to do the complicated thing with a strong brevity and lucidity — to arrive on behalf of the multiplicity at a certain science of control." To achieve the dual effect of intensity and breadth that defines a novella, it typically features a small cast of characters, a confined physical and temporal setting, and a limited array of themes and motifs developed in a highly evocative way. This description fitsDaisy Miller perfectly, as the narrative consistently centers on Daisy's actions and how others interpret them, a repeated cycle of action and reaction that gains deeper significance over time.

Daisy Miller unfolds over four chapters, with two set in Vevey in June and the other two in Rome during the subsequent winter and spring. Each chapter is organized into a series of scenes that become shorter and more frequent as the story advances, thereby increasing both the pace and the tension. In line with the novella's typical techniques, James employs parallel scenes to develop Daisy and Winterbourne's relationship and to highlight the contrast between Daisy and her social environment. For instance, Daisy goes on an outing with Winterbourne and another with Giovanelli; she is snubbed by Mrs. Costello and later by Mrs. Walker; Winterbourne observes her with Giovanelli multiple times and discusses her repeatedly with his aunt and Mrs. Walker. The most crucial repetitions, however, involve scenes that connect Daisy with gardens and other outdoor settings. Symbolically, these scenes trace the arc of her life. She meets Winterbourne in a Vevey garden in the morning; walks with him and Giovanelli one afternoon in the Pincian Gardens; teases Winterbourne about his Italian rival on the Palatine Hill at sunset; and is surprised by Winterbourne during a moonlit visit to the Colosseum with Giovanelli.

Unlike Daisy, whose inner thoughts and emotions remain hidden, Winterbourne serves as the "central consciousness" of the story. Although the narrative is delivered by an authorial third-person narrator, the settings and other characters are depicted through Winterbourne's perspective. It is his reflections that give meaning to the unfolding events. By using this narrative viewpoint, James shifts the focus from Daisy, the central figure of the action, to Winterbourne, the observer. His insights, hesitations, and shortcomings become a crucial part of the reader's experience. As Winterbourne observes and interprets Daisy, the reader, in turn, scrutinizes and judges him, creating dramatic tension that resides equally in his thoughts and responses as in Daisy's actions.

The major settings—Lake Geneva, Vevey, and the Castle of Chillon in Switzerland, along with the city of Rome, particularly the Pincian Gardens, the Palatine Hill, and the Colosseum—are all associated with leisure, scenic beauty, and sometimes antiquity. These are destinations people visit while on vacation, escaping everyday reality. The enchanting atmosphere of Vevey in June sets the perfect stage for Winterbourne's meeting with Daisy. Their trip to the Castle of Chillon, a site celebrated by Lord Byron in a poem about a Swiss freedom-fighter, adds a romantic layer and underscores Daisy's independence. The Roman settings, well-known to James's readers as major tourist attractions, include the Pincian Gardens and the Palatine Hill, which offer stunning city views and are often crowded with both Italians and foreign visitors. These locations naturally become spots where Daisy is both admired and criticized.

The Colosseum holds various symbolic meanings. Byron highlighted its romantic allure in "Manfred," a notion that comes to Winterbourne's mind during a moonlit visit. Historically a site of gladiatorial combat and Christian martyrdom, it starkly represents society's power to punish those who defy norms. Additionally, at the time of the story and for many years thereafter, the Colosseum was feared as a source of malaria, known as Roman fever, due to the Roman marshes. James subtly parallels the "unhealthy air" of the Colosseum with the toxic atmosphere of the American expatriate community in Rome, suggesting that a delicate flower like Daisy cannot easily thrive in such a corrupted environment.

The overall style of the piece shines brightly, embodying the finest traditions of the novel of manners. The language is marked by the amusing contrast between the Millers' casual American expressions and the more formal speech of the American expatriates. For example, Randolph grumbles that Daisy is "always blowing at me," while Daisy comments that he "don't care much about old castles" and expresses her concern that life in Rome would be "awfully poky." Winterbourne's more polished language reflects not just his higher level of education but also the "stiffness" of his character, which Daisy enjoys mimicking.

In line with their snobbery, Mrs. Costello and Mrs. Walker prefer a refined and elaborate style of speech, often peppering their conversations with foreign phrases. These varied voices blend with that of the authorial narrator, who remains consistently urbane, witty, and ironic. Additionally, the narrative is enriched with vivid imagery and symbolism. Daisy's white dresses, adorned with elaborate ruffles and wide skirts, seem to signify her innocence. Her constant parasol and large fan suggest her connection to the sun. The gardens where she strolls and asserts her freedom symbolize her wholesomeness, while the interiors where the expatriates pass judgment on her reflect their narrow-mindedness.

As a novel of manners, Daisy Miller belongs to the tradition of fiction that depicts the prevailing social behaviors unique to a particular era and location, examining how they influence the characters' viewpoints and actions. This tradition saw its early pinnacle in Jane Austen's Pride and Prejudice (1813), a work highly esteemed by James, and is best exemplified in American literature by Edith Wharton's The Age of Innocence (1920). James's fascination with the "international theme" was partly inspired by Nathaniel Hawthorne's The Marble Faun (1860), which focuses on American artists in Rome and explores the contrasts between American and European customs and cultures, as well as themes like innocence vs. experience and naturalness vs. artificiality.

Daisy is a quintessential representation of the American girl, characterized by her spontaneity, independence, natural demeanor, and generous spirit. Her literary counterparts include Jo March from Louisa May Alcott's Little Women (1868) and Penelope Lapham from William Dean Howells's The Rise of Silas Lapham (1885), along with several of James's later heroines. Due to her independent nature, refreshing candor, and innocence, Daisy can also be compared to the male protagonists of various American novels that focus on adolescents confronting the confines, corruption, or violence of the adult world. Notable among these are Mark Twain's Adventures of Huckleberry Finn (1885), Stephen Crane's The Red Badge of Courage (1895), and J. D. Salinger's The Catcher in the Rye (1951).

James found the character of "the American Girl" to be well-suited to many of his significant themes. He honed and expanded this portrayal through characters like Isabel Archer in The Portrait of a Lady (1881), Milly Theale in The Wings of the Dove (1902), and Maggie Verver in The Golden Bowl (1904).

The international theme present in these works is also central to Roderick Hudson (1875), which tells the tale of a young sculptor who visits Rome and risks squandering his talent. This theme is further explored in The American (1877), the story of a wealthy American businessman who travels to Paris seeking culture and falls in love with an aristocratic woman, only to have their romance thwarted by her family. In The Europeans (1878), the situation is reversed: two Americans born and raised in Europe return to their New England relatives.

In 1974, Peter Bogdanovich directed and produced a cinematic adaptation of Daisy Miller for Paramount Pictures. The film is visually stunning and includes memorable scenes like Winterbourne's first meeting with Daisy in the hotel garden in Vevey and the party at Mrs. Walker's apartment in Rome. The movie also features excellent performances from supporting actresses Eileen Brennan as Mrs. Walker, Mildred Natwick as Mrs. Costello, and Cloris Leachman as Mrs. Miller. However, the overall result is disappointing. Frederic Raphael's screenplay stays true to the original plot and dialogue but emphasizes the failed love story, losing much of James's social and psychological depth. Furthermore, while Barry Brown effectively portrays Winterbourne's conflicted feelings toward Daisy, Cybill Shepherd seems miscast or poorly directed in the title role.