OpenLLM-France/wikimedia huggingface dataset:
# Notes and Queries/Series 7/Volume 8/Number 190/Words that are not Wanted

​Words that are not Wanted (7th S. viii. 85).—I am sorry to find in ‘N. & Q.’ statements about the good, useful, well-formed, and ancient word reliable, of the kind that one used to see in the pre-scientific stage of our knowledge of English. It is now twelve years since Mr. Fitzedward Hall published his scholarly and exhaustive treatise ‘On English Adjectives in -able, with Special Reference to Reliable’ (Trübner, 1877), in which he exhibited the authority for the word; and it is somewhat marvellous at this time of day to see it characterized as a word resting merely upon “some rare examples in good authors, and innumerable examples in current literature.” Every one who knows the history of the word knows ​that it has been used freely by good writers for nearly a century, and that it was current English as early as 1624 at least. The tirade against this long-established word appears to have been begun by some uninformed writer in Punch about 1861, who, ignorant of the fact that it had been freely used by Coleridge, Martineau, Gladstone, Newman, Mill, Mansel, Peel, Rawlinson, Dickens, Charles Reade, and scores beside, feebly tried to brand it as “this American solecism.” When its American origin was disproved, another writer audaciously asserted that it had been invented by the newspapers during the Crimean War! Well might Mr. Fitzedward Hall say, in the work already cited, “With nine in ten of the occasional critics of words who contribute their superficial views to newspapers and magazines, a declaration of personal approval or disapproval, generally accompanied by some audacious historical invention, is propounded as if it ought to be received as conclusive.” There is no particular objection to the sciolist railing at reliable as vulgar, absurd, low, outrageous, malformed, stupid, ungentlemanly; these are expressions of his own good taste; but when he proceeds to invent a history of its origin and use, it is time to protest in the interest of historical truth. As to the form of reliable, it is quite as good as that of accountable, unaccountable, laughable (Shakspere, Dryden, Pope), and a score of other words in -able.
It may be added that residential has been good English at least since 1690, and that residence, resident, residential, are as good a series as confidence, confident, confidential. Of regrettable good English examples can be quoted from 1632 onwards. When will people learn that the history of words, as of anything else, can be learned only by putting oneself in the position of a learner, and ought not to be invented to give support to pet prejudices or aversions? Let a man who has a chronic antipathy to reliable say frankly, “I know nothing about the history of this word, and I care less; but its colour irritates me and drives me furious.” We should then know where we were, and keep out of his way, recognizing that the case was one not for the etymologist or lexicographer, but for the pathologist.
J. A. H. Murray.
Oxford.
# Notes and Queries/Series 7/Volume 5/Number 112/Correction of Mistake in Douce on ‘Dance of Death’

​Correction of Mistake in Douce on ‘Dance of Death.’—Mr. Douce, in his ‘Dissertation on “The Dance of Death,”’ London, W. ​Pickering, 1833, 8vo., at p. 147, has fallen into a slight mistake by a too hasty reading of the writer to whom he refers as his authority. Having to allude to “A Booke of Prayers, collected out of the Ancient Writers, &c., Printed by J. Daye, 1569, 4to.,” and afterwards in 1578, 1581, 1590, and 1609 [read 1608], he adds, “It is more frequently mentioned under the title of ‘Queen Elizabeth’s Prayer Book,’ a most unsuitable title, when it is recollected how sharply this haughty dame rebuked the Dean of Christchurch for presenting a Common Prayer to her which had been purposely ornamented with cuts by him.” The reference is to Strype, ‘Annals,’ i. 272, or in the Oxford edition of 1824, vol. i. pt. i. p. 408. Strype’s language may easily account for and excuse the error, for he says, “The 5th, being Low-Sunday, Sampson, Dean of Christ-church, Oxon., preached at Paul’s Cross; where he declared the three former Spital sermons in Easter week, as he had done, I think, twice before: being appointed thereunto in regard of his excellent elocution and memory. The aforesaid dean, so often noted before for his frequent preaching before the Queen, preached on the festival of the Circumcision, being new-year’s day at St. Paul’s, whither the Queen resorted. Here a remarkable passage happened,” &c. As Sampson had been named in the previous paragraph, it is not to be wondered at that Mr. Douce took the words “the aforesaid dean” to refer to him. They do, however, refer to Alexander Nowell, Dean of St. Paul’s, as we learn from Strype himself, in his ‘Life of Archbishop Parker,’ i. 193. “By these frequent inculcations of the Archbishop and some of his fellow Bishops, and by their discreet behaviour towards the Queen, she was at length brought off from the fancy of images; and, which is very remarkable, she showed herself not long after very highly disgusted at the very sight of some ornamental pictures set before the Epistles and Gospels in a Book of Common Prayer, which on New Year’s Day, anno 1561/2 Nowel, the Dean of St. Paul’s, had laid before her when she came on that day to hear a sermon, preached by the same Dean, intending to present her the book for a new-year’s gift: which is mentioned at large elsewhere.” Strype’s language in the ‘Annals’ is undoubtedly vague, and likely to mislead at first sight. The whole story is correctly stated by Archdeacon Churton, in his ‘Life of Dean Nowell,’ written, where I am now writing, at Middleton Cheney, and published at Oxford in 1809, see pp. 70–73. Douce was not aware of his mistake, as it is repeated in a long MS. note on the fly-leaf of his copy of the 1590 edition of the ‘Book of Prayers’ now in the Bodleian Library. The dialogue between the Queen and the Dean is (illegible text) reading, but is too long for ‘N. & Q.’ W. E. Buckley.
# Parker v. Riley

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
250 U.S. 66
Parker v. Riley
Argued: March 19, 1919. --- Decided: May 19, 1919
Mr. Assistant Attorney General Kearful, for appellants.
Mr. William J. Horton, of McAlester, Okl., for appellees.
Mr. Justice VAN DEVANTER delivered the opinion of the Court.

## 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
# Parker v. Rule's Lessee

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
13 U.S. 64
Parker v. Rule's Lessee

## 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
# Pekinese Rhymes/25

XXV
小五兒 小六兒 一塊水糖 一包豆兒 小五兒愛上高 一爬爬到柳樹稍 柳樹稍枝兒軟 摔的小五兒翻了* 小六兒*淘氣 戴上*子唱出戲
唱完了戲 唱熱湯 湯不凉
直戲
 翳
   唱 唱變
NOTES
Chinese children are given by their parents a 奶名 nai',' ming ；'， "milk-name" by which they are designated in the family. These milk names are numberless. A common habit in the family is to give the new born children only a number for milk name, by which number the child is called four or five, if it is the fourth or fifth son in the family. The common forms for these arithmetical names are ​such： A first born may be called ~ - 子 i'-tzu, ( the form is not much used ； the accent falls on the i' ). The second son may be called 二 哥 eur'* ko'， or 小 ~ "兒 hsiao3 i' ，r. The third son may be called 三 兒 san' ，r， the fourth 四 兒 ssu^ ，"， the fifth 五 兒 'r， the sixth 六 兒 liou4 'r， and so forth as far as ten. These milk names are also given to children independently of their order in the family and become like our christian names Charles, John and so forth. 水 糖 ping" fang-, white sugar in pieces sold on the streets to children. ^ 包豆兒 i' pao' tou'* 'r, a parcel of roasted beans, another delicacy for children. 翻 目氏 fan' yen^, to turn up the eyes, like a man who loses his senses and shows the white of his eyes. 満 氣 t'ao--ch'i'% impertinent, saucy. 戴上 翁子 tai' shang' hu- tzti, to put on a false beard as actors do in theaters.
TRANSLATION
The small Five ― and the small Six ― with a piece of white sugar ― and a parcel of beans ― the small Five likes to go high up ― and he climbs up to the tip of the branch of the willow tree ― the tip of the willow branch is weak ― and the small Five tumbles down and hurts himself so that he shows the white of his eyes. ― The small Six is really impertinent ― he puts on a false beard and sings an act of an opera ― when he has finished singing the opera, ― he drinks hot broth ― the ​broth is not cool ― and the small Six scalds himself so that he calls for his mother.
# Pekinese Rhymes/3

III
裼樹葉兒 曄拉拉 小孩兒睡覺找他媽 乖乖寳貝兒你睡罷
螞虎子來了我打他
NOTES
楊樹 yang$^2$ shu$^4$, the poplar (latin populus) this tree is in China very commonly seen in burial grounds. The Chinese say that its leaves stir even ​without wind, and that the noise produced by their stirring, moves to sadness. 嘩拉拉 hua$^1$ la$^1$ la$^1$, pronounced as one word, is imitative of the noise. This sad introduction is supposed to scare the boy and to get him sooner asleep. 乖乖 kuai$^1$-kuai$^1$, means to kiss as chinese mothers kiss their children in somewat a different way than the Europeans. The same expression is used too to say: be quiet! dont be saucy!―probably the two meanings melt in one, as the second may simply be a promise of a kiss if the boy will be quiet. Another common form for the last meaning is adverbially formed so, 乖乖兒的 kuai$^1$ kuai$^1$'r ti. 螞虎子 ma$^1$ hu$^3$ tzŭ, a phantastic monstruos creature spoken of and called every time it is thought proper to scare a baby.
TRANSLATION
The poplar leaves ― are stirring ― the baby is about to sleep and looks for his mother ― be a good boy, my treasure, get asleep ― if the bogie comes, I'll beat him.
# Pekinese Rhymes/19

XIX
小二哥 吃飯兒多 吃完了飯 打老婆 打的老婆上窗戶 窗戶沒有檔兒 打的老婆照鏡兒 鏡子沒有底兒 打的老婆唱曲兒 曲兒沒有頭兒 打的老婆耍猴兒 猴兒沒有圈兒 打的老婆鑽天兒
NOTES
There is not much coherence in the words, and the fun is in the fact that many verses are ended with the final 兒, which produces a ridiculous effect. 二哥 eur$^4$ ko$^1$, the second brother in the family also simply a familiar name. 老婆 lao$^3$ p'uo$^2$, an old woman, a wife. The accent falls generally on the 老 lao$^3$ in this meaning; but if said lao$^3$ p'uo$^2$ tzǔ$^3$, with the accent on the p'uo$^2$, then it means "a female servant". 檔兒 tang$^4$ 'r, small wood bars placed horizontally in the chinese window-sash. 耍猴兒 shua$^3$ hou$^2$ 'r, "to (let) play the monkey, that is to exhibit the tricks of a monkey to gain the life"; the other metaphorical meaning is "to lark, to romp, to be impertinent". 圈兒 ch'iuan$^1$ 'r, a wooden circle through which the monkeys are let jump.
TRANSLATION
The small second brother ― eats too much ― and when he has finished eating ― he beats his wife ― and the wife is so beaten that she jumps on the window ― the window has no bars ― and the wife is so beaten that she looks in the mirror ― the mirror has no bottom ― the wife is beaten so that she begins to sing ― the song has no end ― the wife is so beaten that she "plays with the monkey" ― ​the monkey has no circle ― and the wife is so beaten that she springs up to the sky.
# Pekinese Rhymes/22

XXII
大秃子得病 二秃子慌
三秃子請大夫
四秃子熬薑湯 五秃子抬 六秃子埋 七秃子哭着走進來 八秃子問他哭甚麽 我家死了個秃乖乖 快快兒枱
怏快兒埋
别讓那個葫蘆子兒迸出來
NOTES
For a baldhead is meant in this song a child, for the reason explained before. 墓 chiang$^1$ t'ang$^1$, ginger broth, a medicine given to make the patient sweat. 乖乖 kuai$^1$ kuai$^1$, dear, treasure, said of children. 葫蘆子兒 hu$^2$ lu$^2$ tzǔ$^3$ 'r, the seeds in his gourd (meaning his head), 迸出來 peng$^4$ ch'u$^1$ lai$^2$, to spring up; said of things which being thrown down, by force of elasticity, spring up.
TRANSLATION
The first baldhead gets sick ― the second baldhead is scared ― the third baldhead goes to call a doctor ― the fourth baldhead boils a ginger decoction ― the fifth baldhead bears him (the sick one) on the shoulders ― the sixth baldhead buries ​him ― the seventh baldhead comes in ― the eight baldead asks "why do you weep "? ― In my family a dear baldhead is dead ― quickly take him away ― quickly bury him ― lest the seeds should spring out of his gourd.
# Pekinese Rhymes/18

XVIII
槐樹槐 槐樹底下撘戲台 人家的姑娘部來了 我家的姑娘還不來 說着說着就來了 騎着驢 打着傘 光着脊梁挽着纂
NOTES
槐樹 huai$^2$ shu$^4$, the ash tree (lat. fraxinus). 打着傘 ta$^3$ cho$^1$ san$^3$, keeping the umbrella open. 光着脊梁 kuang$^1$ cho$^1$ chi$^3$ niang$^3$, bare from head to ​waist. 挽着纂 uan$^3$ cho$^1$ tsuan$^3$, with the back-hair combed as a chignon.
TRANSLATION
Ash trees, ash trees — under the ash trees they have raised a stage — everybody's girls are come ― only mine does not come yet ― just while speaking, here she is come ― riding on a donkey ― with an open parasol ― and with her hair combed into a chignon.
# Pekinese Rhymes/20

XX
金軲轆棒 銀軲轆棒 爺爺兒打板兒 奶奶兒唱 一唱唱到大天亮 養活了個孩子沒處兒放 一放放在鍋台上 嗞兒嗞兒的喝米湯
NOTES
軲轆棒 ku$^1$ lu$^4$ pang$^4$, a child toy, consisting in a short wood mace with a handle. The wood above the handle is circularly worked as to give the idea of wheels 軲轆 ku$^1$ lu$^4$. It is the imitation of an ancient Chinese weapon. 大天亮 ta$^4$ t'ien$^1$ liang$^4$, when the daylight was very bright. 嗞兒嗞兒, tzǔ$^1$ 'r tzǔ$^1$ 'r, imitates the sound produced by the lips of a person who is sipping broth. There was no character in the dictionary for it, but I was forced to adopt the above written as corresponding to the exact sound and having by side the radical 口.
TRANSLATION
Gilt wood mace ― silvered wood mace ― the husband strikes the castanets and the wife sings ― and they have been singing till broad daylight ― and she has born a child, and there was no place to lay him ― and they have laid him on the kitchen-stove ― where he is sipping the rice gravy.
# Pekinese Rhymes/21

XXI
扯扯 扯軲轆圓 家家門前掛紅線 紅線厚 甩大袖 一甩甩在門後頭 門後頭 掛腰刀 腰刀尖 項大天 天打雷 狗咬賊 唏𠺕嘩拉又一回
NOTES
These words are sung by children as they give each other the hand and turn around in a circle: no particulary defined meaning is attached to them, as they are put together only to keep measure with the steps. 軲轆圓 ku$^1$ lu$^4$ yüan$^2$, as round as a wheel. 甩 shuai$^3$, expresses a movement peculiar to the Chinese, that of letting down with a sudden jerk of the arm, the long sleeve which was tucked up the wrist. 唏𠺕嘩拉 hsi$^1$ liu$^1$ hua$^1$ la$^1$, words with no meaning.
TRANSLATION
Draw, draw ― draw the circle as round as a wheel ― at every house-door is hanging a red thread ― the red thread is thick ― drop the sleeve ― drop it as far as behind the door ― behing the door ― is hanging the swoard ― the swoard is cutting ― and is so long that it touches the sky ― the sky thunders ― the dog bites the thieves ― hsiliuhualà once more!
# Pekinese Rhymes/23

XXIII
樹葉靑 呀呀兒英 我跟姐姐過一冬 姐姐蓋着花花被 妹妹蓋着羊皮睡 姐姐穿着紬子襖 妹妹穿着破皮襖 姐姐戴着金簪子 妹妹戴着竹圈子 姐姐騎着高頭馬 妹妹騎着樹喀杈 姐姐登着銀鐙兒 妹妹登着牆縫兒 姐姐抱着個銀娃娃 妹妹抱着個癩蛤麻 走一步來哇兒呱哇兒呱又哇兒呱
NOTES
呀呀兒英 ya$^1$ ya$^1$ 'r ying$^1$, meaningless refrain which rhymes with the preceding verse. 花花被 hua$^1$ hua$^1$ pei$^4$, a coverlet embroidered with flowers. 簪子, tsan$^1$ tzǔ, chinese hair-pin. 竹圈子 chu$^2$ ch'iüan$^1$ tzǔ, ear-rings made of bamboo; in Peking ear-rings are generally called 鉗子 ch'ien$^2$ tzǔ. 嘎杈 k'a$^1$ ch'a$^1$, a forked branch 癩蛤麻 lai$^4$ ha$^2$ ma$^1$, a scabby toad. 哇兒呱 ku$^1$ 'r kuà$^1$, imitates the voice of a toad.
TRANSLATION
The tree leaves are dark ― I spend a winter with my elder sister ― my elder sister covers her bed with a coverlet embroidered with flowers ― and I the younger sister cover my bed with a goat skin ― my elder sister wears a satin overcoat ― I the younger sister wear a broken skin overcoat ― my elder sister wears golden hair-pins ― and I the younger sister wear bamboo ear-rings ― my elder sister rides on a splendid horse ― and I the younger sister ride on a forked branch ― my elder sister leans her feet on silver stirrups ― and I the younger sister lean my feet on the wall crevices ― my elder sister holds in her arms a silver baby ― and I the younger sister hold in my arms a scabby toad ― which moves a step and then cries kurkuà kurkuà.
# Pekinese Rhymes/24

XXIV
立了秋來立了秋 八月十五月兒照高樓 鴉雀無聲人烟靜 瞧見了兩個押虎子走籌 一根燈草嫌他不亮 兩根燈草又怕費了油 有心要買一枝羊油爉 怎奈我手中沒有猴兒頭
NOTES
立秋 li⁴ch'iu¹, the beginning of winter. 照 chao⁴, illumines. 人烟靜, jen² yen¹ chin⁴', men and smoke (houses) are resting； everything is quiet. 押虎子 ya¹ hu³ tzŭ, Peking street watchmen, kept by the Government to tell the hour by striking on a bamboo rattle. 走壽 tsou³ ch'ou², to take round by night time a bamboo tally from one watch-post to another. 一根燈草 i¹ ken¹ teng¹ ts'ao³, a lamp wick made of the stalk of the Juncus communis (rushes). 怎奈 tsen³ nai⁴, there is no remedy, no way. 猴兒頭 hou² 'r t'ou², a monkey's head, slang Pekinese term to mean money. Several words are used in the same meaning as for instance 大軲轆 ta⁴ ku¹ lu⁴， the big wheel. 官板 kuan¹ pan³, official stamp, stamped by the Government. Several terms cannot be written ​at all, wanting a character for them, not with standing I 、vill venture to write them down with homophonous characters. So for instance read ka〜 Ex. 我的 這個搭 連兒就 剩了叫 嘆了 uo^ ti' che-ko ta'-lien- ，r ciou' sheng la chiao huan* ka- la, there is noting left in my purse but noisy cash" meaning that the purse only contains two or three cash which at every step meet and ring. It is also said 古 Pg ku: ka-. Ex. 古 沒有 ku^ ka' niei- ioii、'， I have no cash. Another term is 侧 ts'o?, or 側 羅 tsV lo-. Foreign words are sometimes used as chi'-ha', the Chinese transformation of the Manchu word jiha "money" and chao' su'， said to be Mongol and generally used, peculiarly in the whole phrase chaoi sa' u kuei', which is meant for "I have no money" and is all in Mongol.
TRANSLATION
The autumn has set in, the autumn has set in ― on the fifteenth of the eighth month the moon illumines the high palaces ― crows and other birds are silent and men and houses are resting ― I have seen two watchmen who went round taking the watch-tally ― here, with only one wick in the lamp, I am sorry it is dark 一 but I am afraid to consume too much oil burning two wicks ― I intend buying a candle of mutton-tallow ― but, alas I I have not a single cash in the hands.
# Patients in mental institutions 1941

PATIENTS IN MENTAL INSTITUTIONS
1941
U. S. DEPARTMENT OF COMMERCE
BUREAU OF THE CENSUS
# Patients in mental institutions 1938

PATIENTS IN MENTAL INSTITUTIONS
1938
U. S. DEPARTMENT OF COMMERCE
BUREAU OF THE CENSUS
# Patients in mental institutions 1939

PATIENTS IN MENTAL INSTITUTIONS
1939
U. S. DEPARTMENT OF COMMERCE
BUREAU OF THE CENSUS
# Patients in mental institutions 1940

PATIENTS IN MENTAL INSTITUTIONS
1940
U. S. DEPARTMENT OF COMMERCE
BUREAU OF THE CENSUS
# Patients in mental institutions 1942

PATIENTS IN MENTAL INSTITUTIONS
1942
U. S. DEPARTMENT OF COMMERCE
BUREAU OF THE CENSUS
# Omoo

Omoo was Herman Melville's sequel to Typee.Warning: template has been deprecated.

## Contents

I. My Reception Aboard II. Some Account of the Ship III. Further Account of the Julia IV. A Scene in the Forecastle V. What Happened at Hytyhoo VI. We Touch at La Dominica VII. What Happened at Hannamanoo VIII. The Tattooers of La Dominica IX. We Steer to the Westward--State of Affairs X. A Sea-Parlour Described, With Some of Its Tenants XI. Doctor Long Ghost a Wag--One of His Capers XII. Death and Burial of Two of the Crew XIII. Our Destination Changed XIV. Rope Yarn XV. Chips and Bungs XVI. We Encounter a Gale XVII. The Coral Islands XVIII. Tahiti XIX. A Surprise--More About Bembo XX. The Round Robin--Visitors from Shore XXI. Proceedings of the Consul XXII. The Consul's Departure XXIII. The Second Night Off Papeetee XXIV. Outbreak of the Crew XXV. Jermin Encounters an Old Shipmate XXVI. We Enter the Harbour--Jim the Pilot XXVII. A Glance at Papeetee--We are Sent Aboard the Frigate XXVIII. Reception from the Frenchman XXIX. The Reine Blanche XXX. They Take Us Ashore--What Happened There XXXI. The Calabooza Beretanee XXXII. Proceedings of the French at Tahiti XXXIII. We Receive Calls at the Hotel de Calabooza XXXIV. Life at the Calabooza XXXV. Visit from an Old Acquaintance XXXVI. We are Carried Before the Consul and Captain XXXVII. The French Priests Pay Their Respects XXXVIII. Little Julia Sails Without Us XXXIX. Jermin Serves Us a Good Turn--Friendships in Polynesia
XL. We Take Unto Ourselves Friends XLI. We Levy Contributions on the Shipping XLII. Motoo-Otoo a Tahitian Casuist XLIII. One is Judged by the Company he Keeps XLIV. Cathedral of Papoar--The Church of the Cocoa-Nuts XLV. Missionary's Sermon; With Some Reflections XLVI. Something About the Kannakippers XLVII. How They Dress in Tahiti XLVIII. Tahiti As It Is XLIX. Same Subject Continued L. Something Happens to Long Ghost LI. Wilson Gives Us the Cut--Departure for Imeeo LII. The Valley of Martair LIII. Farming in Polynesia LIV. Some Account of the Wild Cattle in Polynesia LV. A Hunting Ramble with Zeke LVI. Mosquitoes LVII. The Second Hunt in the Mountains LVIII. The Hunting-Feast; and a Visit to Afrehitoo LIX. The Murphies LX. What They Thought of Us in Martair LXI. Preparing for the Journey LXII. Tamai LXIII. A Dance in the Valley LXIV. Mysterious LXV. The Hegira, or Flight LXVI. How We Were to Get to Taloo LXVII. The Journey Round the Beach LXVIII. A Dinner-Party in Imeeo LXIX. The Cocoa-Palm LXX. Life at Loohooloo LXXI. We Start for Taloo LXXII. A Dealer in the Contraband LXXIII. Our Reception in Partoowye LXXIV. Retiring for the Night--The Doctor Grows Devout LXXV. A Ramble Through the Settlement LXXVI. An Island Jilt--We Visit the Ship LXXVII. A Party of Rovers--Little Loo and the Doctor LXXVIII. Mrs. Bell LXXIX. Taloo Chapel--Holding Court in Polynesia LXXX. Queen Pomaree LXXXI. We Visit the Court LXXXII. Which Ends the Book
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
# Pensions Act 1856

ANNO DECIMO NONO ET VICESIMO.
VICTORIÆ REGINÆ.
Session I. No. I.
An Act to provide for the retirement of certain Officers of the Executive Government. [7th May, 1856.]
This work is in the public domain because it is listed under the exempted Governmental works outlined by current New Zealand law. The New Zealand copyright law specifies that "no copyright exists in any of the following works, whenever those works were made". (§ 27).
Public domainPublic domainfalsefalse
# Pensions Act 1856/Schedule A

SCHEDULE A.
Pensions. :
| | £ | s. | d. |
| To the said Andrew Sinclair, such sum as shall be fixed by Her Majesty by instructions under her Signet or Sign Manual, or signified, through one of Her Majesty's principal Secretaries of State, to the Governor of the said Colony, not exceeding the sum of | 466 | 13 | 4 |
| To the said William Swainson, such sum as shall be fixed as aforesaid, not exceeding the sum of | 400 | 0 | 0 |
| To the said Alexander Shepherd, such sum as shall be fixed as aforesaid, not exceeding the sum of | 480 | 0 | 0 |
This work is in the public domain because it is listed under the exempted Governmental works outlined by current New Zealand law. The New Zealand copyright law specifies that "no copyright exists in any of the following works, whenever those works were made". (§ 27).
Public domainPublic domainfalsefalse
# Pensions Act 1856/Schedule B

SCHEDULE B.
Commutation of Pensions.
To the said Andrew Sinclair, a sum equal to four years and a half purchase of such sum as shall be fixed as aforesaid as the pension payable to him.
To the said William Swainson a sum calculated at the like rate.
To the said Alexander Shepherd a sum calculated at the like rate.
This work is in the public domain because it is listed under the exempted Governmental works outlined by current New Zealand law. The New Zealand copyright law specifies that "no copyright exists in any of the following works, whenever those works were made". (§ 27).
Public domainPublic domainfalsefalse