Daisy Miller

hana · **مرسل:** الخميس مارس 27, 2008 10:10 pm

[english]Plot summary
The pair first meet in Vevey, Switzerland, where Winterbourne is vacationing from his studies. They are brought together by young Randolph Miller, Daisy's irrepressible brother. Randolph considers his hometown of Schenectady, New York to be far superior to all of Europe, particularly in the quality of candy available. Daisy, though, is absolutely delighted with the Continent, especially the high society she wishes to enter.
Winterbourne is at first confused by her attitude, but soon determines that she is nothing more than a young American flirt. He continues his pursuit of the fair Daisy in spite of the disapproval of his imperious aunt Mrs. Costello, who spurns any family with so close a relationship to their courier as the Millers have with their Eugenio. She also thinks Daisy is a shameless coquette for agreeing to go sight-seeing with Winterbourne after a mere half hour's acquaintance. The two have a fine time touring the Château de Chillon, an old castle, then Winterbourne informs Daisy that he must go to Geneva the next day. Daisy extracts a promise from him to meet her in Rome, and they part.
Winterbourne and Daisy do meet in Rome, unexpectedly in the parlor of Mrs. Walker, a fellow American. Daisy shocks the local society by walking out with Mr. Giovanelli, a handsome young Italian of no status. Daisy is undeterred by the open disapprobation of the other Americans in Rome, and her ineffectual mother seems quite oblivious to underlying tensions. Winterbourne attempts to extricate Daisy from her situation, but she refuses to take any of it seriously.
One night, Winterbourne takes a walk through the Colosseum and finds the couple sitting there. Although some readers have commented that this exploration of the Colosseum is another one of Daisy's foolish vagaries, Winterbourne concludes that Daisy is too common for him to love, and lets her know it. Daisy is heart-broken, and so takes no precautions with her health in spite of Winterbourne's warnings about the deadly "Roman fever" (malaria) that is caught by wandering in the unhealthy night air. Daisy falls ill and dies a few days later. Winterbourne finally realizes that she did reciprocate his feelings for her, in spite of her playful denials, and that she was just an innocent flirt. He goes back to Geneva and resumes his studies and his interest in a "clever foreign lady."
Key themes
This short story serves as both a psychological description of the mind of a young woman, and an analysis of the traditional views of a society where she is a clear outsider. Henry James uses Daisy's story to discuss what he thinks Europeans and Americans believe about each other, and more generally the prejudices common in any culture. In a letter James said that Daisy is the victim of a "social rumpus" that goes on either over her head or beneath her notice.
The names of the characters are also symbolic. Daisy is a flower in full bloom, without inhibitions and in the springtime of her life. Daisy contrasts sharply with Winterbourne, who is more ambivalent and unwilling to commit to any relationship. Flowers die in winter and this is precisely what happens to Daisy, after catching the Roman Fever or, to put it more bluntly, the attention of foreign men. As an objective analogue to this psychological reality, Daisy catches the very real Roman fever, the malaria that was endemic to many Roman neighborhoods in the 19th century.
Henry James,
OM (April 15, 1843 – February 28, 1916), son of theologian Henry James Sr., brother of the philosopher and psychologist William James and diarist Alice James, was an American-born author. He is one of the founders and leaders of a school of realism in fiction; the fine art of his writing has led many academics to consider him the greatest master of the novel and novella form. He spent much of his life in England and became a British subject shortly before his death. He is primarily known for a series of major novels in which he portrayed the encounter of America with Europe. His plots centered on personal relationships, the proper exercise of power in such relationships, and other moral questions. His method of writing from the point of view of a character within a tale allowed him to explore the phenomena of consciousness and perception, and his style in later works has been compared to impressionist painting.
James insisted that writers in Great Britain and America should be allowed the greatest freedom possible in presenting their view of the world, as French authors were. His imaginative use of point of view, interior monologue and unreliable narrators in his own novels and tales brought a new depth and interest to realistic fiction, and foreshadowed the modernist work of the twentieth century. An extraordinarily productive writer, in addition to his voluminous works of fiction he published articles and books of travel writing, biography, autobiography, and criticism,and wrote plays, some of which were performed during his lifetime with moderate success. His theatrical work is thought to have profoundly influenced his later novels and tales.[/english]

hana · **مرسل:** الخميس مارس 27, 2008 10:13 pm

[english]Context
In the autumn of 1877, Henry James (1843–1916) heard a piece of gossip from a friend in Rome about a young American girl traveling with her wealthy but unsophisticated mother in Europe. The girl had met a handsome Italian of “vague identity” and no particular social standing and attempted to introduce him into the exclusive society of expatriate Americans in Rome. The incident had ended in a snub of some sort, a “small social check . . . of no great gravity,” the exact nature of which James promptly forgot. Nevertheless, in the margin of the notebook where he recorded the anecdote, he wrote “Dramatise, dramatise!” He never knew the young lady in question or heard mention of her again, but he proceeded to immortalize the idea of her in Daisy Miller.

A native of New York, James had been born into a world of ideas and letters. His father, an amateur philosopher and theologian who had inherited a considerable fortune, socialized with all the leading intellectuals of the day. Henry’s older brother, William, would become a key figure in the emerging science of psychology. In 1855, when James was twelve, the family embarked on a three-year tour of Europe that included London, Paris, and Geneva. The experience was to have a profound influence on James’s life and writing. In addition to European art and culture, the trip exposed him to the erudition of European society. It also put him in an ideal position to observe the contrasts between New and Old World values, a conflict that was to appear repeatedly in James’s fiction as “the international theme.”
Daisy Miller was first published in the June and July 1878 issues of the British magazine Cornhill. It was an instant success, transforming James into an author of international standing. The novel’s popularity almost certainly derived from the portrait at its center, of a naïve, overly self-confident, and rather vulgar American girl attempting to inhabit the rarified atmosphere of European high society.
The post–Civil War industrial boom had given rise to a new class of wealthy Americans for whom “the grand tour,” an extended trip through Europe, represented the pinnacle of social and financial success. As a result, Americans were visiting Europe for the first time in record numbers. However, American manners differed greatly from European manners, and the Americans were largely ignorant of the customs of Europeans of comparable social status. Between these two groups lay a third: wealthy American expatriates whose strict observance of the Old World standards of propriety outdid even the Europeans.
Daisy Miller, fresh from the high society of Schenectady, New York, neither knows nor cares about local notions of propriety, and the conflict between her free-spirited foolishness and the society she offends is at the heart of the novel. Daisy Miller has been hailed as the first “international novel,” but it is also an early treatment of another theme that was to absorb James throughout his career: the phenomenon of the life unlived. In a novel incorporating this theme, the protagonist, owing to some aspect of his or her own character, such as an unconscious fear or a lack of passion or feeling, lets some opportunity for happiness go by and realizes it too late. In Daisy Miller, such a protagonist is Winterbourne, who spends the entire novel trying to figure out Daisy. In fact, it has been argued that Daisy Miller isn’t really so much about Daisy herself as it is about Winterbourne’s wholesale failure to understand her.[/english]

hana · **مرسل:** الخميس مارس 27, 2008 10:14 pm

[english]Plot Overview
At a hotel in the resort town of Vevey, Switzerland, a young American named Winterbourne meets a rich, pretty American girl named Daisy Miller, who is traveling around Europe with her mother and her younger brother, Randolph. Winterbourne, who has lived in Geneva most of his life, is both charmed and mystified by Daisy, who is less proper than the European girls he has encountered. She seems wonderfully spontaneous, if a little crass and “uncultivated.” Despite the fact that Mrs. Costello, his aunt, strongly disapproves of the Millers and flatly refuses to be introduced to Daisy, Winterbourne spends time with Daisy at Vevey and even accompanies her, unchaperoned, to Chillon Castle, a famous local tourist attraction.

The following winter, Winterbourne goes to Rome, knowing Daisy will be there, and is distressed to learn from his aunt that she has taken up with a number of well-known fortune hunters and become the talk of the town. She has one suitor in particular, a handsome Italian named Mr. Giovanelli, of uncertain background, whose conduct with Daisy mystifies Winterbourne and scandalizes the American community in Rome. Among those scandalized is Mrs. Walker, who is at the center of Rome’s fashionable society.
Both Mrs. Walker and Winterbourne attempt to warn Daisy about the effect her behavior is having on her reputation, but she refuses to listen. As Daisy spends increasingly more time with Mr. Giovanelli, Winterbourne begins to have doubts about her character and how to interpret her behavior. He also becomes uncertain about the nature of Daisy’s relationship with Mr. Giovanelli. Sometimes Daisy tells him they are engaged, and other times she tells him they are not.
One night, on his way home from a dinner party, Winterbourne passes the Coliseum and decides to look at it by moonlight, braving the bad night air that is known to cause “Roman fever,” which is malaria. He finds Daisy and Mr. Giovanelli there and immediately comes to the conclusion that she is too lacking in self-respect to bother about. Winterbourne is still concerned for Daisy’s health, however, and he reproaches Giovanelli and urges him to get her safely home.
A few days later, Daisy becomes gravely ill, and she dies soon after. Before dying, she gives her mother a message to pass on to Winterbourne that indicates that she cared what he thought about her after all. At the time, he does not understand it, but a year later, still thinking about Daisy, he tells his aunt that he made a great mistake and has lived in Europe too long. Nevertheless, he returns to Geneva and his former life.
Character List
Daisy Miller - A rich, pretty, American girl traveling through Europe with her mother and younger brother. Daisy wants to be exposed to European high society but refuses to conform to old-world notions of propriety laid down by the expatriate community there. In Rome, she becomes involved with an Italian man named Giovanelli, and she eventually dies from malaria as a result of being outside with him at night. Along with Winterbourne, Daisy is the novel’s other possible protagonist.
Daisy Miller (In-Depth Analysis)

Winterbourne - A young American who has lived most of his life in Geneva. Winterbourne is the novel’s central narrative consciousness and possibly the protagonist. He is initially intrigued by Daisy because of her frivolity and independence, but he eventually loses respect for her. After she dies, however, he regrets his harsh judgment and wonders if he made a mistake in dismissing her so quickly.
Winterbourne (In-Depth Analysis)
Randolph Miller - Daisy’s younger brother. Randolph is a loud, ill-mannered, ungovernable little boy of about nine or ten.
Mrs. Miller - Daisy and Randolph’s vague, weak, ineffectual mother. Mrs. Miller seems obsessed with her health and is utterly incapable of governing the behavior of her children. She is silly and clueless, but when Daisy falls ill, she proves “a most judicious and efficient nurse.”
Mrs. Costello - Winterbourne’s aunt, a shallow, self-important woman who seems genuinely fond of Winterbourne. Mrs. Costello is the voice of snobbish high society. She also fulfills the role of “confidante,” a frequent figure in Henry James’s novels.
Eugenio - The Millers’ supercilious interpreter/guide, often referred to as “the courier.” Eugenio has better judgment and a greater sense of propriety than either Daisy or Mrs. Miller and often treats them with thinly veiled contempt.

Mrs. Walker - A wealthy, well-connected American widow who lives in Rome, knows Winterbourne from Geneva, and has befriended Daisy. Mrs. Walker shares the values of the rest of the American expatriate community, but she genuinely seems to care what happens to Daisy and tries to save her.
Mr. Giovanelli - An Italian of unknown background and origins. Mr. Giovanelli’s indiscreet friendship with Daisy is misinterpreted by the American expatriate community and leads, directly or indirectly, to Daisy’s ostracism and death.[/english]

hana · **مرسل:** الخميس مارس 27, 2008 10:15 pm

[english]Analysis of Major Characters
Daisy Miller
Daisy Miller is a wealthy, young, American girl from upstate New York, traveling around Europe with her mother and younger brother. Daisy is a curious mixture of traits. She is spirited, independent, and well meaning, but she is also shallow, ignorant, and provincial—almost laughably so. She offers the opinion that Europe is “perfectly sweet,” talks with shameless monotony about the tiresome details of her family’s habits and idiosyncrasies, thinks Winterbourne might know an Englishwoman she met on the train because they both live in Europe, and wonders if Winterbourne has heard of a little place called New York. Daisy is also a tiresome flirt. She has no social graces or conversational gifts, such as charm, wit, and a talent for repartee, and she is really interested only in manipulating men and making herself the center of attention.

Throughout Daisy Miller, Winterbourne obsesses over the question of whether Daisy is a “nice” girl, and Daisy’s behavior never reveals whether she is or isn’t. Winterbourne accepts that Daisy is vulgar but wonders whether she is innocent, and we never really find out the truth. Daisy does often seem less than innocent—Winterbourne does, after all, catch her with Mr. Giovanelli late at night at the Coliseum. However, whether such actions are or are not appropriate is more a matter of social convention than any firm moral expectation. In the end, the truth we find out about Daisy is only what Winterbourne thinks is true.
Winterbourne
An American who has lived most of his life in Europe, Winterbourne is the type of Europeanized expatriate that Mrs. Costello and Mrs. Walker also represent. He is also closely associated with New England Puritanism: he makes his home in Geneva, “the dark old city at the other end of the lake” that James is at pains to identify as the wellspring of Calvinism, not out of necessity but by choice. In many ways, Winterbourne is as central a character as Daisy and may very well be the story’s true protagonist. Certainly, he is the novel’s central consciousness, the character through whose eyes we see and experience everything.
Early on, we are told that Winterbourne is “addicted to observing and analyzing” feminine beauty. However, he does not appear to be a very deep or discriminating thinker. He spends time with his aunt not because of affection or because he takes pleasure in her company, but because he has been taught that “one must always be attentive to one’s aunt.” Winterbourne seems to hold in high regard what Mrs. Costello tells him, about the Millers as much as anything else. Out loud he defends Daisy, albeit rather feebly, but the whole novel is, in a sense, the story of Winterbourne’s attempts and inability to define Daisy in clear moral terms. Winterbourne is preoccupied with analyzing Daisy’s character. He wants to be able to define and categorize her, pin her down to some known class of woman that he understands. Daisy is a novelty to him. Her candor and spontaneity charm him, but he is also mystified by her lack of concern for the social niceties and the rules of propriety that have been laid down by centuries of European civilization and adopted by the American community in Rome. He befriends Daisy and tries to save her but ultimately decides that she is morally beyond redemption.
Themes, Motifs, and Symbols
Themes
Themes are the fundamental and often universal ideas explored in a literary work.
Americans Abroad
Daisy Miller was one of James’s earliest treatments of one of the themes for which he became best known: the expatriate or footloose American abroad. Americans abroad was a subject very much of the moment in the years after the Civil War. The postwar boom, the so-called Gilded Age, had given rise to a new class of American businessman, whose stylish families were eager to make “the grand tour” and expose themselves to the art and culture of the Old World. Americans were visiting Europe for the first time in record numbers, and the clash between the two cultures was a novel and widespread phenomenon.
James was of two minds about the American character. By temperament, he was more sympathetic with the European way of life, with its emphasis on culture, education, and the art of conversation. Like most Europeans, he saw his compatriots as boorish, undereducated, and absurdly provincial, unaware of a vast and centuries-old world outside their own new and expanding dominions. However, he was also fascinated by the poignant innocence of the American national character, with its emphasis on earnestness rather than artifice. In later novels, such as The Portrait of a Lady and The American, James would continue to explore the moral implications of an artlessness that, like Daisy’s, cannot defend itself against the worldliness and cynicism of a decadent society based, necessarily, on hypocrisy.
The Sadness and Safety of the Unlived Life
If the American abroad was James’s signature theme, that of the unlived life was his almost perpetual subtext. Repeatedly in James’s novels and stories, characters focus their attention on an abstraction, an ideal or idea they feel they could figure out or achieve if only they could devote their spirit or intellectual faculties to it with sufficient understanding or patience. Again and again, they realize too late that whatever it was they sought to understand or achieve, whatever they waited for, has passed them by and that they have wasted their whole life—or, like Winterbourne, they never fully arrive at that realization. One way of looking at Daisy Miller is to conclude that the whole issue of Daisy’s character is beside the point, a red herring that distracts Winterbourne from the business of living. In that case, the heart of the novel would be Winterbourne’s character, and the fear or lack of passion that causes him to hide from life behind the ultimately unimportant conundrum of Daisy’s innocence, or lack thereof.
Motifs
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.
Gossip
Daisy Miller is a story about gossip couched as a piece of gossip, an anecdote told by a narrator who not only was not involved in the events described but who doesn’t really care very much about them. The narrator sees the whole incident with detached amusement, as a pleasant way of diverting his listeners. Daisy Miller originated with a piece of gossip James had heard from a friend while visiting Rome, but the story had a nonending—someone got snubbed, that was all. James has been criticized for adding the melodramatic element of Daisy’s death. In a sense, though, by underselling the story as a piece of inconsequential gossip, James heightens the poignancy of Daisy’s fate. The fact that Daisy dies and no one seems to care much makes her death all the more sad.
Innocence
Throughout Daisy Miller, Winterbourne is preoccupied with the question of whether Daisy is innocent. The word innocent appears repeatedly, always with a different shade of meaning. Innocent had three meanings in James’s day. First, it could have meant “ignorant” or “uninstructed.” Daisy is “innocent” of the art of conversation, for example. It could also have meant “naïve,” as it does today. Mrs. Costello uses the word in this sense when she calls Winterbourne “too innocent” in Chapter 2. Finally, when Winterbourne protests, twirling his moustache in a sinister fashion, he invokes the third meaning, “not having done harm or wrong.”
This third sense is the one that preoccupies Winterbourne as he tries to come to a decision about Daisy. He initially judges the Millers to be merely “very ignorant” and “very innocent,” and he assesses Daisy as a “harmless” flirt. As the novel progresses, he becomes increasingly absorbed in the question of her culpability. He fears she is guilty not of any particular sex act per se but merely of a vulgar mindset, a lack of concern for modesty and decency, which would put her beyond his interest or concern. One could argue that it is the way in which Daisy embodies all the different meanings of “innocence” that is her downfall.[/english]

hana · **مرسل:** الخميس مارس 27, 2008 10:16 pm

[english]Symbols
Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.
Daisy and Randolph
The most frequently noted symbols in Daisy Miller are Daisy herself and her younger brother, Randolph. Daisy is often seen as representing America: she is young, fresh, ingenuous, clueless, naïve, innocent, well meaning, self-centered, untaught, scornful of convention, unaware of social distinctions, utterly lacking in any sense of propriety, and unwilling to adapt to the mores and standards of others. These traits have no fixed moral content, and nearly all of them can be regarded as either virtues or faults. However, Randolph is a different matter. He is a thinly veiled comment on the type of the “ugly American” tourist: boorish, boastful, and stridently nationalistic.
The Coliseum
The Coliseum is where Daisy’s final encounter with Winterbourne takes place and where she contracts the fever that will kill her. It is a vast arena, famous as a site of gladiatorial games and where centuries of Christian martyrdoms took place. As such, it is a symbol of sacrificed innocence. When Daisy first sees Winterbourne in the moonlight, he overhears her telling Giovanelli that “he looks at us as one of the old lions or tigers may have looked at the Christian martyrs!” In fact, the Coliseum is, in a sense, where Winterbourne throws Daisy to the lions and where he decides she has indeed sacrificed her innocence. It is where he decides to wash his hands of her because she is not worth saving or even worrying about.
Rome and Geneva
Daisy Miller’s setting in the capitals of Italy and Switzerland is significant on a number of levels. Both countries had strong associations with the Romantic poets, whom Winterbourne greatly admires. Mary Shelley’s Frankenstein takes place largely in Switzerland, and Mary Shelley wrote it during the time that she, Percy Bysshe Shelley, and Lord Byron sojourned at Lake Geneva. Mary Shelley and John Keats are both buried in the Protestant Cemetery, which becomes Daisy’s own final resting place. For the purposes of Daisy Miller, the two countries represent opposing values embodied by their capital cities, Rome and Geneva. Geneva was the birthplace of Calvinism, the fanatical protestant sect that influenced so much of American culture, New England in particular. Geneva is referred to as “the dark old city at the other end of the lake.” It is also Winterbourne’s chosen place of residence.
Rome had many associations for cultivated people like Winterbourne and Mrs. Costello. It was a city of contrasts. As a cradle of ancient civilization and the birthplace of the Renaissance, it represented both glory and corruption, a society whose greatness had brought about its own destruction. Rome is a city of ruins, which suggest death and decay. Rome is also a city of sophistication, the Machiavellian mind-set. In a sense, Rome represents the antithesis of everything Daisy stands for—freshness, youth, ingenuousness, candor, innocence, and naïveté.
Important Quotations Explained
1. I hardly know whether it was the analogies or the differences that were uppermost in the mind of a young American, who, two or three years ago, sat in the garden of the ‘Trois Couronnes,’ looking about him, rather idly, at some of the graceful objects I have mentioned.

One of the most notable aspects of Daisy Miller is the narrative voice that James chose to recount the story of Winterbourne and Daisy. It is a curiously hybrid voice, neither omniscient nor personally involved. The conventional narrative options open to James were first person, third-person omniscient, and third-person limited perspective, which is in fact the voice in which the vast majority of Daisy Miller is told. The voice is third person, and the limited perspective is that of Winterbourne. Before settling into this voice, however, James introduces the third-person narrator by having him speak in the first person—as in this quotation from early in Chapter 1. It is a transitional sentence that takes us from the initial panning shot of the town of Vevey to a close-up of the central character.
In this quote, the voice of the narrator is breezy and conversational, and like the statement that the scene we are zooming in on occurred “two or three years ago,” it has the effect of seeming to place the entire novel within the framework of a particularly delicious piece of gossip. At the end of the novel, after Daisy’s death, this voice resurfaces briefly, just long enough to relay the latest piece of gossip about Winterbourne, which turns out merely to reiterate this first report.
2. I haven’t the least idea what such young ladies expect a man to do. But I really think that you had better not meddle with little American girls that are uncultivated, as you call them. You have lived too long out of the country. You will be sure to make some great mistake.
Mrs. Costello says these words to Winterbourne when they discuss Daisy in Chapter 2. The passage is an instance of foreshadowing, as it looks forward to the novel’s closing paragraphs, in which Winterbourne acknowledges to his aunt that he misjudged Daisy and tells her she was right about him having been “booked to make a mistake.” This mistake may be only Winterbourne’s error of judgment, the mistake of having misread Daisy. The context, however, implies that the mistake is more than this—some sort of error of omission, something he might actually have done in the context of his relationship with Daisy to change the course of events. After all, Mrs. Costello had warned him against making “a great mistake,” and he tells her that is what happened. Particularly ironic and poignant is the fact that Winterbourne went back to Geneva, where he is the subject of the same rumors that there have always been about him. The implication is that whatever it was he learned has had no effect on him. His easy return to his former life suggests that the episode with Daisy may as well have never taken place.
Key Facts
FULL TITLE • Daisy Miller: A Study
AUTHOR • Henry James
TYPE OF WORK • Novella
GENRE • Comedy/tragedy of manners
LANGUAGE • English
TIME AND PLACE WRITTEN • Spring of 1877, London
DATE OF FIRST PUBLICATION • Summer 1877
PUBLISHER • The Cornhill magazine
NARRATOR • Third-person limited
POINT OF VIEW • Winterbourne’s
TONE • Light, easy-going, at times almost conversational; unsentimental; ironic

TENSE • Past
SETTING (TIME) • The 1870s; “three or four years” before the telling of the story
SETTING (PLACE) • Vevey, Switzerland (Chapters 1 and 2); Rome, Italy (Chapters 3 and 4)
PROTAGONIST • Daisy and/or Winterbourne
MAJOR CONFLICT • Daisy’s refusal to conform to the strict European laws of propriety that govern behavior, particularly relations between young unmarried people of the opposite sex, raises eyebrows among Rome’s high society.
RISING ACTION • Winterbourne meets Daisy and is charmed and intrigued but also mystified by her.
CLIMAX • Winterbourne finds Daisy alone with Giovanelli in the Coliseum and decides she is too unprincipled to continue troubling himself about.
FALLING ACTION • Daisy realizes that she has lost Winterbourne’s respect, falls ill, sends a message to him through her mother, and dies.
THEMES • Americans abroad; the sadness and safety of the unlived life
MOTIFS • Gossip; innocence
SYMBOLS • Daisy and Randolph; the Coliseum; Rome and Geneva
FORESHADOWING • Mrs. Costello’s attempt to warn Winterbourne against making “a great mistake” about Daisy (Chapter 2) looks forward to his too-late understanding of her at the end of the novel. The scene in which Winterbourne sees Daisy walking above the burial mounds at the Palace of the Caesars (Chapter 4), like the numerous references to “the Roman fever” (Chapters 3 and 4), prefigures her death.[/english]

Raghad · **مرسل:** الجمعة مارس 28, 2008 2:33 am

Thank u Hana for your efforts

but I think that it is very long

It was better to divide your topics for many weeks so that we can read each one perectly

Thank u anyway

Tami · **مرسل:** الجمعة مارس 28, 2008 2:43 am

hana,

اقتباس:

It was better to divide your topics for many weeks so that we can read each one perectly

perfectly

That is the only way to read all of the topic...because it is very very long...
hana,
God bless your efforts...

hana · **مرسل:** الأربعاء إبريل 09, 2008 4:19 pm

thank you Tami, and Raghad,
at the next time i will be carefull about this point

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