Neither Guilty Or Innocent: Agency In Daisy Miller
Neither Guilty nor Innocent: Agency in “Daisy Miller: A Study” Throughout history, the presumption of innocence has been a preventative tactic to prevent the wrongful conviction of innocent people. In this system, the burden of proof is on the way who declares the action, not the one who denies. However, the distinction between guilt and innocence is dependent upon the agency, the capacity to exert power, of the convicted. The move from innocent to corrupt requires that an action be taken with free will. In Henry James’ “Daisy Miller: A Study,” Daisy Miller suffers due to the ambiguity of innocence and guilt applied to her as a person. Through the use of dehumanizing imagery, the narrative structure which objectifies Daisy, and indirect characterization,
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Daisy and Winterbourne share several moments alone in gardens where Winterbourne waxes lyrically about her innocence. Her flirtations with him do not move from the romantic to the physical; thus, she remains innocent in his mind. It is not until Winterbourne sees Daisy with Giovanelli in the coliseum after dark. Winterbourne, after objectifying Daisy to the point of viewing her as a readable piece of text, comes to the conclusion that, with a “sudden illumination had been flashed upon the ambiguity of Daisy’s behavior and the riddle had become easy to read. She was a young lady whom a gentleman need no longer be at pains to respect.” Winterbourne deems Daisy guilty even as she defends herself against him, saying “I was bound to see the Colosseum by moonlight” (1503). Daisy explains herself in such a way that implies she had no real choice in the situation. She was “bound” to see the Colosseum, just as she been bound by Winterbourne’s reduction of her character. Daisy eventually falls victim to Roman Fever, just as Winterbourne warned her. At her funeral, Giovanelli, this time with no flower in his buttonhole, tells Winterbourne that Daisy was “the most innocent” (1532). Despite hearing this, Winterbourne is hardly changed by her life or death. He returns to Geneva, and the cyclical narration reveals that Winterbourne has resumed his “studying.” Daisy’s death, then, is entirely futile. There is no answer to the question of her innocence or guilt. Because she had no agency in life, she possesses none in
Daisy and Winterbourne share several moments alone in gardens where Winterbourne waxes lyrically about her innocence. Her flirtations with him do not move from the romantic to the physical; thus, she remains innocent in his mind. It is not until Winterbourne sees Daisy with Giovanelli in the coliseum after dark. Winterbourne, after objectifying Daisy to the point of viewing her as a readable piece of text, comes to the conclusion that, with a “sudden illumination had been flashed upon the ambiguity of Daisy’s behavior and the riddle had become easy to read. She was a young lady whom a gentleman need no longer be at pains to respect.” Winterbourne deems Daisy guilty even as she defends herself against him, saying “I was bound to see the Colosseum by moonlight” (1503). Daisy explains herself in such a way that implies she had no real choice in the situation. She was “bound” to see the Colosseum, just as she been bound by Winterbourne’s reduction of her character. Daisy eventually falls victim to Roman Fever, just as Winterbourne warned her. At her funeral, Giovanelli, this time with no flower in his buttonhole, tells Winterbourne that Daisy was “the most innocent” (1532). Despite hearing this, Winterbourne is hardly changed by her life or death. He returns to Geneva, and the cyclical narration reveals that Winterbourne has resumed his “studying.” Daisy’s death, then, is entirely futile. There is no answer to the question of her innocence or guilt. Because she had no agency in life, she possesses none in