OpenLLM-France/wikimedia huggingface dataset:
# Bible (King James Version, 1611)

* information about this edition
* sister projects: Wikidata item
The King James Version (KJV), also called the Authorised Version (AV), is a 1604–1611 English-language rendering of the Christian Bible undertaken by the established Church of England and commissioned by King James, the namesake thereof, that is often considered to be one of the most beautiful and influential literary works in the history of the English language.
The spelling of the text—originally printed in a British-style variety of the calligraphy-like blackletter family of scripts, except for the words not found in the original biblical languages (Hebrew, Aramaic, and Greek), represented with a small Roman typeface—has been faithfully preserved herein, and so have the marginal notes; but whereas the initial 1611 printed variants had them appear on either side of the lines, in the present edition they are placed along the right margin only.
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THE HOLY ,BIBLE,
Conteyning the Old Testament, AND THE NEW:
Newly Translated out of the Originall tongues: & with the former Translations diligently compared and reuised, by his Maiesties speciall Comandement.
Imprinted at London by Robert Barker, Printer to the Kings most Excellent Maiestie.
ANNO DOM. 1611.
* The Epiſtle Dedicatorie.
* The Tranſlators to the Reader.
* Table and Kalendar
* The Genealogies of Holy Scriptvres
* Canaan

## ¶ The names and order of all the Bookes of the Olde and New Teſtament, with the Number of their Chapters.

Eneſis hath Chapters 50 Exodus 40 Leuiticus 27 Numbers 36 Deuteronomie 34 Ioſhua 24 Iudges 21 Ruth 4 1. Samuel 31 2. Samuel 24 1. Kings 22 2. Kings 25 1. Chronicles 29 2. Chronicles 36 Ezrah 10 Nehemiah 13 Eſter 10 Iob 42 Pſalmes 150 Prouerbs 31 Eccleſiaſtes 12 The ſong of Solomon 8 Iſaiah 66 Ieremiah 52 Lamentations 5 Ezekiel 48 Daniel 12 Hoſea 14 Ioel 3 Amos 9 Obadiah 1 Ionah 4 Micah 7 Nahum 5 Habakkuk 3 Zephaniah 3 Haggai 2 Zechariah 14

### ☙ The Bookes called Apocrypha.

1.Sdras hath Chapters 9 2. Eſdras 16 Tobit 14 Iudeth 16 The reſt of Eſther 6 Wiſedome 19 Eccleſiaſticus 51 Baruch with the Epiſtle of Ieremiah 6 The ſong of the three children. The ſtory of Suſanna. The idole Bel and the Dragon. The prayer of Manaſſeh. 1. Maccabees 16

### ☙ The Bookes of the New Teſtament.

Atthew hath Chapters 28 Marke 16 Luke 24 Iohn 21 The Actes 26 The Epiſtle to the Romanes 16 1. Corinthians 16 2. Corinthians 13 Galatians 6 Epheſians 6 Philippians 4 Coloſsians 4 1. Theſſalonians 5 2. Theſſalonians 3 1. Timotheus 6 2. Timotheus 4 Titus 3 Philemon 1 To the Hebrewes 13 The Epiſtle of Iames 5 1. Peter 5 2. Peter 3 1. Iohn 5 2. Iohn 1 3. Iohn 1 Iude 1
This work was published in 1611. This work is in the public domain in some countries and areas outside the United Kingdom, including the United States.
However, owing to the subsistence of certain long-standing restrictions on publication and distribution, the work is NOT necessarily copyright- or restriction-free in the United Kingdom. Potential re-users of this content are advised to check carefully if any restrictions would apply to their intended reuse.
Public domainPublic domainfalsefalse
# Clutha, wi' truest love I love thee, Jean/Blythe Hae I Been

BLYTHE HAE I BEEN.
Tune—,Liggeram Cosh.
Blythe hae I been on yon hill, As the lambs before me, Careless ilka thought and free, As the breeze flew o'er me. Now nae langer sport and play. Mirth or sang can please me, Lesley is sae fair and coy, Care and anguish seize me.
Heavy, heavy is the task. Hopeless love declaring, Trembling I do nought but glow'r. Sighing, dumb, despairing! If she winna ease the thraws. In my bosom swelling, Underneath the grass-green sod, Soon maun be my dwelling.
# Clutha, wi' truest love I love thee, Jean/The Highland Plaid

THE HIGHLAMD PLAID.
Lowland lassie, wilt thou go Where the hiils are clad wi' snow; VVhere, beneath the icy steep. The hardy shepherd tends his sheep; I'll nor wae shad thee betide. When row'd within my Highland plaid.
Soon the voice of cheerie Spring Will gar our plantings ring; Soon our bonnie heather braes Will put on their summer clues: On the mountain's sunnie side, We'll lean us on my Highland plaid.
When the summer spreads the flowers, Busks the glen in leafy bowers, Then we'll seek the caller shade, Lean us on the primrose bed: While the burring hours preside. I’ll screen thee wi’ my Highland plaid.
Then we'il leave the sheep and goat, I will launch the bonnie boat, Skim the loch in cantie glee, Rest the oars to pleasure thee: ​ (illegible text) (illegible text) Highland plaid.
Lowland lassies (illegible text)way deers mair fine, (illegible text)was no words affair saft than mine: Lowland lads hae sair of art, A' my bontt's and honest heart, Whilk tha ever ha my pride, O row me in my highland plaid.
Bonnie lad, ye've been so leal, My heart would break at our fareweel; Lang your love has made me fain, Tak me—tak me for vohr ain ‘Cross the Fritlf, away they glide, Young Donald and his Lowland bride.
# Poems (Chilton, 1885)/Stanzas Suggested by the Death of Miss Canda

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STANZAS.
[SUGGESTED BY THE DEATH OF CHARLOTTE CANDA.]
↑ * A lovely young lady, who was thrown from a carriage and instantly killed while returning from an evening party in N. Y. City many years since. Her grave in Greenwood Cemetery is marked by a very elaborate and beautiful monument of Italian marble.
# Poems (Chilton, 1885)/To Kossuth

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TO KOSSUTH.
[DECEMBER, 1851.]
# Poems (Chilton, 1885)/Garfield

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GARFIELD.
[AUGUST 19, 1881.]
# Poems (Chilton, 1885)/Mrs. Garfield

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MRS. GARFIELD.
# Newark Daily Advertiser/1866/01/23/The Baldwin Robbery

* related portals: Charles Frederick Lindauer, Louis Julius Lindauer, Baldwin Robbery
* sister projects: Wikidata item
Charles Frederick Lindauer (1836-1921) in Newark Daily Advertiser on January 23, 1866.
The Baldwin Robbery.
The examination of Charles Lindauer, one of the persons suspected of participating in the Baldwin robbery, some time since, was continued yesterday afternoon before Justice Sandford. Lindauer persistently denies his guilt, alleging that he was in New York on the night of the robbery. Lewis Lindauer, the brother of Charles, being examined; said that the first time he was in this city before his arrest was on the 5th of December, and that he was not in the jewelry establishment of Messrs. Baldwin & Co., a few mornings previous to the robbery. He had not seen Charles in possession of any jewelry for the last two months. David Van Orden, an employee of Baldwin & Co., testified as to the appearance of things at the factory after the discovery of the robbery. He recollected two men calling at the factory about two weeks previous to the robbery, about 6 1/2 o'clock, A.M., and thought he recognized one of the prisoners (Charles). On the morning of the same day he saw on Broad street two men who looked like the persons accused. Timothy Crane, an apprentice, fully recognized Charles as one of the persons who visited the factory. The investigation is still in progress.
This work is in the public domain in the United States because it was published before January 1, 1929.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# The New International Encyclopædia/America (hymn)

* related works: My Country 'Tis of Thee (Smith)
* sister projects: Wikipedia article, Wikidata item
Edition of 1905. See also My Country, 'Tis of Thee on Wikipedia; and the disclaimer.
​ AMERICA. The American national hymn, by the Rev. Samuel F. Smith (1832). The melody, ascribed to Henry Carey (1742), is identical with that of the English national anthem, “God Save the King,” and, popular in France from 1775, became national in Denmark, Germany, and Prussia.
# The New Student's Reference Work/America (song)

See also My Country, 'Tis of Thee on Wikipedia, and the disclaimer.
America, the popular name of the tune to which the words "My Country, 'Tis of Thee" are commonly sung. The national song of England, "God Save the King," is adapted to the same music. We also find it in use in Denmark, Switzerland, Germany and other countries as a national song. Its origin has been ascribed to Lully, to the Scotch, to Purcell, to Dr. Arne, to Henry Carey and to Dr. John Bull. The words ,"My Country, 'Tis of Thee," were written by Rev. Dr. Samuel F. Smith, and first used at a children's celebration in Park Street Church, in Boston, July 4, 1832. (See God Save the King.)
# The Book of Scottish Song/The Black-e'ed Lassie

The Black-e'ed Lassie.
[Captain Charles Gray, R. M.—Air, "My only jo and dearie, O."]
Wi' heart sincere, I love thee, Bell— But dinna ye be saucy, O, Or a' my love I winna tell To thee, my black-e'ed lassie, O:
It's no thy cheek o' rosy hue, It's no thy little cherry mou', It's a' because thy heart's sae true, My bonnie black-e'ed lassie, O!
It's no the witch-glance o' thy e'e, Though few for that surpass ye, O, That mak's ye aye sae dear to me, My bonnie black-e'ed lassie, O! It's no the whiteness o' thy skin, It's no love's dimple on thy chin;— It's a' thy modest worth within, My bonnie black-e'ed lassie, O!
Ye smile sae sweet, ye look sae kind, That a' wish to caress ye, O; But! how I admire thy mind, My bonnie black-e'ed lassie, O! I've seen thy een, like crystal clear,
Shine dimly through saft pity's tear— These are the charms that mak' thee dear, To me, my black-e'ed lassie, O!
# The Black-e'ed Lassie

* "The Black-Ee'd Lassie", in Clutha, wi' truest love I love thee, Jean (1818), a chapbook printed in Edinburgh
* "The Black-e'ed Lassie", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
# Clutha, wi' truest love I love thee, Jean/The Black-Ee'd Lassie

THE BLACK-EE'D LASSIE.
Tune—My only jo and dearie O.
# Growth of the Soil

(Norwegian Markens Grøde) by Norwegian writer Knut Hamsun that won him the Nobel Prize in Literature in 1920

## Contents
### Book One

* Chapter I
* Chapter II
* Chapter III
* Chapter IV
* Chapter V
* Chapter VI
* Chapter VII
* Chapter VIII
* Chapter IX
* Chapter X
* Chapter XI
* Chapter XII
* Chapter XIII
* Chapter XIV
* Chapter XV
* Chapter XVI
* Chapter XVII
* Chapter XVIII
* Chapter XIX

### Book Two

* Chapter I
* Chapter II
* Chapter III
* Chapter IV
* Chapter V
* Chapter VI
* Chapter VII
* Chapter VIII
* Chapter IX
* Chapter X
* Chapter XI
* Chapter XII

### Translator's note

* Knut Hamsun
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1952, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 71 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# The Book of Scottish Song/Hie, bonnie lassie

Hie, bonnie lassie.
[This popular song has hitherto appeared in all the collections as an anonymous production, but we have the authority of a highly esteemed correspondent for saying that it was written by the Rev. James Honeyman, minister of Kinneff, in Kincardineshire, who died at an advanced age in or about the year 1779. Mr. Honeyman wrote other poetical pieces, but none of them came before the public except this song, and the circumstance that brought it to light was this. About the time it was written, an itinerant teacher of music appeared in the district, and happening to get a copy of it, he sang it in his classes, at his concerts, and on other occasions, till it acquired a local popularity, and the demand for copies increased so much that the aid of the printer was called in to supply them, and thus, by and bye, it came to be spread over the country in ballad-books and broad-sheets. It is surprising that "Hie bonnie lassie" should have escaped so successful a collector as David Herd, who was himself a native of Kincardineshire.]
Hie, bonnie lassie, blink over the burn, And if your sheep wander I'll gi'e them a turn; Sae happy as we'll be on yonder green shade, If ye'll be my dawtie, and sit in my plaid.
A yowe and twa lammies are a' my haill stock, But I'll sell a lammie out o' my wee flock, To buy thee a head-piece, sae bonnie and braid, If ye'll be my dawtie, and sit in my plaid.
I ha'e a wee whittle made me a trout creel, And, oh, that wee whittle I likit it weel; But I'll gi'e't to my lassie, and mair if I had, If she'll be my dawtie, and sit in my plaid.
I ha'e little siller, but ae hauf-year's fee, But if ye will tak' it, I'll gi'e't a' to thee; And then we'll be married, and lie in ae bed, If ye'll be my dawtie, and sit in my plaid.
# Hie, Bonnie Lassie

* "Hie Bonnie Lassie", in Clutha, wi' truest love I love thee, Jean (1818), a chapbook printed in Edinburgh
* "Hie, bonnie lassie", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
# Clutha, wi' truest love I love thee, Jean/Hie Bonnie Lassie

HIE BONNIE LASSIE.
FINIS.
# The Experiment

United States Supreme Court
17 U.S. 84
The Experiment

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# The Gowden Locks o' Anna

"This highly impassioned lyric was written by Burns, while resident in Dumfiries. The heroine was Helen Ann Park, sister of Mrs. Hyslop, the landlady of the Globe Tavern, the poet's favourite 'howff' there.—Tune 'Banks of Banna.'" - "Anna" in The Book of Scottish Song (1843)
* "Anna, in Gow's Fareweel to Whiskey (n. d.), a chapbook printed in Greenock
* "Yestreen I Had a Pint o' Wine," in My Bonnie Mary (n. d.), a chapbook printed in Edinburgh
* "Anna," from The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "The gowden Locks of Anna", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
* "Anna," in The Merry Muses of Caledonia (1911)
# The Book of Scottish Song/Anna 2

Anna.
[This highly impassioned lyric was written by Burns, while resident in Dumfiries. The heroine was Helen Ann Park, sister of Mrs. Hyslop, the landlady of the Globe Tavern, the poet's favourite "howff" there.—Tune "Banks of Banna."]
Yestreen I had a pint o' wine, A place where body saw na; Yestreen lay on this breast o' mine The raven locks of Anna. The hungry Jew in wilderness, Rejoicing ower his manna, Was naething to my hinny bliss, Upon the lips of Anna.
Ye monarchs tak' the east and west, Frae Indus to Savannah! Gi'e me within my straining grasp The melting form of Anna. ​There I'll despise imperial charms, An empress or sultana, While flying raptures, in her arms, I give and take from Anna.
Awa', thou flaunting god of day! Awa', thou pale Diana! Ilk star gae hide thy twinkling ray, When I'm to meet my Anna. Come, in thy raven plumage, night, Sun, moon, and stars, withdrawn a'; And bring an angel pen to write Wy transports wi' my Anna.
# The Poetical Works of Robert Burns/The gowden Locks of Anna

THE GOWDEN LOCKS OF ANNA.
TUNE—'BANKS OF BANNA.'
# The Poetical Works of Robert Burns/O were my Love yon Lilac fair

O WERE MY LOVE YON LILAC FAIR.
TUNE—'HUGHIE GRAHAM.'
# Gow's Fareweel to Whiskey

Gow’s Fareweel TO WHISKEY.
To which are Added, PADDY ABDALLAH’S LEGACY. JOHN BULL IS HIS NAME. ANNA. HARVEST HOME. AND JOHN ANDERSON, MY JO.
Greenock:—Printed by W. SCOTT.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# Gow's Fareweel to Whiskey/Gow's Fareweel to Whiskey

GOW’S FAREWEEL TO WHISKY.
# Gow's Fareweel to Whiskey/Paddy Abdallah's Legacy

PADDY ABDALLAH’S LEGACY.
# Paddy Abdallah's Legacy

Scottish song and poem by Charles Dibdin, first featured in the stage play "Magic Minstrel" by William Reeve in 1808, performed at the Aquatic Theater in Sadler's Wells. The music accompanying the lyrics was composed by Reeve.
* "Paddy Abdallah's Legacy", in Joe Grim's Delight (1809)
* "Paddy's Estate", in The New-York Songster (1811)
* "Paddy Abdallah's Legacy", in Gow's Fareweel to Whiskey (n. d.), a chapbook printed in Greenock
* "Paddy's Legacy", in The Bold Dragoon (n. d.), a chapbook printed in Glasgow
# Gow's Fareweel to Whiskey/John Bull Is His Name

JOHN BULL IS HIS NAME.
# Gow's Fareweel to Whiskey/Anna

ANNA.
# Gow's Fareweel to Whiskey/Harvest Home

HARVEST HOME.
# Gow's Fareweel to Whiskey/John Anderson, My Jo

JOHN ANDERSON, MY JO.
FINIS.
# Bold dragoon

The Bold Dragoon.
GIN I HAD A WEE HOUSE.
Paddy’s Legacy.
Why, Soldiers, why.
The LASSIE I LOE BEST OF A,
O wha’s at my chaumber door.
YARROW.
Glasgow:—Printed for the Booksellers,
* The Bold Dragoon
* Gin I Had a Wee House
* Paddy's Legacy
* Why, Soldiers, Why
* The Lassie I Loe Best of A
* O Wha's at My Chamber Door
* Yarrow
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# Bold dragoon/Gin I Had a Wee House

gin i had a wee house.
Gin I had a wee house, and a canty wee fire, A bonny wee wifie to praise and admire, A bonny wee yardie, a-side a wee burn, Fareweel to the bodies that yammer & mourn Sae bide ye yet, and bide ye yet, Ye little ken what may betide you yet ; Some bonny wee body may yet be my lot, And I’ll ay be canty wi' thinking o’t.
When I gang afield, and come hame at e’en, I’ll get my wee wifie fu’ neat and fu’ clean, And a bonny wee bairnie upon her knee, That wall cry Papa or Dady to me, And bide ye yet, &c.
​And if there should happen ever to be A diff’rence a’tween my wi’ wifie and me, In hearty good humour, altho’ she be teas’d, I’ll kiss her, and clap her, until she be pleas’d And bide ye yet, &c.
# Bold dragoon/Paddy's Legacy

paddy's legacy.
My father he left me a snug little cot, Which by one trifling accident I never got, For dying without his will having been made, Not a legacy in it ever was paid.
'Twas a neat little cot, built with weatherboard stout, Which kept every thing else but the weather clean out, Had a pig stye for poultry without any door, It was two stories high, and both on the ground floor.
A beautiful garden, with weeds overgrown, And an elegant fish-pond dried up by the sun Then the house stood convenient enough you may say, Next door to the whisky-shop over the way.
​'Twas a freehold estate, heir at law was myself, So to law went about it of course with an elf. Gain’d the cause, but to try it so long time requir’d The freehold I lost, ‘cause the lease was expir’d.
# Bold dragoon/Why, Soldiers, Why

why, soldiers, why.
How stands the glass around? For shame, ye take no care my boys. Let mirth and wine abound. The trumpets sound, The colours they are flying, boys. To fight, kill, or wound, May we still be found, Content with our hard fate my boys, On the cold ground.
Why, soldiers, why, Shou’d we be melancholy, boys? Why, soldiers, why? Whose business ‘tis to die? What, sighing? fie! Don’t fear, drink on, be jolly, boys, ‘Tis he, you, or I, Cold, hot, wet, or dry, We’re always bound to follow, boys, And scorn to fly.
​‘Tis but in vain,— I mean not to upbraid you boys,— ‘Tis but in vain For soldiers to complain, Should next campaign Send us to him who made us, boys, We’re free from pain, But, if we remain, A bottle ann kind landlady Cure all again.
# Bold dragoon/The Lassie I Loe Best of A

the lassie i loe best of a'
Hae ye seen in the calm dewy morning, The red-breast wild warbling sae clear Or the low dwelling, snow breasted gowan, Sur-charged wi’ mild e’ering's soft tear, O then ye hae seen my dear lassie, The lassie I' loe best of a’ But far frae the hame o’ my lassie, I’m monie a lang mile awa.
Her hair is she wing o’ the blackbird, Her eye Is the eye o’ the dove, Her lips are the red blushing rose-bud, Her bosom’s the palace of love. Tho’ green be thy banks O sweet Clutha, Thy beauties ne’er charm me ava, ​Forgive me. ye maid of sweet Clutha, My heart is wi’ her that’s awa.
O love thou’rt a dear fleeting pleasure, The sweetest we mortals here know, But soon as thy heav’n bright beaming, O’ercast with the darkness of wo. As the moon on the oft changing ocean, Delight’s the lone mariner’s eye, Till red rush the storms of the desert. And dark billows tumble on high.
# Bold dragoon/O Wha's at My Chamber Door

o wha's at my chaumber door,
O wha's at my chaumber door? 'Fair widow, are ye wauking?' Auld Carle, your suit give o'er, Your love lies a' in tauking’ Give me the lad that's young and tight, Sweet like an April meadow; 'Tis sic as he can bless the sight And bosom of a widow,—
'O widow, wilt thou let me in, I'm pauky, wise, and thrifty, And come of a right gentle kin, An’ little mair than fifty.' Daft carle, dit your mouth, What signifies how pauky Or gentle bora ye be—bot youth, In love your but a gawky.
​'Then, widow, let these guineas speak, That powerfully plead clinken, Aud if they fail, my mouth I’ll steek, And nae mair love will think on.’ These court indeed, I maun confess, I think they make you young sir, An ten times belter can express Affection than your tongue, sir.
# Transactions and Proceedings of the New Zealand Institute/Volume 25/Article 75

The Royal Society of New Zealand
Art. LXXV.—National Melodies.
By Miss Morrison.
[Read before the Hawke's Bay Philosophical Institute, 28th November, 1892.]
Plate LV.
Music is poetry in sounds; melody, sounds arranged rhythmical order. With the sounds natural to New Zealand, and the songs of different nations in New Zealand, of what character are the national melodies likely to be? To the musical artist sounds and notes for melody are to be found everywhere, as the sighing of the wind, the dash of the waves on the shore. Mendelssohn found music in the dropping of water in Fingal's Cave, and has portrayed it in his "Overture to the Hebrides." Birds have their distinct notes; but only those that have been trained by man can sing a melody. In our adopted country—New Zealand—it has seemed to me that ​the original melodies of the Maoris are like chants or dirges, on four or five notes in a minor key.
The affixed manuscript (Pl. LV.) is a short air in C minor, which I have written on the idea of Maori melody. The key of C minor is acknowledged to express earnestness, and also to lend itself to the portraiture of the supernatural.
Earnestness is characteristic of the Maori, who is known to possess deep religious feeling. As the Maoris have their martial music and dance-forms, solos, recitatives, and choruses, it cannot be said that colonists are the founders of national dance and song; they have only introduced higher forms. Indeed, it seems probable that if Maoris had had the advantages of civilisation and culture which Europeans have had they would have equalled them in the developments of music.
All true colonists and Maoris are striving towards what the theosophists profess to possess—a feeling of universal brotherhood. In this country of freedom all nations can enjoy their national songs. The Englishman can sing "Britannia rules the Waves," or "The Red, White, and Blue"; the Scotchman or Irishman can have "Auld Lang Syne" or "St. Patrick's Day"; the French, "La Marseillaise"; the Germans their volkslieder; while the Italians have blue enough skies in New Zealand to call forth the songs of Italy. It has been observed by William Husk, librarian of the Sacred Harmonic Society, that melodies of a similar cast to those of Scotland have been found as wide apart as China and the west coast of Africa. Colonists belonging to these nations have their song in New Zealand, and will have their say in the development of New Zealand melodies. And now, with the wonderful advantages for the artist in this country, the mixture and intermarrying of different nations, the steady progress of science, and the numerous movements on foot towards the advancement of good, may we not look for a high development of national melody? In the future, when the stray traveller from New Zealand, spoken of by Macaulay, takes his stand on a span of London Bridge to sketch the ruins of St. Paul's, let us hope he will be able to sing melodies which may enlighten the remaining inhabitants of the great metropolis.
Transactions New Zealand Institute, VOL. XXV. Pl. LV.