daisy, and his character is mirrored in Daisy's. “Both are in a primary state of development. Both follow their inclinations. For his role as the one who introduces Daisy to Winterbourne, Randolph is particularly appropriate” (Wilson and Westbrook 276). Another significance of Winterbourne first meeting Daisy's younger brother is that Winterbourne now expects Daisy to be "an American girl"(James 9). His point of view is already biased; before meeting Daisy Winterbourne, he had already formed an opinion. In addition to Daisy Miller's token men, the women, with the exception of Daisy herself, act as supporting characters in the conflict and development of the novel. Starting with Daisy's mother, Mrs. Miller, a vague, somewhat weak and ineffective mother, her presence is not often physically noticed. This lack of a motherly voice contributes to the idea that Daisy's death is inevitable. Without a strong mother figure, the symbolism of Daisy's innocence is illustrated. "Mrs. Miller's happy indifference to her daughter's position provides a clue to Daisy's classic nonchalance" (Archetypes of American Innocence: Lydia Blood and Daisy Miller. Kar 33). Even her mother fails to do so. understand, for lack of trying or general ability, the conclusion remains the same: Daisy's death occurs while her mother is represented by a somewhat idiotic, marginalized and idle figure Mrs. Walker, a strict European, berates Mrs. Miller. saying to her, “Have you ever seen anything as stupid as her mother (Jacques 98) Daisy's mother does not reprimand her daughter, because she sees no fault in her actions, she is not? conscious of the social blasphemy that Daisy commits and the ostracism to which she is subjected. On the other hand, Daisy is hounded for her actions by the two other women present in the novel, Mrs. Costello and Mrs. Walker is the aunt. of Winterbourne and represents the ideal, respectable woman of Europe in the late 1800s. She is refined, correct and quite the opposite of everything that Daisy embodies. “His principles of value have been established for a long time: he just needs to apply them” (Ohmann 5). Mrs. Costello constantly engages in harsh criticism of Daisy's behavior, she is baffled that anyone could behave in such a vulgar manner. She says: “I'm an old woman, but I'm not too old – thank God – to be shocked! » (James 40). Society accepts and even reveres Mrs. Costello, while ostracizing Daisy. Mrs. Costello is right, and like her counterpart, Daisy is wrong. Daisy's death has become inevitable, because Mrs. Costello, who represents the company, continues to live. “In the social evaluation that concerns us here, the need for death appears motivated by the demands of the victim's relationship with society: society demands the sacrifice of its adversaries” (Daisy Miller, Tradition, and the European Heroine, Deakin 46). Daisy's behavior is condemned without trial and results in death. The other woman in Daisy's life is Mrs. Walker, who differs from Mrs. Costello in that she seems mildly concerned about Daisy's well-being. Although she is strict in her manners and reprimands, it is not with the same vehement energy as Mrs. Costello. It should also be noted that Mrs. Walker is a widow, an independent woman living far from her home country in Europe. She is strong and speaks her mind, but her opinion parallels the rigidity of European customs. This does not bode well for Daisy, as she is alone in her rebellious actions. Mrs. Walker is well aware of social customs, as an assimilated American, and repeatedly tries to dissuade Daisy from these actions. Some comments include: “I don't think it's safe, darling,” “This is just so scary...this girl shouldn't do this kind of thing.” She shouldn't come here with you two. Fifty people noticed her” (James 86, 98). She, too, is convinced that Daisy's actions are horribly vulgar, and although she attempts to straighten Daisy's path with reprimands, she ultimately condemns Daisy to her fate. Daisy Miller is loaded with symbolism, from the characters listed previously todecor and at various landmarks. Above all, there is the symbolism of Daisy, both in her name and in her behavior. The daisy is a common flower that grows wild, often in bright yellow or white colors and associated with cheerfulness and joy. The surname Miller is also extremely common. “And in the choice of the name, Daisy, he perhaps suggested its simplicity and spontaneous beauty” (Ohmann 9). Thus, Daisy, by her name alone, symbolizes community, cheerfulness and a kind of wildness. These characteristics reflect her naive and rebellious personality and support her as a symbol of innocence and as a character who demonstrates an unwillingness to assimilate to the values ​​and high expectations of European society. “'I don't think I want to know what you mean...I don't think I should like it'” (James 102). Furthermore, “Daisy only vaguely understands the ideal of freedom she symbolizes” (Deakon 56). Because of her failure to comply, “society must punish her; she must, one could even say if he considers her death as something more than an accident, consider her as a victim” (Deakon 56). the name Winterbourne, with the root winter, evokes cold and frigidity . This juxtaposition of Daisy and Winterbourne's simple names symbolizes the marked differences present in their characters. Namely the differences in the way they behave, with Winterbourne willingly assimilating to European customs and Daisy blatantly ignoring them. Winterbourne embodies society and its inability to recognize and understand feminism, which is Daisy Miller. “Daisy baffles Winterbourne...with her lack of complexity and openness of her motivations. He, like other sophisticates, cannot read simplicity. This same inability, of course, also causes Roman society to reject Daisy” (Coffin 273). Daisy is certainly not a perfect feminist, but whether she is fully aware of her actions or blatantly unconscious and innocent is irrelevant to the ultimate effect of her difference and society's incapacity to accept it or even understand it. Another symbol of the death of Daisy the Colosseum is a martyr to feminism. In ancient Rome, this monumental architecture was often used to entertain the masses through gladiatorial combat, in which thousands of individuals, against their will, were murdered for the sake of entertainment. It embodies a place of sacrificed innocence. Daisy's reasoning for going to the Colosseum is one of simplicity and innocence, stating: "I had to see the Colosseum by moonlight – I wouldn't have wanted to go home without it..." (Jacques 144). It is on these deceptive grounds that Daisy catches malaria, or as it is called in the novel, “Roman fever.” “But the Colosseum is also dangerous, for here lurks malaria, a mysterious malignancy inseparable from the beauty and charm of its surroundings” (Deakon 54). Daisy's end is both symbolized and foreshadowed in her visit to this monument of sacrifice and death. Daisy Miller's setting also contributes to Daisy's death being that of an example. Overall, the setting is European, already foreshadowing Daisy's ostracism. Because she and her family are not in their home environment, it is foreign to them, just as their actions, especially those of Daisy, are foreign to Americans assimilated into European customs. » Placing Daisy Miller in this European tradition is to shift the landscape. interpretation of Daisy's character, from the conventional emphasis on her innocence to her equally significant rebellious independence. His social ostracism and death become the model one might expect from the champion and martyr of.