illustrated with woodcuts and color plates (i.e.detailed chromo-lithograph drawings) whose details were drawn from medieval manuscripts. This book introduced British children to Chaucer's works and legacy. Highly appreciated by the public, the first edition sold out quickly. A reader of the book wrote to a newspaper, ‘[It] Unmistakably presents the best means yet provided of introducing young pupils to the study of our first great poet.’—Scotsman." In 1881, Sir John Lubbock also included the book in his list of the "Hundred Best Books" to read. Just after Mrs. 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. Haweis. 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 (1884) 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. As a result of her work as a Chaucerian, Haweis became a unique and highly significant figure. 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. Ultimately, she turned a taboo medieval story containing risqué elements into one appropriate for adolescents, managing to include morals and reminders of proper manners. 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