'The “New World” Explorer\r'

'A common instrument of writers is to look for a terrain or new culture through the eye of a stranger.   A stranger would seek to explore and discover all the facets and aspects of his new environment.   On the dissimilar hand, to introduce the world through the eyes of a resident becomes dull in time as the resident, having been familiar with most of the workings of his world, would leave very much of it that is not within his immediate vicinity unmenti wizardd or unsaid.\r\nIn both the stories Benito Cereno and Daisy milling machine, the protagonist is an American.   He withal has had some familiarity of his environment, but not enough not to make him less of a stranger. This identity is beneficial, as the United States is psychologically set apart from the traditions of doddery europium, and even that of Spanish America.  The protagonists suddenly become pioneers, in their attempts to discover more of their immediate strange and unacquainted(predicate) territory.   This â€Å"New World” effect is more compound as outside of the limited perspective of the protagonist, the condition c arefully and quietly arranges appropriate symbolisms of object, expression and hyphen to give a subtle reference to the traditions, American for Henry Melville, and European for Henry James.\r\nThe immediately recognizable symbolism seen by the protagonists in Benito Cereno and Daisy Miller is stand for through the symbolism of object.   These are embodied in concrete boundarys that have deeper context in their single traditions.   In 19th century America, in Benito Cereno the landmark was the ship of the Spaniard, the San Dominick.   The ship embodies the restless, pioneering spirit, which first brought Europe in contact with the Indians of the Americas; it later becomes the lifeblood of the European colonizers, particularly the Spanish, in the shape of the Galleon Trade and the Slave Trade.   It is theref ore singular that San Dominick represents both institutions in its housing both assess and African slaves (Melville, 140).\r\nHenry James’ Daisy Miller depicts the landmarks as the landscape of the mountains across the Vevey lake, the Chateau de Chillon, and the Colosseum.    The castle represents the hundreds that dot Europe’s country, having been once the affable and cultural boil downs from mediaeval times even to the 18th century, when ruling families and aristocrats reigned in lavish palaces and mansions.  The Alpine mountains are a potful common in gray Europe: from Switzerland, Italy, southern Germany and Austria, and is reminiscent of its kin west in the form of the Pyrenees.  The use of cut, from terminology to architecture, represents the dominant influence of the French since the Enlightenment, and the imagery of Romeâ€from cobbled streets to Colosseum likewise symbolize the economy of Europe’s antiquity throughout its laps ing to contemporary times.\r\nThe fear depicted in both works, meanwhile, are symbols of expressions that, in their descriptions, also indicate the individual mindsets of the peoples of those times: for instance, in the period of Benito Cereno, the threat of plagiarisation was a very real danger encountered by any captain.   The ship was the lifeblood of trade between nations, and in Spain’s case between Empire and colonies. passkey Delano’s spasms of panic at the possibility of the shrine Dominick crew being pirates were understandable.\r\nSocial etiquette was at the center of the â€Å"gentleman’s world” in European social circles.   The fears were more directed at what harmed this â€Å"social order”: scandal.   Thus, in Daisy Miller, the growing fear in Daisy’s open associations with men of questionable nature was that it fomented a scandal among social circles, as mien that openly defied social norms.\r\nDiscrimi nation also plays a substantial role in the fears, which feeds off the protagonists. professional Delano’s worries are fed by the at large(p) actions of the Spanish captain towards the various incidences pointing to the African’s seeming â€Å"equality” with the Spaniardâ€the unpunished abuse by a slave boy towards a Spanish counterpart, the reactions of two slaves upon the brusque action of one Spaniard and the manipulation of the African slave-prince Atufal’s defiance (Melville, 166).  Winterbourne’s fears are borne from the disapproving observations of the women of Daisy’s associations, as is described in Daisy Miller, as well as her habit of button out at night with a broad(a) strangerâ€once attempted with Winterbourne, then truly acted on with Giovanelli.\r\nThe symbolism of structure and style is one that can be discovered after the flash and third reading.   It gives the reader an indication of whether, like the American tradition, the narrative is one linear and direct and realistic or uses subtle undertones, as is done in European cultures.   In Benito Cereno, the paranoia of Captain Delano grows through different images: the sight of the Ashantee slaves with their hatchets (Melville, 161), the comings and goings of members of the Spanish crew (151, 153), and the hushed conversations of his legions and the African aide (153). When the ruse is utmostly discovered, the announcement is swiftly conveyed through an American expedition (189-192).\r\nIn contrast, European literal tradition is more musing and focuses on the varying subtleties of movement and speech.   The resolution, then, is less trenchant if the layers of meanings of the scenes that preceded it was not easily understood.    It was therefore, in Daisy Miller, through the paying attention study of the exchange of words between Winterbourne and Daisy in Chateau de Chillon leading to her sudden change in demeanor, her blue chidings of Winterbourne in Rome of his final words to her in Vevey, and the confrontation between them in the Colosseum, could the tragic final scenes be clearly understood.\r\nWorks Cited\r\nReferences Melville, Herman.  Billy Budd, sailor and Other Stories.  New York: Bantam Books, 1984.\r\nElectronic Sources James, Henry.  â€Å"Daisy Miller”.  Daisy Miller by Henry James.  February 2001, Project Gutenberg, 02 may 2002 <http://www.gutenberg.org/etext/208>.\r\n'