Dried flowers; a nosegay, a posy, a rose clipped the night before battle.
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Perched high on her shoulder was a demure nosegay of white rose buds.
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I bring a handkerchief, too, and use it with the Vicks as a nosegay.
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She presents herself to men as "your ultimate fantasy," a nosegay of pure femininity arranged for their delight.
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All-red or mostly red items include an angel's head, an hourglass, a Tuxedo Club pomade can, a small plastic menorah and a nosegay of crimson bird feathers.
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Then, forgetting to think of it, she was at the other end of the room, beautifying a nosegay; then, she ate her cold meat; and then she was well enough to propose a little walk.
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In normal times on August 15, the Feast of the Assumption, every Marie in France — there are hundreds of thousands of them, mostly pretty, or have been pretty — is fairly certain to receive a bouquet, or a flowering plant in blossom, or a humble little nosegay, from some relative, or suppliant, or friend.
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The term "tussie-mussie" is sometimes used interchangeably with nosegay. A nosegay was also known as a "talking bouquet" or "flower poesy" during the Victorian era, when they became a popular gift. Traditionally, brides will also carry a small nosegay. Tussie mussies were introduced to England in the early 18th century, and were a fashionable accessory for young women by the early 19th century.
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In China, it has the common name ji dan hua, and in the United States, it is referred to as nosegay.
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Small nosegay or "tussie mussie" bouquets might include chamomile flowers, which a woman might send to a romantic interest to tell him "Patience"; goldenrod represented indecision.
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The Nosegay of Honeysuckles, 1825 edition Throughout her life Cameron wrote as did her brother and sister. Her brother was not so productive, but her elder sister was and she enjoyed more popularity. She also published under her married name of Mary Martha Sherwood. Cameron's best known work might be The Raven and the Dove, The Nosegay of Honeysuckles, Martin and his Two Sunday Scholars or The Pink Tippet.
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His sister Isabella Whitney was likewise a writer of verses. Her principal work, A Sweet Nosegay, or Pleasant Posye, contayning a Hundred and Ten Phylosophicall Flowers, appeared in 1573.
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Traditionally, the male presents a corsage or nosegay to the female as a gift, while the female would provide the boutonnière and pin it on the male's shirt or jacket.
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Letitia Elizabeth Landon's poem The Oriental Nosegay by Pickersgill in her Poetical Sketches of Modern Pictures (in The Troubadour, 1826) probably refers to his Oriental Love Letter (1824) in the R. A. collection.
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Women, other than the nearest blood kin, had to stay in their dwellings. It was not allowed to give flowers, not even the smallest nosegay. With the customary head covering, the men laid the coffin in the grave, with the dead’s face towards the east. It all happened with great swiftness.
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Flower bouquets can be arranged for the decor of homes or public buildings, or may be handheld. Handheld bouquets are classified by several different popular shapes and styles, including nosegay, crescent, and cascading bouquets. Flower bouquets are often given for special occasions such as birthdays, anniversaries or funerals. They are also used extensively in weddings.
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Her early nickname, Nosegay Fan, came from her time as a flower girl. Her first appearance on the stage was at the Haymarket in 1755 as Miranda in Mrs Centlivre's play, Busybody.Chambers Biographical Dictionary, , p. 5. In 1755, she was recommended by Samuel Foote and joined the Drury Lane company, although she was overshadowed there by Hannah Pritchard and Kitty Clive.
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James' father Pierre D'Egville was ballet master at Drury Lane and Sadler's Wells Theatres. His other son George D'Egville was also a dancer. James D'Egville performed at the Paris Opera from 1784 to 1785. Back in England, in June 1786, he danced in The Nosegay at the Haymarket Theatre with Maria Theresa Kemble in the presence of the Royal Family.
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These fables, which, on account of their originality and simplicity, caused Fay to be regarded as the Hungarian Aesop, were translated into German by Petz (Raab, 1825), and partly into English by E. D. Butler, Hungarian Poems and Fables (London, 1877). Fay wrote numerous poems, the chief of which are to be found in the collections Bokréta (“Nosegay,” Pest, 1807), and Friss Bokréta (“Fresh Nosegay,” Pest, 1818). He also composed plays, romances and tales. Among his dramatic works are the tragedy, The Two Báthorys (1827); and several comedies, the most notable being The Old Coins; or the Transylvanians in Hungary (1824), and The Hunt in the Matra (1860). He wrote a social novel, The House of the Béltekys (1832); a humorous novel, Jávor orvos és szolgája, Bakator Ambrus (“Jávor the Doctor and his servant Ambrose Bakator,” Pest, 1855, 2 vols.); and a number of short stories.
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2014 Some of his works are displays of abundance; others, only a festoon or a nosegay. Often he would convey a moral or illustrate a motto: a snake lying coiled under grass; a skull on plants in bloom. Gold and silver cups or tankards are suggestive of the vanity of earthly possessions. Salvation is seen allegorically as a chalice amid blossoms, and death as a crucifix in a wreath.
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The statue depicts Maria de la Queillerie's stately figure with a serious expression. She wears a circular collar and a wide skirt hangs from her cosseted waist. A nosegay keeps her hair out of her eye. She carries a fruit basket in her left arm and a bouquet of flowers in her right hand, hinting at her interest in gardening and produce growing for the Cape refreshment station.
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Bremmer, Greek Religion and Culture, pp. 279 and 288, suggesting also that the tree of the Romans was not entirely an innovation, but a survival or translation of the decorated tree, perhaps an almond, that was part of the Hittite new year festival in the spring. A late 1st- or 2nd- century statue of Attis from Athens has him with a basket containing pomegranates, pine cones, and a nosegay of violets.Gasparro, Soteriology, p. 48.
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In 1816 he was one of the lead counsel in the celebrated libel case of Bruce v. Grady, which arose from the publication of a scurrilous poem called "The Nosegay", written by a barrister Thomas Grady about his former friend, the notably eccentric banker George Evans Brady of Hermitage House, Castleconnell. The quarrel is said to have arisen from a dispute over money which Bruce had loaned to Grady. The plaintiff claimed £20000; the jury awarded £500.
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During the 1930s, Stettheimer continued to paint large works, some of which were increasingly introspective and returned to her familial subject matter and locations. She continued to paint a floral still-life each year on her birthday that she referred to as an "eyegay," a play on the word "nosegay" (small bouquet). She spent much of her time during this decade on her designs for the opera Four Saints in Three Acts and two of her Cathedral paintings.
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Two years later she appeared in La Colombe by Madame de Genlis. After she appeared at the Royal Circus she was employed by George Colman's Haymarket Theatre to appear in The Nosegay on 14 June 1786 with James Harvey D'Egville in the presence of the royal family. On 21 June she danced in The Polonaise, and on 7 July she appeared in a ballet entitled Jamie's Return with James Harvey and his brother George D'Egville.P.H. Highfill et al.
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Spenser alludes to the pastoral continuously throughout the work and also uses it to create allegory in his poem, with the characters as well as with the environment, both of which are meant to have symbolic meaning in the real world. It is of six 'books' only, though Spenser intended to write twelve. He wrote the poem primarily to honor Queen Elizabeth. William Cowper addressed the artificiality of the fast-paced city life in his poems Retirement (1782) and The Winter Nosegay (1782).
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Ninety-three was a chestnut horse bred by John Clifton. He was sired by Florizel, a successful racehorse whose other offspring included The Derby winners Diomed and Eager, as well as the St Leger winner Tartar. Ninety-three was the third of twelve foals produced by his dam Nosegay, a mare bred by the Duke of Cumberland. Before he appeared for his first race, the colt appears to have been sold to Thomas Vernon and then sold again to John Hutchinson.
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The following version was given by Widter and Wolf (Thomas Frederic Crane tr.): Once, the Devil decided to marry. He prepared a house, disguised himself as a fine gentleman, and came calling on a family to woo their three daughters. The oldest agreed to marry him. When he took her home, he forbade her to look in a door, but as soon as he left, she did so, and hellfire in the door singed the little flower bouquet "nosegay" that she wore on her bosom.
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New York: Penguin, 2001, p. xiv. These works were written in ballad metre and contained both witty and animated descriptions of everyday life. Judging from these popular inclusions, it is likely that the reason for the publishing of her works was simply to supplement her scanty income. As she states in an epistle to "her Sister Misteris A.B." in A Sweet Nosegay, "til some houshold cares mee tye, / My bookes and Pen I will apply," possibly suggesting that she sought a professional writing career to support her in an unmarried state.
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A girl from Buckkeep Town whom Fitz first meets as a child. Originally, she knew Fitz as "Newboy," as he was the newest addition to the group of poor children that she kept company with and was unaware of his heritage. Her nickname, "Molly Nosebleed," was given to her by her friends in imitation of the name her mother gave to her, Molly Nosegay. While she worked in her family's candle shop when she was young, she later becomes a maid to Lady Patience at Buckkeep Castle, as well as Fitz's love interest.
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In April 1797 he was, at Drury Lane, the first Robert in Frederic Reynolds's Will. He also played Valentia in Elizabeth Inchbald's The Child of Nature. Tattle in William Congreve's Love for Love was assigned him in November, and in June 1798 he was the original Jeremy Jumps in John O'Keeffe's unprinted Nosegay of Weeds, or Old Servants in New Places. Lord Trinket in George Colman's The Jealous Wife and Saville in Thomas King's Will and no Will were given the following season, and he was, in May 1799, the original Sir Charles Careless in First Faults, by Maria Theresa Kemble.
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Modern wrist corsages When attending a school formal or prom, providing a corsage for a prom date signifies consideration and generosity, as the corsage is meant to symbolize and honor the person wearing it. Corsages are usually worn around a prom date's wrist; alternatively, they may be pinned on her dress or a modified nosegay can be carried in her hand. The colors of the flowers are usually chosen to complement the dress or to add color to the couple, creating a unifying look. Prom couples may wish to go together to choose the flowers for a custom-made corsage or boutonnière.
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During one trial at Bow Street, while wearing an unusually large number of flowers in his coat and his irons decorated with blue ribbons, Rann reportedly addressed the presiding magistrate Sir John Fielding, saying "I know no more of the matter than you do or half as much" when he was asked if he had anything to say in his defence. He was finally apprehended after robbing the chaplain of Princess Amelia near Brentford in 1774 and held in custody at Newgate Gaol, where he supposedly entertained seven women at a farewell dinner before his execution on 30 November. Shortly before he was to be hanged, appearing in a specially made pea-green suit adorned by a large nosegay, he enjoyed cheerful banter with both the hangman and the crowd, then danced a jig, before being publicly executed at Tyburn at the age of 24. An alternative (but of unsubstantiated provenance) account of John Rann's capture and given in Julius Jottings, Nr4.
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The First of May, 1851 by Franz Xaver Winterhalter was intended to symbolise the age. Winterhalter painted in the manner promoted by Joshua Reynolds and based on the style of Raphael, in which the artist consciously idealises the subject of the work. The painting shows the 82nd birthday of Arthur Wellesley, 1st Duke of Wellington (born 1 May 1769), whose military victories were felt to have secured the stability and prosperity of the United Kingdom, and who as Prime Minister had attended the opening of the Liverpool and Manchester Railway, at this time considered one of the key turning points of the Industrial Revolution. Wellington presents a casket to his godson Prince Arthur, seventh child of Victoria and Albert (born 1 May 1850), on his first birthday, and receives a nosegay from Arthur in return. Albert is distracted from the scene by the sun rising over the Crystal Palace and the Great Exhibition, organised by Albert, which opened on 1 May 1851 and symbolised the strength of British technology and innovation and the belief that technology would lead to a great future.
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Gaskell's reputation from her death to the 1950s was epitomized by Lord David Cecil's assessment in Early Victorian Novelists (1934) that she was "all woman" and "makes a creditable effort to overcome her natural deficiencies but all in vain" (quoted in Stoneman, 1987, from Cecil, p. 235). A scathing unsigned review of North and South in The Leader accused Gaskell of making errors about Lancashire which a resident of Manchester would not make and said that a woman (or clergymen and women) could not "understand industrial problems", would "know too little about the cotton industry" and had no "right to add to the confusion by writing about it". Gaskell's novels, with the exception of Cranford, gradually slipped into obscurity during the late 19th century; before 1950, she was dismissed as a minor author with good judgement and "feminine" sensibilities. Archie Stanton Whitfield wrote that her work was "like a nosegay of violets, honeysuckle, lavender, mignonette and sweet briar" in 1929. Cecil (1934) said that she lacked the "masculinity" necessary to properly deal with social problems (Chapman, 1999, pp. 39–40).
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Gaskell's novels, with the exception of Cranford, gradually slipped into obscurity during the late 19th century; before 1950, she was dismissed as a minor author with "good judgment and feminine sensibilities". Archie Stanton Whitfield wrote that her work was "like a nosegay of violets, honeysuckle, lavender, mignonette and sweet briar" in 1929, and Cecil said that she lacked the "masculinity" necessary to properly deal with social problems. However, the tide began to turn in Gaskell's favor when, in the 1950s and 60s, socialist critics like Kathleen Tillotson, Arnold Kettle and Raymond Williams re-evaluated the description of social and industrial problems in her novels, and—realizing that her vision went against the prevailing views of the time—saw it as preparing the way for vocal feminist movements. In the early 21st century, with Gaskell's work "enlisted in contemporary negotiations of nationhood as well as gender and class identities", North and South, one of the first industrial novels describing a conflict between employers and workers, is seen as depicting complex social conflicts and offering more satisfactory solutions through Margaret Hale: spokesperson for the author and Gaskell's most mature creation.
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