Get PDF Chaucer for Children / A Golden Key by Mrs. H. R. Haweis : (full image Illustrated)

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Original text and modern poetical version in parallel columns. Slight splitting at inner hinge, faint rubbing at extremities with slight fading at spine, otherwise sound, close very good with clean text and plates. Seller Inventory C More information about this seller Contact this seller 4. Language: English. Brand new Book. This is a copious and judicious selection from Chaucer's Tales, with full notes on the history, manners, customs, and language of the fourteenth century, with marginal glossary and a literal poetical version in modern English in parallel columns with the original poetry.

Six of the Canterbury Tales are thus presented, in sections of from 10 to lines, mingled with prose narrative. It may be profitably studied in connection with the maps and illustrations of 'Chaucer for Children. Haweis's "Chaucer for Schools. The chapter cannot be too highly praised.

Haweis with the rare productions of the father of English poetry. Haweis has prepared a great assistance for boys and girls who have to make the acquaintance of the poet. Even grown people, who like their reading made easy for them, will find the book a pleasant companion. Haweis's book displays throughout most excellent and patient workmanship, and it cannot fail to induce many to make themselves more fully acquainted with the writings of the father of English literature.

Haweis is, of course, an enthusiast, and her enthusiasm is contagious. Her volume ought to be included in all lists of school books-at least, in schools where boys and girls are supposed to be laying the foundations of a liberal education. Haweis has, by her "Chaucer for Schools," rendered invaluable assistance to those who are anxious to promote the study of English literature in our higher and middle-grade schools. Although this edition of Chaucer has been expressly prepared for school use, it will be of great service to many adult readers.

Seller Inventory APC More information about this seller Contact this seller 5. More information about this seller Contact this seller 6. Published by Forgotten Books. About this Item: Forgotten Books.

Visualizing Chaucer: Bibliography | Robbins Library Digital Projects

Condition: Brand New. Seller Inventory zk More information about this seller Contact this seller 7. Published by Forgotten Books About this Item: Forgotten Books, Seller Inventory M More information about this seller Contact this seller 8. Never used!. Seller Inventory P More information about this seller Contact this seller 9. Condition: Very Good. Great condition with minimal wear, aging, or shelf wear. More information about this seller Contact this seller Full Cloth. When she was seventeen or eighteen, she became a member of Reverend Hugh Reginald Haweis's congregation at St.

James the Less, Westminster, always writing notes of his sermons with pen and paper as he spoke. Mary's Church, Kilburn. As newlyweds they resided at Welbeck St, at 16 St. Marylebone, London. Their first-born son, Reginald Joy, died in infancy in , but three further children survived to adulthood: Lionel b.

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  4. Marylebone with a nurse, cook, and footman. Soon her travels abroad became an annual occurrence, enabling her to visit many great art galleries in European countries such as France, Germany, and Italy. In , her and her husband traveled to America, where Reverend H. Haweis was a lecturer at Boston and a University preacher at Harvard.

    Chaucer for Children a Golden Key by Mrs H R Haweis, First Edition

    Haweis' visit to the Chicago exhibition in made a lasting impression on the city, made evident by her portrait being featured afterward in the Chicago Herald. After her marriage, Haweis continued to paint; however, she experienced many interruptions caused by social obligations and family matters. In the early stages of her career, she produced some beautiful woodcuts for Cassell's Magazine , which her husband edited, and for Good Words. Haweis was also an author. Beginning with his book for children, Pet; or Pastimes and Penalties , she began illustrating and designing the covers of his books.

    Over the course of her marriage, she began to shift her interests from art to literature. Combining a widespread interest in art, fashion, history, and literature, and to supplement the household income, she soon wrote books on subjects of interest to her. Haweis published several works on topics related to medieval and modern art design, with emphasis on viewer comprehension and utilization for improved artistic surroundings. She often reused material from one publication for another.

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    For example, her essays on artistic houses that were first published in the magazine, The Queen , in were then reprinted in Beautiful Houses During her spare time, she occupied herself with antiquarian studies in connection with the work of Geoffrey Chaucer, a medieval English poet and author. She believed that Chaucer's poetic lines could be enjoyed by anyone who had "moderate intelligence and an ear for musical rhythm. She not only provided modernized translations and Pre-Raphaelite illustrations of key scenes from the tales, but also included the type of critical apparatus otherwise only available in the contemporary scholarly editions published by Frederick James Furnivall , Walter W.

    Skeat , and Richard Morris. Her adaptations played a role in widening general access to Chaucer's poetry and in promoting the reading of Middle English verse in its original. Usually giving her name as Mrs.

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    Haweis, she first wrote her well-known Chaucer for Children: a Golden Key which she also illustrated herself, skillfully combining both Haweis' knowledge of art and familiarity with literature. Ostensibly, it was intended to function as a historically accurate description of medieval costume and furniture, illustrated with woodcuts and color plates i. Highly appreciated by the public, the first edition sold out quickly. Haweis' passing, a copy of the book was sent to the Queen, who acknowledged it through her secretary in the following gracious exchange: "I am commanded to say that it gives her Majesty great pleasure to possess the beautifully-bound copy of Chaucer for Children that you have forwarded on behalf of Mrs.

    In offering you her sincere sympathy in this your very sad and heavy bereavement, the Queen desires me to say that the book acquires for her, together with the inscription that coveys it, a special interest, owing to the pathetic circumstances under with it comes. The depth of Haweis's erudition in Chaucer's Beads reflects her close reading of Chaucer's text.

    To reveal its hidden messages, she summoned the aid of relevant scholars and manuscripts, pondered the meanings of words and expressions, and sought their origins in other languages. Also, she established herself in the male-dominated world of nineteenth-century Chaucer scholars, still perceived as an important influence in keeping Chaucer alive in the public consciousness and readily accessible in the Victorian Era. A focal point of her interest in Chaucer's canon was the Miller's Tale, upon which she wrote much exceptional work, more than any other Victorian writer; she translated and adapted it for adult males, adult females, and children; published two different explications of the story; and discussed it at length in separate articles.

    She also radically changed modern views of what the proper Victorian reader's reception should be to a tale; her imagined audience for this tale is assumed by the narrator to be canny and worldly. The literary reception she received for her work in this book was positive. Her readership of the Miller's Tale, composed of male scholars, women, and children, read and laughed at it. Motivated by her preoccupation with style and domestic order, several books on decoration, dress, and household matters followed. From she wrote essays on artistic houses, first published in the magazine The Queen , later collected in a book.

    Although she had servants and attended many social events, money was tight and she had to fund her lifestyle through her writing. Her "rare personal beauty" and "good dressing" made people believe that she could afford costly material. Haweis will spare nothing, and not shrink from anything, which will prevent our giving one another the least personal shock; she is for using every means to make quite sure that everybody will visibly delight everybody else.

    It is very pleasant to think of. Certainly, there would have to be a good deal of dressing going on for this, especially in some cases, and how amidst it all we could be guarded against being upset by glimpses of one another at times before the toilettes were completed, it is not easy to see. However, Mrs. Haweis can only deal with this world as she finds it. During the last ten or fifteen years of her life, Haweis lost interest in her artistic occupations; instead, she became interested in philanthropic causes and extending the Parliamentary Franchise to women, besides other social causes connected with the interests and general progress of women.

    Though she disliked public speaking, she became an influential public speaker, beloved by audiences. One of her most memorable visits was to Rome, Italy, where she met several of the leading women amongst the Roman nobility who were promoting the woman movement in Italy.

    She admired Queen Margherita for her care and efforts on behalf of poor working girls.

    Haweis were welcomed by the Queen personally and invited to a public ball during which Mary Eliza Haweis admired the gorgeous court pageantries and Drawing Rooms. In her late years, Haweis also wrote articles on husbands and wives, particularly investigating how the wife might best "survive" with a husband who guards her. Like many other women writers of the nineteenth century, she turned to journalism, adding fashion and domesticity to the subjects of science, religion, and philosophy intended for men. I remember a rough drawing of her done by my father, T.

    Joy, by for us children - a softened Georgian face in a quaint cap, and the stiff gown of some old German costume, in which Queen Victoria had commissioned him to sketch the child, I think in the original, of course, is still possessed by Her Majesty.