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Full text of "Florodora: A Musical Comedy"

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al |_-.:. :.-.-:: / / books . qooqle . com/| 



PRODUCED AT / / & f 1/ 



oh.e.N.'y. (Casino 

NOV. I2TH.I900. 

Under the direction of M? JOHN C. FlSHER. 



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THE BEQUEST Of 
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FLORODORA 

Book by OWEN HALL 
Lyrics by ERNEST BOYD-JONES and PAUL RUBENS 

Music by LESLIE STUART 



CHARACTERS 

Cyrus W. Giltain (Proprietor of the Island and the Perfume of Florodora) Mr. R. E. Graham 

Captain Arthur Donegal (Fourth Royal Life Guards, Lady Holyrood 1 s brother) Mr. Cyril Scott 

Frank Abercoed (Manager for Mr. Gilfain of the Island of Florodora) Mr. Sydney Deane 

Leandro. . .'. (Overseer of farms) Mr. Nace Bonville 



> (Gilfain s clerks) < 



fMR. T. E. Whitbread 

Mr. Lewis Hooper 

Mr. Edward Gore 

Mr. J as. A. Kiernan 

Mr. Thos. A. Kiernan 

Mr. Joseph S. Colt 

(A footman) Mr. Lou Abrams 

Anthony Tweedlrpunch (Showman, phrenologist, hypnotist, and palmist) Mr. W. J. Ferguson 

Dolores Miss Fannie Johnston 

Valleda (Maid to Lady Holyrood) Miss Guelma L. Baker 



Tennyson Sims 

Ernest Pym 

Max Aeptelbaum 

Reginald Langdale . . . 

Paul Crogan 

John Scott 

William 



Inez 

Jose 

JUANITA . 

VlOLANTE 

Calista . 



- . . . . (Florodorean Girls, heads of he various Farms) . . . . « 



( Miss Geraldine Bruce 

Miss Sadie Lauer 

Miss Helen Lucas 

Miss Aline Potter 

Miss Emma Thompson 



Angela Gilfain Miss May Edouin 

Consuella ( Typewriter to Gilfain) Miss Elaine Van Selover 

Daisy Chain * T . . . Miss Margaret Walker 

Mamie Rowe Miss Susan Drake 

Lucy Ling Miss Marie L. Wilson 

Cynthia Belmont Miss M arjorie Rblyea 

Lottie Chalmers Miss Agnes Wayburn 

Clare Fitzclarence Miss Vaugn Texmith 

Lady Holyrood Edna Wallace-Hopper 

Florodorean Farmers, Laborers, Flower Girls, Welsh Peasants, Etc. 



ACT I. — The Island of Florodora in the Philippines 
ACT II. — Scene i— Abercoed Castle, Wales 

Scene 2 — Grand Ball-room in the Castle 



Musical Director, ARTHUR WELD 



Production by LEWIS HOOPER, of The Lyric Theatre, London 



FLORODORA 



CONTENTS 

ACT I 

MO. PAGE 

i. Opening Chorus 5 

2. Sextette — "The credit's due to me" (Sims, Pym, Aepfelbaum, Langdale, Crogan, and Scott.) . . . 29 

3. Song — " The Silver Star of Love " {Dolores") 34 

4. Duet — " Somebody " {Dolores and Abercoed) 41 

5. Chorus of Welcome 49 

6. Concerted Number — " Come and see our Island" 63 

7. Song — " When I leave town " (Lady Holyrood) 69 

8. Duet — " Galloping (Angela and Donegal) 72 

9. Trio — " I want to marry a man, I do " (Laa'y Holyrood, Tweedlepunch, and Gilfain) 78 

10. Song — " Phrenology " (Gilfain) 81 

11. Song — " The Shade of the Palm " (Abercoed) 89 

12. Finale 93 



ACT II 

13. Opening Chorus 122 

14. Song and Chorus — " Tact " (Lady Holyrood) 137 

15. Song—" The Millionaire " (Gilfain) 141 

16. Concerted Number — " Tell me Pretty Maiden " (English Girls *nd Gilfain s Clerks) 145 

17. Duet — " We get up at 8 a. m." (Yalleda and Leandro) 151 

18. Song — " Willie was a gay boy " (Angela) 154 

19. Duet — "We're both on the stage " (Dolores and Tweedlepunch) • 158 

20. Song — " I've an inkling " (Lady Holyrood) 163 

21. Sonc — "The Queen of the Philippine Islands " (Dolores) 166 

22. Song — " I want to be a military man " (Donegal and Chorus) 169 



FLORODORA. 

A Musical Comedy. 

Lyrics by 
ERNEST BOYD JONES and PAUL RUBENS. 



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Book by f 
OWEN HALL. 



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With the gay cas - tag. 



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As a god - deas or queen we a - dore her, Ca-bal - ler 



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As a god - dess or queen we a. dore her, Ca-bal - ler 



As a god - dess or queen we a . dore her, Ca - bal - ler 



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28 



Mb i r r 



Sing bo 



kml 



ler 



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sing- bo 



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let 



sing a bo 




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sing bo 



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O) dance Ca - bal - ler - o 



a - gain. 



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29 



N2 2. 



The Credit's Due To Me. 



Words by 
ERNEST BOYD -JONES. 



Allegro. 



Piano. 



(The Clerks.) 





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l>* :=!= 



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Fresh from the count - ing house are we, Where ev - 'ry day from 
As po - et of this es - tab - lish-ment , My pret- ty po - et - ic - al 




p 



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ten till three We em - u - late the bus - i - est bee That 

puffs are sent To the end of the world, so I in - cline To 



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30 




ev - er biizz'd in clov - r er; On six high stools we 

think the credit's en -tire - ly mine. I gor - res - pond rait de 




i f J i j i j 




sit in - tent. On six mag - ni - fi -cent led 

gread - est ease, In twen - ty dif-fer-ent Ian 



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gers bent, With- 
gua - gees For a 




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out us this 

pount a week 



so 



i 



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es - tab - lish-ment Would sure 




P r ii 



you'll a - gree De 



ly top - pie 



gre-dits en - tire - ly 

jut 





ver. All 
to me 



you oth-ers may toil with pen 
As un - der as - sist - ant sub 



and ink. 
cash - ier , 



All 
With 



31 




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day at my desk I sit and think, This be - ing thus, you 11 

long quill pen and frown se-veie, I make out bills, and 





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a - gree 
you see 



The ere - dit's 
The u Cre - dit's" 



en 
en 



tire 
tire 



iy 



due 
due 



to roe 
to me 



I 



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beg to re-spect-ful-ly dis - a - gree, The cre-dits en - tire - ly 





due to me, The ere - d it, yes, the ere - dit is en - tire - ly due to 



32 




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me 



To me! to me! 



Its due to me 




? 




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like to say 



its due. 




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Let prais - es fall where praise is due Tis 





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clear, from ev - 'ry point of view, If A we should give ere - dit to, Why 



33 




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men - tion B or C? 



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To no con-clu - sion can we come. Or 



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solve this com - pli - cat - ed sum, If Twee - die - dee , 



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Twee - die -dee to Twee - die dum Says, "Pooh"! to you, "Pooh 




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pooh"! to you, u Pooh pooh"! and <4 Fid-dle-dee - dee!" 



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34 



The Silver Star of Love. 



N2 3. 



Dolores. 



Words and Music by LESLIE STUART. 



Tempo diValse. 



Pianos 





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calm of the night falls a - round 



'Tis the time 



When my 




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heart tells of one who may love 



love's 




Copyright, MCM, by Francis, Day & Hunter. 



35 



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gaze up -on me Then the Bright- ness of heuvh is a - bove, For this 





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love 



is the one sil-ver star that may guide me. 





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What 



need I care for the dreams Of a fair El - do- 





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do? 



When 



need I look for the day when 




36 




love 



grows old? 



Shine 



fair- est 





j r i » 



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jew - el! Fair - est jew - el of the heav'ns, You are 





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light 



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of my soul! You are fair - est, dear - est of all to 




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me. Ah! 



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His the 8il - ver star of love That is shin-ing a- 



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-bove 



for 



me, 'Tis the bright - est of all that eyes can see 'Tis the 





Y i r y r I y r V 




bea-con of lov-ers ec 



sta - cy; When the heart is a wea - ry 




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time a maid - - en 



longs For the light of the bright sil - ver 







38 




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star 



of love 



EEZ 



Tis the bright sil-ver star of love. 








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that shines 



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39 




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Tis the time a maid - en longs. She 

is «► g g he ^ $g ; 4 4 



longs 



for the 





of love 



She longs for the star of 





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love, 



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She sighs in the e - ven - tide, 



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40 





fctESS 



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love* 



She longs for the bright star of love, 



'Tis the 




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light of her soul,'Tis the bright sil-ver star of lore, 



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41 



N24. 



Somebody. 

DUET. 

Dolores and Abercoed. 



Piano. 





Dolores. 

I I A «h p i p J>| J= ££ 



If you're in love with some-bod- y 



>• >>j h i 



Hap - py and luck- y 





some - bod - y, Tell me, I pray her name and say Where did you meet her? 



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What was the day When you met you some- bod - y?. 




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To some -bod - y, 




42 




why should I tell 



day? 



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some - bod- y! There's none in the world like she. 



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here, with some-bod- y. Ahl 



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Ah! 



43 




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It is for you to tell, my la - dy, And sine you know her 





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dy, You are the im - age of some - bod - y Yes, 



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tell this la - dy, And since I know her well, this la 



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my la 



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Abercoed. 




45 




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If I must part with some - bod - y, 



Pleas -ure and pride on a 





jp j^ j j. i J*. J> > r ^ 




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throne, good- bye, To pleas- ure and pride Id say good-bye To re - 



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To some- bod - y why should I say good- 




J' J ,JH J- 



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- main with some - bod - y 

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- bye? 



If you should fly 



a - way, Then 



46 




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what would be- come of some . - bod - y 



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stay, 



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to some - bod - y 



47 




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for you 



to tell, 



my* la - dy, And 




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since you know her well, my la - dy, You are the im-.age of 




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some - bod - y, some - bod - y. Ah! 



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J' I J J» JT h I Jl > iip a^ 



since I know her well, this la - dy, I am the im - age of 



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my la - dy, YouVe the im - age of 




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49 



N9 5. 



Chorus of Welcome. 



Words by ERNEST BOYD-JONES. 



SOP. 



- L <Hi 




m 



r r n i r n igE^ii 



ALTO. 



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Hail, — from storm and sea and 



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TEN. 



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BASS. 



Pian. 



Hail, — from storm and sea and 



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Hail, — fromthe storm and the sea and the 




Hail, fromthe storm and the sea and the 





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wind! 



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wind! 




fe 



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wind! 



wind! 



ir r 



p i p p p p p p i 



Hail,. 



the mas • ter in • dul - gent and 



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Hail, 



the mas - ter in - dul - gent and 



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Hail, — fromthe mas - ter in- dul -gent and 




Hail, fromthe mas - ter in - dul -gent and 



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Lord of our isle 



He is 




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turn - ing a shout and a smile — And cheek that is burn - Ing! 




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turn . ing a shout and a smile And cheek that is burn - ing! 

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For, with pow'r not less than king's 



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For, with pow'r not less than kings 



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rule and his shelter- ing wingB 



rule and his shelter - ing wings 




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We can al - loy Our 




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rule and his shelter . i ng wings 



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r p i ^ p. r EE^Effig 




toil 



with jol - li-ty, So life we en - joy_ Of U - to 



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toil 



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toil with harm-less jol - li-ty, So life we en - joy Of a per-fect U- to -pi- an 



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qua! - i - ty So trip! trip I trip! To meet him and then to greet him From 





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qual - i - ty So trip! trip! trip! To meet him and then to greet him From 




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qual - i - ty So trip! trip! trip! To meet him and then to greet him From 




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qual- i - ty So trip! trip! trip! To meet him and then to greet him From 



53 




* p p? ? I 4 p pr.TH p p t p 



off the ship 




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Huz-zah! 



Huz-zah! 



Huz-zah! Our 



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off the ship 



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bright 



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light dis-play-ing By wild hur - ray- ing With might and main! 




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bright de 




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light dis-play-ing By wild hur- ray -ing With might and main! 



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bright de - light dis-play-ing By wild hur- ray -ing With might! 




bright de - light dis-play-ing By wild hur -ray -ing With might and main! 





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54 



P 




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Huz-zah! 



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Bend we 



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Bend we 





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now The knee in cour-teous bow, Our homage dis- play to you 



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We say Good 




now The knee in cour-teous bow, Our homage dis. play to you 




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We say Good day" to you, 




We say Good day" to you. 



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We say Good day" to you, 



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day" to you. 





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Our true and tried Phi los - o-pher and guide, Wecheer-i-ly 




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say to you 



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Now we de -*fer to you 



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We do! 



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Now we de - fer to you 






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With them we vie With a shy and down -cast eye, And try to con- 



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we do! 



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we do! 




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57 




vey to you 



By a mer - ry ' Good - day to you" 




vey to you 



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r r p i 



Hail we, with 



P r if. I 



How we de - fer to you 



Hail We, with 




58 




mer- ry fri -vo - li . ty, Song, dance, and jol-li . ty, O'er our home and our isle he will 




mer - ry fri - vo - li - ty, Song, dance, and jol - li - ty, O'er our home and our isle he will 




mer- ry fri-vo - li - ty, Song, dance, and jol-li . ty, O'er our home and our isle he will 




mer . ry fri-vo - li - ty, Song, dance, and jol-li - ty, O'er our home and our isle he will 




' j^ * p r < p i r p r < fl i r T « p i i 



i h \ * j ^^ 



reign, For he re - turns to us a - gain! 



j» j jij " |ii/ 



m 



So trip! trip! 



i 



reign, For he re - turns to us a - gain! 




p r p i J * j p i r v * p i r 



So trip! trip! 



reign, For he re • turns to us a . gain! 




5£ 



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p r pi j -h -i p i r y j P 



m 



P 



So trip! trip! 



£ 



reign, For he re - turns to us a -' gain! 



So trip! trip! 




59 




p p p p ir ^^ 



trip! To meet him, and then to greet him from off the ship. 




trip! To meet him, and then to greet him from off the ship. 




trip! To meet him, and then to greet him from ship. 




trip! To meet him, and then to greet him from off the ship. 





h^£ 



i 



fl h t , P P T T | t p p V T 1 I | 




Huz-zah! 



Huz-zah! 



Huz-zah! Our bright de - light dis-play-ing By 




Huz-cah! 



Huz-zah! 



Huz-zah! Our bright de . light dis-play-ing By 




m 



P PT T|l p p7 T|l P P Tplp- f ^E 




Huz-zah! 



Huz-zah! 



Huz-zah! Our bright de . light dis-play-ing By 




60 




wild hur-ray- ing With might and main! 



$>\ j 




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Huz-zah! 



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wild hur- ray . ing With might and main ! 




^ 



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wild hur-ray- ing With might, 




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Huz-zah! 



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Huz-zah! 



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wild hur- ray -ing With might and main! 




fe£ 



Huz-zah! 




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^ 



Huz-zah! Huz - zah! 



Our 



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Huz-zah! Huz - zah! 



Our 



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Huz-zah! Huz - zah! Huz-zah ! 



Huz-zah! Huz - zah! 




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Huz-zah! Huz-zah! Huz-zah! 



Huz-zah! Huz - zah! 



61 




i V I 



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King in re -turn - ing 



k 



* 7 I 



$n p p p rm p 



^ 



King in re- turn - ing 




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* 



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p r pir"Y 



tr --Si 



The mas - ter comes, 



we now de - fer 




The mas - ter comes, 



we now de - fer 





m 



^m 



wel-come, re -turn - ing — Hail, 



the mas - ter, 



King 



j^ p p p b 




Hi»' ~ t es^ 



and 




wel-come, re -turn - ing — Hail, mas-ter and King 



Hail, mas-ter and 




p 



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Hail, mas-ter and King 



Hail, mas-ter and 




62 





r p 1 f ^p r ^p 1 r ftp X frp 1 ^p 7 7 



mas - ter we Hail you, Sir, from storm and sea, we hail, 



to 



hail 



Kim?, we Hail you. Sir, from storm and sea, we hail, hail 



we Hail you, Sir, from storm and sea, we hail, 




r p i r p r c- 1 r p r p i p m i* ■ 



King:, 



we Hail you, Sir, from storm and sea, we hail, 



hail 



PPP E 



t 



P i f tr in ,H 



*n r » i ff 



^a 



£ 



King, 



we Hail you, Sir, from storm and sea, we hail, hail 





Huz 



zah! 






Hu - zah! 



■> r r p 



Hu - zah! 



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si 



jjjjja 




63 



N26. 



Come and See Our Island. 

English Girls and Clerks. 



Allegro. 



Piano. 





GIRLS. 



P^fii 



^ 



r p J J 'U l 




y*t » 



Come, take us 'round to see the sight, From gay ba-zaaiB to 



i 




£ 



£ 



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r 




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f= 



r 



r 



r^ 



MEN. 




^ J' ,> J' J ^^ 



GIRLS. 



S 



^^P 



5 



fol low us ev - k, ry - where? 



The round- a -bouts, A - 



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4 

r 



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P 




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m 



p 



64 




mer - i - can swings, A - qua - ri - urns and zoos and things And 




\ V i J' J J^E^ 




MEN. 



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all the fun of the fair. 



Then fol low us ev - 'ry - 




i 



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'P F P P 




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GIRLS. So come, so come 



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fa 




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-where,* so come, so come 



=:: f= 

MEN. So come, so 





£ 



s 



^ 



jij -h i p i ^ 



come. 



a - long, 



So come a -long with me. 




65 




* 



MEN. 



p i r J J J J' l -i j> a 



^ 



it 



We have - nt got an a - qua - ri - um We donH pos-sess 



a 




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f 



m 



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t 




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j ij J 1 1 i i J J' > |j j i m i 




s 



zoo, no! no! No Af - ri - can blacks with dusk - y backs Tat - 




* 






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r 




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=* 



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tooed red, white and blue, Weve no wax - work shows like 




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Mad- ame Tus- suads, No Bi 



o - graph have we 



No 



66 




J' J' jiji i j> J' J' J >| J J' J J> | 1 J gfe| 



Lion Coraique at a thous-and a week, But come a-long with me 



So 




fpl 



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^ 



FT F I T 



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come, 



so come, 



so come a - long with me. 




'11 rTffn 




f r f r 



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7 7 t 




come a-long and hear the song That na-ture sings the whole day long, And 





■I P J |JI J F 



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o-ver the hills and far a -way, Like lamps in Spring well gai - ly play, So 




67 



V J j j j ' t i > J J 



p^Pf 




come a- long and hear the song That na-ture sings the whole day long, And 





trip- ping - ly, skip- ping - ly, oh, so gay, We will o-ver the hills a - way. 




DANCE. 




P 




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68 






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69 



NQ7. 



When I Leave Town, 

Lady Holyrood. 



Words by 
PAUL RUBENS. 



Allegro. 



Voice. 



Piano. 





p p p i j' j' ;> * i ji. > ^ 



i 



L | J* J' J' 



1. Im a la - dy, dont for- get, 

2. If I go to sup or dine, 

3. If Im up just for the day, 



m 



With a sense of et - i - quette* And 
I know where to draw a line A 
Lon don seems quite bright and gay. Po 





§ 



*j 



all I 

smart black 
lice - men 



m 



say 

frock, 

smile 



jiu. > j* j' i p p p * ' 



Is in 
And al 
As I 



the "Dai - ly 

ways * home by 

go through the 



Mail" next day. 
twelve o- clock. 
Park in style $ 



70 




p- P p p I > J' j H ji J' J 1 pip P p ip 



Dan- ces, rau- sic halls and plays, Draw - ing- rooms and smart soi-rees Or 

I dont pay a thing at all Bar a dread - ful Sun - day call; And 

Bus - men greet me from a - bove; Cab - men drive me "just for love;" And 





r Jl » i * tim 



Hen - ley, 
when my 

ev - 'ry 



Good - wood, 
funds are 
wait - er 



and Pa - ree 
sink - ing low, 
says that he - 



i 





■M Ji Jil J 



^^ 



m 



Owe their great 
Some - one sees 
Waits ex - clu 



sue - cess to 

to that, you 

sive - ly for 



me. 

know! 

me. 




71 




3 



J' p ;. Ji l J 1 p ^J|J' (i J* I J ^B 



Im known ev-'ry- where From Bays-wa-ter to Berk-ley Square; Ive got a 





m j^ 




sort of air That Pos- i - tive - ly knocks you down. 



Im so 





fr) J^ Jll J J< J J* J > > p 



gay, you know, On the go, To and fro } Theres noth-ing a- ny- where a- bout That 




u f J I JJ IJJ 




peo-pleseera to care a-boutWhen I leave town! When I leave town 



72 



N28. 

Words by 
ERNEST BOYD-JONES. 



Galloping. 

Angela and Donegal. 








JS J' J» J^- J' J I JT J J* 



i. Love in his youth is a fi - 'ry steed, 

2. Love, when he com - eth in mid - die age, 







$¥ jh j j> A jij i j*. J*j j = 



Gal -lop -ing, gal- lop- ing, gal-lop-ing gai - ly, 
Dif-fer-ent, dif - fer-ent horse al-to-geth - er, 



h J IS J', Ji ^ 



Need - ing no spur as he'll 
Will - ing to trot with his 



73 



J M ==z 



i^ 




wild - ly speed, wild - ly speed > - ver new pas - tures dai - 

e - quip- age, e - quip -age, Learn-ing the length of his teth - 




I '""" UJtjJ ' Lc WW 







Tak- ing the bit r his 
Jog-trot's the pace tho > it 



ly, dai - ly, dai - ly. 
er, teth - er,teth - er. 





#& 
^ 



I 



teeth be- 1 ween, 

is, in truth, 



Brook- ing no mas - ter, 
Thoughts of the man - ger, 



k HJ I J 1 J > 



1 



Fas - ter and fas - ter, 
Fraught with less dan - ger, 




74 



O-ver the ditch - es and hed-cres so 



p 



O-ver the ditch - es. and hed-ges so green, 
Short- en the winds for the flights of youth,. 



w 



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it *m 






*fe 



£ 






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i 



p 



p 



o - 

Flights 



ver 



the green , 

of youth, 



i m 








o - 

Plights 



- ver 



the green . 
of youth. 



Blind to the fu - ture and 
Nev - er is like - ly to 



P J P P ^^^ 



Blind to the fu - ture and 
Nev - er is like - ly to 





i 



I 



£ 



fe3=£=i 



r ' 



75 



i ^¥ P p r , J jm: j> ■>» j. j. j i j j. j j. i 



$ * p p p ^ 



threat- ened dis- as - ter, Gal- lop-ing gal - lop - ing gai - ly, gai - ly. 
bolt with a stran - ger, Gal - lop- ing gal - lop - ing gai - ly, gai - ly. 



mm 



j .)' j j i 



threat- ened dis -as - ter, Gal- lop-ing gal- lop -ing gai - ly, gai - ly. 
bolt with a stran - ger t Gal- lop-ing gal - lop - ing gai - ly, gai - ly. 




\ W J. 1' 1' 1' «P Ml 



&'** > 



> j j i ji j j> j, j, J 1 1 



Wom-an's the driv - er and Loves the steed That car-ries the bur - den 



p p p «p p i r j 



J 1 'i i i i j 



Worn - ans the driv - er and * Loves the steed That car- ries the bur - den 





J J* J jy l ji J> J' J J J' i {p^i 



fe 



dai - ly oh! So keep him in train - ing, then life in - deed Goes 




J j> j iij) j> J > Jl J | O -i' J 



£ 



dai - ly oh! So keep him in train - ing, then life in -deed Goes 



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76 




gal- lop-ing, gal-lop-ing gai - ly ohl 



Ah! 



gal- lop-ing, gal- lop-ing gai - ly oh! 



$ 






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keep him in train -ing, then life in- deed Goes gal- lop- ing gai - ly, 




j. j> ^ J p p ir J' J Jm p p p. «r ^ 



keep him in train- ing, then life in-deed Goes gal - lop - ing gai - ly, 



i t* 1 J"T^ 





p 



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J' j j i J' j' j' j p i p ^ 



gai - ly on, Goes gal lop ing gai - ly, gai - ly on. 





hij p j- 



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Ah! 



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gai - ly on, Goes gal lop ing gai - ly, gai - ly on. 



Ah! 




77 




Gal-lop-ing, gal-lop-ing 




^ 




Ah! 



Gal-lop-ing, gal-lop-ing 





Gal - lop -ing, gal- lop - ing oh! 



Gal - lop-ing, gal- lop - ing oh! 



gai 



iy, 






78 



NO 9. 



I Want to Marry a Man, I Do. 

TRIO. 

Lady Holyrood, Gilfain and Tweedlepunch . 



Words by 
PAUL RUBENS. 



Voice. 



Piano. 



1P^ 



Allegro. 




^ 



¥ 




^^ 



j£l 



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^m 





1=1 



Lady H. 



- uwiy n. l 



I 



, I ttO, I 



GIL. 



TWEED. 



1. I want to mar ry a man, 

2. A hus-band I want to a - dore, I do, I 



; j> i gj. j ^ ^ 



do, She does, She 
do. She does, She 



gr r|> 



3^ 



il 




£ 



ill 



E 



r p ij ? 



gs£ 



£ 



LadyH. 




do 
do. 



— I want to tell you my plan, I do, I 

.{GID Who's not been a hus-band be - fore, She do, She 



79 




m 



1 



TWEED. 



^m 



Lady H. 



J, |j , J, > > ^^ 



do, She does, She do 
do,(LH)She does{T.W.)She do 



There's no use in look - ing a 
(L.H.) I wont have a hus - band who 





W 



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^^ 



^ 



Mr >p 



p ir >p 



- bout each day 

wears a low hat 



For hus 
Or goes 



bands ei 
to dine 



ther dull or gay, Ive 
in some ones flat$HL)Or 





p- 



j, j' j i > i j^ ji j» j> j > > i 



got to get one who is built " my way, If I want to get one that will 
one who's ad-dict- ed to sleep on the mat (LED Or I think I should know what to 






m 



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m 



GIL. 



do, will do, 
do, ..to do, 



I 
I 



I 



TWEED. 



W 

loes, 



s 



do 1 She does, She do 

do, She does, She do 



w=t 



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£ 



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80 



LadyH. 



f imp i? J j j ^ i j. j' j. j. j j. 1 1 J- j ^ 




Youve got to get hold of the right one, And all will be right as right can 



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i 




I 



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be The task is - n't Quite such a lieht one. And can't be oerformwi for a 




i * i # j * i^ =; 



Mr ffr p 



'Tr r r p 



r 




fee 



You doift want a stay- out - all -night one, Or one who in- dul - ges in aft - er-noon 




'* rr«rr p li 



ft r r *r ' J 




,. > i J^ i ^ji ^ jiu j^ j> j hi j 



GIL. 




£ 



tea* 



If you on - ly get hold of the right one Its ea- sy as A, B. C, As 




ALL. 




i 






61 



N910. 



Words by 
ERNEST BOYD -JONES. 



Phrenology. 

Gilfain and Chorus. 



Voice. 



Allegro moderate . 



Piano. 



VW « 



I 





Tpjrn 




0^ 



MM P' 'p P J* Jl Jl J 1 f 



£ 



1. There is noth - ing we d is -par -age Like an 

2. If her " bump of sport" is big-ger Than the 



H^ r n m 




te 



p 



h J J 1 J> j> i'^F? 



I 



i 



i 



ill - as - sort - ed mar - riage, You must choose your wife 
nor - mal, you can fig - ure Out how ma - ny hun 



with 
ters 




nn 



82 




phre - nol - o - gic care; For the realm be-neath her bon- net Has your 
she will bring home lame; Or the num-ber of the "cad- dies" (High -land 





J* Ji > ij> j j j' j i j.^ J, j 



P 



fu - turemapp'd up - on it, So when jouVe en - gaged, take 

lad - dies in their plaid- ies) She kills on the golf - - liks 




m * j j 



j » t 




down her hair. _ 
in a game. 

i , CHORUS, unit. 



J j J i 



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p 



When you're en - gaged, take down her 

She kills up - on links in a 




TET^ElF 



83 




!5*E3E 



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i 




p p p p p ^^ 



Thb' she may de - clare it fid - gets, As you 
If her mark - ings show con - vie - tion Of a 




!s* 



em 



j> J' ji j> 



i 



hair, 



when you're en - gaged, 
yes, in a game. 





M= 



l>. J J J J J 1 J J I 



E 



I 



fura - ble with your 
taste for writ - ing 



dig 
fie 



its, 
tion 



You 
Then 



re - veal 
look out 



a 
for 



well 
ca 



de 
ses 





J. J 1 I > JW J J» H lJ' ^ 



[ - oped "bump bf cri 



- vel - oped "bump "bf crime!' You may find 
of " Ce - les - tial Twins? If her bump 



her one day thick - nin* Your noc - 
of mor- als looks tall Shell be 




tur nal gruel with strych-nine,- Be ad - vised 
warned off ev-'ry book- stall, For Mu 



and jilt her while there's 
die ends where she be - 



1 LJf n j 



V'i," l > lr 




84 



m 




k 



m 



m 



£ 



time, 
gins, 

SOP. 



J' ^ > j> j'i ^ 

And jilt her while there's time. 
Leaves off where she be - gins. 



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Be ad - 
For 



ALTO 



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vised 
Mu 



P?" 



and jilt her while theres 
die ends where she be - 



£ 



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o 
o 



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TEN. 



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Be ad - 
For . 



vised 
Mu 



\ 



and jilt her while 
die ends where she 



there's 
be - 



s 



BASS 



£ 



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time, 
gins, 



So be ad - 
For Mu-die 



time, 
gi*»v 



Be ad- 
Mu - die 



vised and jilt her while there?a 
ends where she be 




vised, 
ends, 



be ad 
Mu die 



time, 
gins, 



Be ad 



vised, 
ends, . 



be ad 
where 




86 




i p «p p 



So, you no 
Ah! the 



- vised 




j;j j [i_> ji j' j' 



and jilt her while there's 
where she be - 



j. j j j > j> j, ji 



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time, 
gins 



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while there's 
she be - 



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time, 
gins 



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|T jl * ■!' I 



wed - ding need be dread - ing Once phre - nol - o - gy's de - fined What is the 
mar- riage I dis-par-age Is the u - sual blind af- fair; Just a 





vir - tue that will hurt you, And the vice you need- nt mind. Set 

scram-ble at a gam - ble With the pri - zes ver - y rare. Ere the 



86 




sci - ence at de - fi - ance, And to grief youYe sure to come, If you are 
cri - sis my ad- vice is With your fin- ger and your thumb, Ex- plore the 





itLj p p- j * J >^f 



Z 



scorn -ing ev - 'ry warn - ing of the era 
moun - tains and the mole - hills of the era 



£ 



P 



ni - 
ni - 




87 



m 



p 



J j> jo «M } > j 



yum yum yum yum yum.What is the 



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vir - tue that will hurt you, And the 



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-nol - o-gyts de- fined 



What is the 



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tue that will 





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vice you need-nt mind. Set 




t 



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£ 



P' P P P f 



sci - ence at de - f i - ance And to 



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& 




hurt 



you, 



Set 



sci - enec at de - fi - ance And to 



s 



P' p p p r * P 



vice you need - n't mind . 



j> a j> j> j> j> ''p p i 



88 




i > Ji J' P p p n t p 



{^ tJ' J' J' J' J> Ji ft fe J' * ft > Ji J* ^ Jt 



grief you're sure to come If you are 




p j' j' > r g^ g 



grief you're sure to come If you are 



t» a p- j* Ji J' ^ J 1 1 



scorn-tag ev - 'ry warn- ing Of the 



M p 1 • p p p >p' p 



scorn-ing ev - 'ry warn-ing Of the 



(I P ^K . J i sg^ 





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era 



ni - 



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era 



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um 



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um 




89 



N211. 



The Shade of the Palm 

(Abercoed.) 

TENOR or SOPRANO. 



Moderato 
% 



Music by 
LESLIE STUART. 




fe 



There 
There 




There 
Dear 



^^ 



^ 



f' J) jiJ J i r"-~- 7 * i 



is a gar - den fair, 
is an is - land fair, 



Set in an East - ern sea, 
Girl by a West - ern sea; 




m 



v P p 



■I- J Jl 



is a maid 
est T tis there 



keep - ing her tryst 
one day thou'lt go 



with me 
with me 



i 





m 



In the shade of the palm, 
'Neath the glo - ri - ous moon 



With a lov-ers de -light, . 
Hand in hand we will roam, 




A 



Jt 




£ 



r 



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r 



3 



m 



Copyright, MCM, by Francis, Day& Hunter. 



90 




Where 'tis ev - er the gol - den day, _ 
Here the night -in -gale song of June, 



Or a sil-ver- y night; 
In the dear land of Home! 





How can I leave her a - lone in this dream of sweet Ar - ca - dia? 

There dear- est heart, will the past but seem an i - die vi - tsion? 




^ 



mm 



w^ 



k 



mm 



3 



How 

Nought 



can I part 
but a dream 



from her for lands 
that fad - eth fast- 



a - way? 
a - way, . 





In this val - ley of E - den, 
And the songs we were sing - ing , 



Fair- est isle of the sea,- 
In E - ly - si - an vales 




91 



\ 4 r~ p *p p 




"ir- r p i 



Oh,- 
seem 



my be - lov - ed, bid me to stay, 
but a ca - rol of yes - ter - day , 



In this 
Hap - py 





fair land of E - den, 

songs we were sing - ing, 



Bid me be- lov d to stay 
Songs of a by - gone day. 





m 



Oh, ray Do - lo - res Queen of the East-ern sea! 



Pair one of 




#-^— 




» i r p P p i t i ? r i 




E - den, Look to the West for me! 



My star will be shin - ing, love, when 




92 




! Ji J'-l' p Jg 




P P »p. P Pp ij 




you're in the moon - light calm , So be wait - ing for me by the East - ern sea, In the 



& ' r. jj « 





rr 



j'pJ'r p i p'-r t i /nJ'r 




shade of the shelt -'ring palm shade of the shelt -'ring palm 



Oh, my Do- 






lo 



res, my Queen 



of the sea, 



pin 




■ 1 ejJi m 1 J7 1 <*m 



Then be wait -ing for me by the 






|> J 1 P pi J^ 



pir « » 



East - ern sea, in the shade of the shelt -'ring palm. 



i 



93 



N9 12. 



Finale Act I. 



Words by E. BOYD-JONES. 



Piano. 




(Girls enter sobbing.) 





lov 




tears, 



ing hearts a- sun -de r he 



has 




i 



tears 



#gfe 



we can 



i 



£ 



& 



not 



nvn; 



% 



% 



With 



£ 



stay, We 



p 



94 




Men. 




IMfr flp J' I i'- J' J' JlJi JiJ^ 



The worst of all's phren-ol - o-gy: The maids we hold in hate 




m 



Are 



J. 1 ,1 l | J. ir 



^m 





5 




j>N- p p pip ; .p.ifr p p J' i 



giv-enus to wed; While girls that we've a-dored, With- out the least a- 




95 




pol-o-gy, Are now as-signed to mate With men who've oth-er girls in- stead. 




Girls. 




sci - en-tif-ic fraud, 



The worst of alls phren - ol - o-gy: The 





ing 



hearts a -sun - der he 



riv n : 



^¥ ji j< j. p m 



:< i ji jt ;. p ^ 



m 



maids we hold in hate 



Are giv - en us to wed; 



While 




W £~i i 



96 




girls that we've a dored, 



With - out the least a - pol - o - gy f Are 




boys 




givn 



> j n p 



f 



now as -signed to mate 



te With me 




men who've oth - er girls in - stead. 




Andante. 

OLORES. 





a 



p n p i r r i 



g^ 




This is not sor - row, This is not part - ing, This is the 

ABERCOED. 



rrr p p p i r rTr $h \ 



This is not sor - row, This is not part - ing, This is the 

Andante. 




§iipf 



97 





& 



m 



h 



s 



i 



hour when two hearts u - nite 

* S 



\ • ft 

r p k' 



££g 



i>w J» h 



F *' Jl 



Seas may di - vide us, Years keep in 



hour when two hearts u - nite 



j' p f i r r i i 



Seas may di - vide us, Years keep in 






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a 



r r i r u 



p^ 



s: 



* s 



p p r 't i r 



e 



* 




long-ing, This is the dawn 



That knows no night 



Time will not 



r j»J' J ' i r 



''FT "Mr 



p 



J 1 J V.N 



long-ing, 



This is the dawn That knows no night 



Time will not 




a 



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a 



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i 



£ 






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^ 



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i jAfr y rr 't -J'-i'iy Or ff p p ^ 



/^ 



sev - er. 



We vow for - ev - er 
a 



This bond we will nev - er 
3 * /T\ 



4 y yp r i, r jij,|i lr r -t f p p IT J> I 



sev - er, 



We vow for - ev - er 



This bond we will nev - er 




—v 



^#3% 



be . 



m 



be- 




98 




k 



Andante. 



m=m 



t 



tray. 




i 



tray. 
Andante. 




Abercoed. 





^1. j 




p3 



m 



i 



lone, dear love, I will vow I will be true. 




^m 






i 



99 



SOLO. 





i 



E 



m 



Fate may di- vide 



well. 



well. 



k 




us , Fare 
cres 



well, Fare well, 

cen 



I will 



He'll love 
cres 



you for - ev 
cen 



er 




i 



He'll love 
cres 



you for - 



ev 



er 



* 




p 



love 
do. 



love 
dfo. 



love 



you 



for. 




you 



you. 



wen. 



wen. 



5ES=? 



He'll love 



you for - ev 



er 



cres - 



cen - 



He'll love 



you for - ev 



er, 



cres 



cen 




n 



■rn 




i 



i 



love you, 
do. {,+. 




love you, 
do. 




m 



100 



Abercoed. 






k 



Angela. 



& 



£ 



&N ^g 



Stay we im plore you, 



Donegal . 

1 -Ji 



S 



P 




Stay we im plore you, 




s 



^ 



Stay we im plore you, 




Stay we im plore you, 




101 



SOP. 





102 




^ 



Hand in hand 



j>p *f p i r 



we kneel, im - plor 




m 



Hand in han 



,H 'P P 



<*■ 



we kneel, im 




Then hand in 



hand they 



kneel, 



im 



plor - ing, im 




Then hand in hand 



thev 



kneel 





g 



i 




Of your harsh 



ness 



you'll 



re 



pent 



E 




Of your harsh 



ness 



you'll 



re 



pent .. 




plor - ing Tour harsh 



ness 



you 11 



j j* t j^ j' i 



re 



pent, you will re - 



r?ji j> 



s 



t 




i> j» j» J' 



J' HJ' l |> a P F I F' Jl J' ^ 



Your harsh-ness you'll re - pent; you will re - pent it you 11 re • 



4V # ft I 



! 



^^ 



E 



S 



E 



i 



F^ 



Your harsh 



you 11 re . 




10S 



9' 9 f 



p 



& 



Do not part 



_ two hearts a - dor 




?m 



Do not part 



J» Mp P I *IJ 



two hearts a 



dor - 




i 




3 




pent it, Do not part 



two 



hearts 



dor ing a - 



p^ 



j-^ j ' 



? 




? 



2 



3 



3^ 



^ 



? 



pent Do not part 



two 



hearts 




P=P 



E 



£ 



3 



dor - ing a - 

P 'P I 



\ 







p fr i r 



f 



mg 



By with hold - ing 



p 



£ 



p 



p 



your con 



sent. We 





ing 



Hv with ho 



y with hold 



? 



mg 



^^ 



your con 



¥ 



sent. 



W* 



J^ ;> i p' p p p i r ■ p p i r 



^ 




dor - ing, By with hold - ing your con - sent, your con- sent, your con - 



ji tJ' i> J' i j; p p p i r p p ' r 



w 




Ji Ji i p- p p p i r p ^^P 






dor 



ing, With hold - ing your con 

[>" P P 3 



^ 



sent, your con- sent, 



^ 



i=i 



your 



con 



i 



104 





vain, in vain; 



fu 



ture 



your 



vain 



ex 




tr p p 



p *B »B "P 



»p a ff f 



fu - ture spare, yes, 



spare your vain ex 




105 




3 



pent, 



i 



3 



we 



pent, 



pray you 



£ 



do 




not 



we 



pray you 



do 





fp^ 



i 



er - tions, your ex - er - tions, His words un 



Chiang - ing 





106 






P 



f 



your 



? 



:p=$ 



U 



con 



sent 



your 



con 



sent 




? 



your 



£ 



con 



? 



sent 



*=* 




your con 



sent 




p p p p ' p p p p 



p t , p j' 




Medes and Per - sians, Or the Medes and 



p p p ' p p p p 



Per- sians, yes! 

p p p 



Of 



$ 




p p p p ' p p p p 



p p j' * 



I Medes i 



Medes and 



Per - sians, Or the Medes and 



p p i p p e=s 



Per- sians, yes! 



p 




sci . en - tif - ic 



en - tif - ic fraud 








sci 



p p p i 



en - tif - ic fraud 



g p p 




MP fl P PIP P P PI 



The worst of all's phren - ol - o . gy. The 



♦ n i »p' g p j i j) j' / 



The worst of all's phren - ol - o-gy. 



P I P' P P P I P' P P P 1 



The worst of all's phren - ol o-gy The 

P 1 \ ti g P P 



p" P P P I 



t p I lp' p p Jm J* > J* 



The worst of alls phren- ol - o - gy. 

, f i W ff IT 





£ 



mea 






107 



^^ 



^m 



we hold in hate 



Are giv 



^m 



en us to 



m 



F^? 




£ 




men 



m 



Down, you trai - tor! 



ji j' p 



^m 



we hold in 



hate 



Are 

Si 



giv 

m 



^ 




en us to 




ji j» p l 



i 



E3=? 



4V # ft 

^3£ 



Down, you trai - tor! 



wed 



m 




m 



si 



While men 



p p- p 



that we've a - dored, 



FF^E 



With - 



m 



Down, you trai - tor! 





wed 




Down, 



s 



iS 



While men 



p f p 



n 



that we've a - dored, 

T~p p~ 



p p p 



you trai • tor! 



With. 



1 



With . 



s 



p 



With. 




108 




Gilfain. 




109 



L istesso tempo 



• 1 JLJ A«?l^C7t7Vr 11/UAJfV 




J J- J'l 



lov - erhas de-part -ed, Be no long-er brok-en heart-ed, Foryou now are free to 




J J J J 



f ##^= 



Mp ' P' p P ^ jJ ' Jl .^ 




love and mar - ry me. He will not re-turn to claim you, You, de - 





ji Jjyj/^j 



i ' iJ ij -^' 



s 



sert ed,none shall blame you,If you mar-ryme, Yes, mar-ry me 




110 




* 



L.H. 




^^ 



Why mar- ry in this hur-ry? Sure-ly 





you've no need to wor- ry; For there's good fish wait - ing, wait- ing in the sea Fbr a 






mil - lion-aire Col - on - ial; In such mat - ters mat-ri - mo - ni - al You 



fpN 



1 



«p 



i' 1 ''" cjr ^r iJ e^ritJ J 



<tu n. / 








iJ' .J J 1 I J* 



J J' .J 



might 



pp 



^3 



do worse than wait for me, 



do worse than wait for 




Ill 




IEEE 



me. 




So be no long - erbrok-en heart-ed, For he 
P 



now has set you free, And you, de 




So be no long- erbrok-en heart-ed, For he now has set you free, And you, de- 




So be no long- erbrok-en heart-ed, For he now has set you free, And you, de 

JL 




J 




h * * i 1 pi p J 1 p '- p p ^ J 




sert . ed, none can blame yon if his bride you mean to be But des 




sert - ed, none can blame you if his bride you mean to be But des 




i 



P P P P i if 



P 



sert 



ed, 



no one will blame 



you 



Des 




sert - ed, none can blame you if his bride you mean to be 



Des- 



112 





pite your worst en - dea - vor, She'll be true to him for - ev - er, She* 



JOJijsjifrhAJJ* j\ j\ ^ ^ 



pite your worst en - dea -vor, She'll be true to him for - ev - er, She'll be 




pite your worst en - dea - vor, She'll be true to him for- ev - er, She'll be 



ytf J -h * i> n n *n b i p- a p p P p p- p i 



pite your worst en - dea - vor, She'll be true to him for- ev - er, She'll be 






true to him for-ev-er Or her love's 



re - turn. 



p p iji , M.h |> ji ii 



i 



^=i 



m 



true to him for- ev - er Or her love's 



re - turn* 




r^TTr *r \ r * i 



true to him for-ev-er Or her love's 



re - turn. 



ytf P P J) Jtp p »p ^f^ 



^ 



i 



true to him for- ev - er Or her love's 



re - turn. 



m 



T " t* 




113 



m 



Turn. 



I 




We 
TutH. 



mm 

will re- fuse 



3 



you, 



^ 



We 



will re 



p^ 



Turn. 




S 



We 



fWW. 



re - fuse 



this mad com- 



i 




re -fuse this mad com-mand, 




t& 



^ 



We 



$ W J J 



iiis 



i 



will de - fy 



you, 



Tho' 



i 



r n i 



our re - 



i 



g 



£ 



fuse you , 




We 



will de 



m 







you 



g 



mand, 



We 



will 



in - deed de - fy 




m 



m 



you 



y r m 



We 



m 



will de - fy 



you 



We 



re-fuse o - 






353 



i 



f 



f 



3 




114 



J 




fe 



«- 



i 



&m 



sist 



p=p 



& 



£ 



ance 



ap - pears to you in vain. 




SI 



I 



1 



P 



-6M- 



we 



de 



fy 



your will. 




^ 



as: 



I 



we 



de 



fy 



your will. 



*w p p p p r' p 




\ 



be - di - ence to you or mat 



ters mat- ri - mo - ni - al, We 



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f 



p 



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WJTTl 



3 



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ii 



tesg 



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P 



We 



mean re- volt 



mg, 



We 



wont o - bey you, 




k 



m 



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<**- 



p pi^r r 



We 



won't o- bey you 



p'\> r 



i 



?^p v jjl f ^^ 



r r r 



We 



in - tend 



re-volt-ing We de-fy your powV, we 



;w f' j 




do 



in-tend re - volt - ing now, 



We 



wont o - bey you, 



115 




te 



Dolores. 



m 



Agitato, 



^m 



^^ 



e 



jE 



nn 



r pir r j j' JHr 



we will de - ny you we wont be match'd 



? 



m 



a - gain. 




v .1 ■! 



i 



^^m 



j. ji i -i - 



Is 



£ 



£ 



we re 



fuse 




t 



i 



to be match'd 



a . gain. 



V r Ftr 



i 



will 



re - fuse to be match'd, be match'd a - gain. 



m 



m 



£ 



m=? 



^ 



^ 



s 



i 



3G 




we will re - fuse to be 



match'd 



a - gain. 



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g 



^ 




p 






> I J I TJ J? 33 1 



I 



E 



Agitato. 



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S 



<2JL 



$r=fc 




fc* 



no 



» 



J j j: J 1 J 1 m 



one here to help me hold this giant at de- 



« 



*EJJ*LL!r 



y 




WFf 



M^ 



* 



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sL^ 



Jj 



zz 




i 



te 



Agitato. 



m 




fi - ance? 



i t js 



ra// mo/to. 



Will no 



'r r J l 



one friend up. hold me 




*m^ 



116 



rfte^s 



Vd \, 



J f * -IM -I 



ace el. 



I uJ 1 111 



in de - claim -ing bold de - fi - ance 



rail, molto. 



Ah! 





rjiard. 




no one proclaim that no hand will di -vide, that no hand will di-vide? 




'W r E 



* 



calla voce. 



i 



^ 



I 



Abercoed faff!) 




~y 



117 




p p > j. 



Pair 



one of B 



den, 



j. JiJ'J JT' T T I 



look to the West for me! 





my star will be shin - ing,love, when you re in the moon - light calm 



So be 








wait-ing for me by the East - ern sea, in the shade of the shelt - 'ring 




■w j"7"j [jj m 




Tempo di Valse, marcato e Allegro. 

DOLORES. 



i j t i t r'T Tr t ir ^fef 




palm. 



pp 




Tis the Sil - ver Star of love, That is shin - ing a - 



118 



fcte= 



u 



737— 

bove 



i$M 



^*t 



i J j U j r S=iig 



for 



>«%. 



me, Tis the bright- est of all that eyes can 



J J IJ i J I J A J 1 



m 



k i 

* 4 



'Tis the bright -est of all that eyes can 



* i r ir 



The Star 




mm 




r r i J * r i^ ejpp 



rtt. 



* 




see, 'Tis the bea con of lov - ers' ec - sta - cy; When the heart is a 




r i j * r i r « v i r <r r ill 




see, 'Tis the bea con of lov - ers' ec - sta- cy; When the heart is a 



pn ^ i 




=3? 



■4H- 



^ 



i~>- 



Tis the bea- con of ec - st - cy 




& to > >r r 



int. 




t r i r ^ 



^ 




'Tis the bea -con of ec - sta - 



cy 




■vTirnf f rif 



sm 



**=* 



m 



i 




^ 



— -ft-tu*. 



r«Y. 



fell 



l£=£ 



119 




m 



wea - ry one, And sigh-ing a - lone in the ev - en tide, Tis then the 

■ — i 



s 



JSL 



*r i h r nJ J i r r J ' r .« nr 





wea - ry one, And sigh-ing a - lone in the ev - en tide, 'Tis then the 




v j j j if i 



t 



me 



<*■*- 



£ 



£ 



<^- 



wea . ry one, And sighs a - lone at ev 



en tide, 




y fc 



ffe 



* 



3 



DZZ 




r p ' r J i 



time a maid 



en 



longs For the light of the bright sir- ver star of 



* 



i 



^ 



m 



time a maid 



en 




longs For the light of the bright sil - ver star 




i 



i 



£ 



i 



'ir v Aft m 



time the maid 



en 



longs 



For the bright sil - ver star of 



sm 



&*- 



«-=- 



=* 



r r nr 



^ 



inn 



maid 



en longs For the bright, the bright 




120 



(J 1 - 1 



i 



£ 



zz 




I 



m 



love. The bright sil - ver star of love, 



The bright sil . ver 




fe 



j in i j ^ 



W^ 



i 





love. The star of love, of love, 

# I IS 7 ^ 



The bright star of 



m 




£ 



I I t 1 J 



H 



love. The star of love, of love, 



The star. 



of 



W* JJ" 



s 



4 



i' * u * r i r r r i 



The sil 



of love, 



The bright sil - ver 




( <* ' J3 J 




star of love, 



Star 



^ jfFljff 



of my love 



Sil -ver star 





121 





my love. 



1 I J * T Jll ^ 



mm 



j « < 



of 



>?v 




of 



/T\ 




e? 



»-^ 



o» 



gi 



.£ 



my love. 



f < Tp l f 




Y * i 



my love. 




my love. 




m 



fj? 



^*m 



fep 



^ 




•** 




« 



u 



Wt 





as 



s 



^ 



*= * = ? 



pi 




N913. 



122 



Opening Chorus 



ACT II. 



Piano. 





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Ris - ing from the load - ed ta - ble, Where we feast - ed till un - a - ble 



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Ris - ing from the load - ed ta - ble, Where we feast - ed till un - a - ble 
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Ris - ing from the load - ed ta - ble, Where we feast - ed till un - a - ble 



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Ris - ing from the load - ed ta - ble, Where we feast - ed till un - a - ble 




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To be - stow. 



an - oth - er sip or crumb, 



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To be - stow. 



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an - oth - er sip or crumb, or crumb, So 



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To 



be - stow an - oth - er sip or crumb, a sip or crumb, So 



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To be - stow. 



an - oth - er crumb 



a sip or crumb, So 



124 





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thanks to an-cient Port or Sher - ry, We are feel . ing ver - y, ver - y 



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thanks 



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We are feel - ing ver - y, ver - y 



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thanks to an - cient Port or Sher . ry, We are feel . ing ver - y , ver - y 





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with Mas - ter New - ly Come. 



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Sat - is -fied. sat - is - fied with Mas 



ter New - ly Come, And 



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Sat . is-fied, yes sat - is - fied with Mas 



ter New - ly Come, And 




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125 




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yet de- spite our ov - er feed - ing, In de-fi - ance of good breed - ing, 




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in the on - ly way we know. 



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heark - en to a wise sug - ges - tion , For there's not the slight - est ques - tion, 




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We must show 



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_ the — light Fan - tas - tic toe. 




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We must show the light Fan tas tic - we must show, must show the toe, For 



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this will as- sist 



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sists di - ges - tion di - ges - tion So 




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show the toe , 



yes show the toe. 




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skip with a will 



with a will the toe. 




128 




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Ris - ing from the load - ed ta - ble, Where we feast - ed till un - a - ble, 




Ris - ing from the load - ed ta - ble, Where we feast - ed till un - a - ble. 



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stow an - oth- er sip or crumb, a sip or crumb, So 



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To be - stow 



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a sip or crumb, So 



129 



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thanks to an - cient Port or Sher - ry, We are feel - ing ver - y, ver - y 




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thanks 



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thanks to an - cient Port or Sher - ry, We are feel - ing ver - y, ver - y 




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Sat 




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fied with the Mas . ter New- 



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with Mas - ter 



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fied with Mas - ter New - ly Come. 



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With dain - ty an-klea trip- ping light 



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With 



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Be - neath the un - sus - pect - ing frill 




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light . ly 



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There be - neath the un - sus - pect - ing 




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A ti - ny waist en - cir - cled tight 



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frill. 



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That caus-es man-ly heart to thrill, 



so bad - ly 




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tight - ly hearts are thrill- ing bad - ly 



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So gai - ly we will romp and 

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gin 




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roll 



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And pir - ou - ette and mad - ly 




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gai - ly we will romp, will romp and roll - ick 



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And 



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prance. 



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With such un - mit - i - gat • ed 



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pir - ou - ette and pir 



ou - ette and dance 



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frol - io 




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Well rev- el mad- ly rev- el mad-ly in the dance. 



For 




Rev-el 




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mit - i-gat-ed frol-ie Rev-el mad-ly rev-el, mad-ly in the dance. 



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mit - i-gat-ed style Rev- el mad-ly rev-el, mad-ly in the dance. 




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this win as - sist 



will as • sist di - ges - tion, di • 



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this as 



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show the toe, 



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ges — tion, So skip with a will, 



with a will the toe. 



ges tion, So show the toe, 



Yes show the toe. 






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Ris - ing from the load - ed ta - ble, Where we feast - ed 



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Ris - ing from the load - ed ta - ble , Where we feast . ed 




135 





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till un - a - ble To be . stow. 



an - oth - er sip or crumb, 



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or crumb, or 



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till un . a - ble To 



be 



stow an . oth - er sip or crumb, a 



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till un - a - ble To be - stow. 



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So thanks to an - cient Port or Sher - ry, we are feel - ing 



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crumb, So 



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sip or crumb, So thanks 



to Sher- ry, we 



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sip or crumb, So thanks to an - cient Port or Sher - ry, we are feel - ing 





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ver-y, ver-y Sat - is - fied with the Mas - ter New - ly Come. 



ver-y, ver- y 



with Mas - ter New - ly 

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is - fied with Mas - ter New - ly Come. 




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ver - y, ver - y Sat - is - fied with Mas - ter New - 



ly Come. 







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New - ly Come. 

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137 



N214. 



Words by 
PAUL RUBENS, 



Moderate 



Voice. 



Piano. 



Tact. 

Lady Holyrood. 



Music by 
LESLIE STUART. 







• fl 9 fl F 



^ 



^P" M & E 



M 



1. There are peo - pie who have tried To be smart and dig - ni- fied, But there's 

%. In the morm-ing you will drive In - to Bond Street, and you .dive. In - to 

3- The A - cad- e - my you view, If youve noth- ing else to do— If youVe 

4. Then at Good-wood you must stay, And rou - lette of course you play, For the 






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just one lit - tie thing that they have lacked; 
Car-michaels or True-fitt's, as may be- 
real- lyfond of art, of course you dorft; 
evi nings oth- er-wise would be so slow- 



They have cash enough,maybe, And no 

Then at Street-erfeyou will stop, And you 

Then a pi - an-ist you know, And you 

But you need -n't be up-set If you 




Copyright, MCM,by Francis, Day dc Hunter. 



138 



p > J»p- M P' ^ l -M^ ■* J- >|A Ji I 



end of ped - i - gree, But they have- nt got a pen - ny-wort of 

pop in -side the shop- 44 Ah! good morn - ing, some- thing nice to show to 

prom - ise you will go To his con - certs— if youVe mu - sic - al, you 

find your- self in debt— If you're not in-clined to pay, you sim - ply 





tact, 
me?" 
wont 5 
owe. 



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Now 

U A 
Then 

Well, 



n't 



tell 



k » « 



ra?' 7 "Oh, 



you would - 

ti - a 

a gor - geous gown 
next day you're on 



a lie- Oh 

what fun! I 

you buy, The 

the course, You 



no, you'd 
think I'll 
price is 

fan - cy 





rath-er die- 
take that one. 
cut so high, 
just one horse, 



For you'd sure to be dis- cov-er'd be - fore long 
Oh dear me! I do be-lieve my brougham has gone!" 
Well, con - sid - er - ing the gown is cut so lowi_ 
So a friend will put the mon - ey on for you 5 



But if 
Nev- er 
For the 
For a 



139 




on - 

speak 

la - 

la - 



ly tact 
a - bout 
dy of 
dy in 



youVe got, you can do 

the price, Just talk pret 

to- day Has - nt got 

the ring Would - rft be 



an aw - ful lot, Which be - 

ty and look nice, And 

a heart, they say, But she's 

the prop - er thing— And be - 




$1 y i\ & — jt j'- > J i\ 



i 



-fore you might have thought was ver - y 

ask him how his wife is get - ting 

got a neck— and that she means to 

- sides youVe lost your purse— you al - ways 



wrong, 
on. 
show, 
do. 



¥ 




CHORUS. 




Tact, tact, Take it for a fact- Just try it and you 11 find it will in- 

Tact, tact, Take it for a fact- Always kiss a trades-man's ba- by and yodll 

Tact, tact, Take it for a fact- Her din - ing dress has no sup-port, and 

Tact, tact, Take it for a fact- The race is done you can- not see the 



no 




- va - n - a - bly act,* P'raps they told you in your youth That there's 

find that it will act; When you find out what you owe In - to 

yet it seems to act,- And her cos- tume at a ball Is not "ma - 

horse that you have backed; So you say, u What have you done I meant to 





Ji. i > i Ji i' ipipl 



noth - ing like the truth, But 
bank - rapt - cy you go— Oh! you 
-te - ri - al" at all Its 

back the horse that wonV* You 



it real - ly cant com- pare at all with 

can save a lot of mon - ey if yotfve 

e - nough if she has di - a-raonds- and 

can do a lot of bet- ting if you've 





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tact, tact, tact, No it real - ly cant com -pare at all with tact, 

tact, tact, tact,Oh!you can save a lot of mon - ey if youVe tact, 

tact, tact, tact, Its e - nough if she has di - a-monds and tact, 

tact, tact, tact, You can do a lot of bet- ting if youVe tact. 




141 



N2 15. 

Words by 
B.BOYD -JONES. 

Allegro. 



When You're a Millionaire. 

Gilfain. 



Piano. 






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l«When youre a mil- lion -aire, en- dea- vor To pose as one of such, Throw your 
2. You must run an eve-ning jour- nal, Wheth-er of green or ro - sy tint, In 





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mon - ey in the 

which your do - ings di 




air you 11 nev- er be told you throw too much. Take a 

ur - nal All will ap-pear in lar-gest print: Such as" We 




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142 




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cas-tle of gor- geous splen-dor For r your daughters and your a -bode, Let a 
learn he baggcl a keep - er When on the moors he shot to - day, But he 




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doz-en of foot- men at -tend her When she cross- es the croud - ed road. Let your 
finds that his bird is much cheap-er When its bought in the u - sual way$" Then keep 




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no - ble guests be bloat - ed With peas that cost a gui - nea each And, in 
ma-ny a train - ing sta-ble, Al- though your hor-ses nev- er win; Join the 





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case it shouldn't be no- ted,Men-tion the price in ev-'ry speech} Ev -'ry 

ver - y best club you re a - ble Though they go out when you come in $ Run a 



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143 




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hob - by you must take up, Whether 'tis dia-monds or a yacht, And to u pro- 
thea-tre, if it tan-gles You would get be- hind the scenes, With your 




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fess-ion - al beau - ties" make up, Even al - though youd rath - er not. 
bang- les cau - ing wrang - les 'Mong the va - ri-ous foot light queens, 




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REFRAIN. 




1 p l r p p J'[ r J> J» J' > | > J' JO J 1 




And the na-tionswill de-clareyou are When they see what a mil - lion-aire you are A 




14— .. - .. 



blesB-ing and boon To the coun-try,"whichsoon Will grant you a peer-age and there you are! The 



144 



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na - tion will de - clare you are When they see what a mil - lion - 




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- aire you are A bless- ing and boon To the coun - try," which soon. By 





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way of re - quit - al, Will grant you a ti - tie and there 



you 



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145 



m i6. 



Tell Me Pretty Maiden. 

English Girls and Clerks. 



By LESLIE STUART. 



Piano. 



^™ 



Moderato. 






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BE 



(GIRLS.) There are a 
(MEN.) There are a 



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(MEN.) Tell me, pret-ty maid -en, Are there a-nymore at home like you? 
(GIRLS.) Tell me, gen -tie stran-ger Are there. a r ny more at home like you? 





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few, 
few, 



kind sir, 
sweet maid 



f 

But sim-ple girls, and pro -per too. 
And bet-ter boys you nev-er know 




Copyright MCM by Francis, Day & Hunter. 



146 




fr\ v p r p J * J\ JM > -h J' p p P 



Kind sir, their 
Dear maid they 



^ 



tell roe, pret-ty maid -en, What these ver- y sim-ple girl - ies do. 
tell me, gen -tie sir, The things these ver-y rak-ish fel - lows do. 



Then 
Then 





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man-ner are per- fec-tion, And the op -po- site 
flirt with girls too free - ly And its not the same 



of mine, 
girl twice. 




tell 
tell 



me, maid -en, what the girl 
me, tell me what these fel 



ies do. Then take a lit - tie 
lows do, Then take me 'round and 






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I may love 

I nev-er in-tro 



walk with me, And then I can see What a most par- tic-u-lar girl should be. 
let them show for an hour or so How far such fellows can real - ly go . 




147 




l| ' Jl J Ji j j^p 




you too well to let you go And flirt with those at home, you know, 
duce them to a girl I in-tend To be my most pajr- tic- u-lar friend 




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It's 



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dont 
won't 



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mind, lit - tie girl 
mind, what they do 



You'll 
No 



see 
man 



I'll on - ly want 
would ev - er flirt 



but 
with 







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not 



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quite fair to them 

worth risk-ing it 



If 
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you 
know 



told them that you were 
with them you won't a 




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148 




ih j,jijij> jjjiJjjiji 



true, 
gree. 



What would you say if I said I liked you well? 
Of course I will try, for we're do - ingver- y well? 



s 



i 



wont care a pin for your sis- ters if you love me. 
don't want to know them if you will do the flirt -ing. 



m 



I'd 

i'u 






On bend - ed knee! 
On bend - ed knee! 



If 
If 



£ 



» ) J J P F H 



BE 



t 



VOW 

vow 



to 
to 



you 
you 



On 
On 



bend 
bend 



ed 
ed 



knee! 
knee! 






k 



m 



n 



•_—___!_ 



p pip p ^> '*y* *m i 



I 
I 



loved you , 
loved you , 



would you tell me what I ought to do To 
would you tell me what I ought to do To 



keep you 
keep you 



k 



m 



149 




^^ 



a ' i. ir 



» 




all 
all 



mine 
mine 




i 



a - lone , 
a- lone, 

^ 



to 
to 



al 
al 



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ways be true to me? If 
ways be true to me? If 



m 





a 



i 
i 




i 



$ 



vutp >j> =£ 



loved you, 
loved you , 



would it be a sil - ly thing to do? 
would it be a sil - ly thing to do? 




For I 
For I 



S 






i 



8^ 



i 



E 



f 



i 



must love some one, 

must love some one, 



i 



Then why 
Then why 



p 



not 
not 



t 



p 



me? 
me? 



s 



Yes, I 
Yes, I 



* 



1 




150 



I f" J p D i ' J ' i^ij > 



m 



^ 



roust love some one, real - ly And it might as well be you! 

must love some one, real - ly And it might as well be you! 




k 



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^ 



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151 



We Get Up at 8 A. M. 



N217. 



DUET. 

Valleda and Leandro. 



Allegro moderate 



Piano. 




*Vall. 



\ f J iji J' J» ; p i^ ^ ; > JhJ* j. J' J i 



1. A maids ca - reer is r skit - ties and beer When she lives in a 

2. Our Ann - ual Ball, in the ser- - vunts' hall, Ira sure you would de - 




P 



u (j 




sp^ 




^m 




swell sit- u- a - tion, ^ Noth- ing all day But wait for my pay A 



pp 



swell sit- u- a - tidn, r Noth- ing all day But ' wait for my pay And 
-clare ver- y class - y, We on - ly ask pals, And we dont want gals, Whom the 





* 



^ 



t 



p J' b J' |i 



% 



kiss all the girls in quick ro - ta - tion 
up - stair folk would call ttrs pas - set 



Copyright, MCM, by Francii,Day & Hunter. 



i 



like 
like 




152 




s 



Vail. , , L 

J, | Ji J> J. >J' fl A | p ■ p 



^^ 



this, 
this. 



I've num - ber - less maids of in - fer - i - or grades, When 

Of course we in - vest in wine of the best, And 





say 



"HnM 



Lean. 



do," they quick - ly do it. 



When 



I 8 tare, with my 



care - ful - ly tell the man who ca - ters To give a cheap brand to the 

^ — - — >r ~3 , j— 3 





nose in the 
Vi - en - nese 



am 



band, 






Both. 



153 




MJ» J> J 1 J 'i r 



m 



t 



For we get up at 8 



f 



i 



p jt Ji| 



a. m., 8 



a. m.t 8 



a. m.! We 





I I > * p 



p |F P P p I ^ > > J' I 



break* fast , lun-cheon, tea, and _ dine, Liq-uor and cof-fee at half- past- nine, And 





j' j> J' J*ir 



^^ 



p ppa 



^ 



then we dance till late 



a. m. late 



a. m.! a. 



m.! We're 




j j» j» ^ J 1 1 p p > p ^ 



p 



i 



i 



real - ly aw - fly bus - y in the ser - rants 1 hall. 




mm 



m 





w^m 






r^ 



154 



N218. 



Words by 
ALFRED MURRAY. 



Piano. 



Willie Was a Gay Boy, 

Angela. 



Music by 
LESLIE STUART. 






j .A j> 



r i p* a P' J ' r p Jl ^ 



3? 




1. Wil - ly was a day boy in a cram-mers class And Win - ny 

2. Win - ny could- nt speak _ to Wil - ly on his walk For they were 

3. Wil - ly now is ma - - ted Win - ny is his wife And yet you 





was a 

strict with 

real - ly 



board 
her 



need - 



er in a 

and it was 

nt won - der 



col - lege 
nee - ed 
wheth - er 



I 




Copyright, MCM, by Francis, Day & Hunter. 



155 




Wil - ly was a gay. 
Win - ny used to seek 
Such a pair are fa 



i [ }■ J 'p 



boy for he used to pass His Win - ny 
to have a lit - tie talk With him but 
ted for a hap - py life When both their 





i 



in the House 
nev - er once 
lips can tune 



? 



s 



of 

sue - 
to - 



Knowl - edge, 
ceed - ed 
geth - 



er 



* 




(Whistle Solo.) 



(Whistle off.) 

r r r \ 





^^ 



156 




Wil - ly whis - tied coon like, as he strolfd to school 

So she set to learn - ing Wil - ly's lit - tie tune 

There's a lit - tie ba - by in a bass- i -«nette 




* 



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^m 



j. 



Al - 




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- though the neigh - bors thought he was 
Thought of oth - er notes fit - ting 
Such a pret - ty girl pic - ca 






m 



But 
When 
Wil 



IP 



3 




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^a*a 



Win - ny did the tune like, thought it beau - ti - ful 
she was re - turn -ing in the aft - er-noon 

- ly vows that ear- ly will the lit - tie pet 



m 



Well, she loved the 
Wil - ly heard his 
learn to whis - tie 




ji 1 !^ Ifrgf 



157 




i -M- ■ 



i EE 3 E f 



whis - tie of herWil - ly When his tune 
Win - ny an-swer sweet- ly In a tune 
with a will like Win - ny With a tune 



was this, 
like this . 
like this. 



i 




(Whistle.) 






After 2nd. Verse Refrain 3 times, 
1st. Solo Whiste, 

2nd. Tenor off, 
3rd. All Whistle off. 



158 



N°19. 



When WeVe on the Stage. 

DUET. 



Dolores and Tweedlepunch. 



Moderate 



Piano. 







% 



J> Jt Ji J' * 




i 



m 



We're 
In 



m 



both on the stage, we 
op - e - ra we ex 



two, 
eel 



There's 

Wheth- er 




p 



§ 



w 



159 





i p p 9 



-mark- a - bly 
look to 



p -h Ji |J»_J> > jt ^ 



fine In a 

sweet When I 

1 



Ga - i 
play. 



^p 



ty line But we 

Mar - guer - ite And he 





know 



course 



f M lp p > J^Pf 



^^ 



mean to 



j » ^J „£/ LP ^y^! 



As I pres-ent - ly 
And en - cores they in- va - ri - bly 



show, 
force 



While my 
We re - 




160 



| j nJ' p p p Jt JlP J) J J' >J' l > J' 



^^ 



friend on the right Tho' he's rath - er a sight Will por - tray Ro - me - 

turn ev - 'ry year And we al - ways ap-pear If wcfre ev - er so hoarse. 







r> ! ^ffr 



jj> * 




I 





161 




ji J* a jhj*-p p p i j> j> r J ' i ^J 



Sing a song of sweet flir - ta - tion, for our style is ver-sa-tile 



Ah! 



i 



E 



f 



Ah 




s 



s 



Ah! 



Ah 



$ J., m ji i > n p p 1/ j^f. ^ ^^ 



Sing a song of sweet flir - ta - tion, for our style is ver-sa-tile 




i 



Sing 



^ P P P 



^ 



of 



sweet flir-ta - tion, Were 



ver - sa- tile 






4 j ij 



s 



Ev 



i 



. p p Jm ^j,^^ 



'ry - - thing we do is sure to be the rage, 



i 



Ev - 'ry 



f 



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thing. 



is sure to be_ the rage, 



i 




m 



E v - ' ry 



Ev - 'ry 



^ 



s 



f 



thing 



is 



the 



?E=m 




^m 



thing we do 



is 



the 



* 



rage. 



p p p 



s 



£ 



rage, the rage And 



p p i 



Ev 



thing 



the 



rage, the rage And 



162 



<t I. ji> * \ ^ 



Men - del-ssohn or coon plan- ta - tion, A - ny sort 



of im-i-ta 



- tion, 




A J»A J<l Ji P p p 




Men - del-ssohn or coon planrta - tion, A- ny sort 




i 



of im-i-ta- - tion, 




§ 



§ 



g 



m 



m 



ny 



im - 



i - ta 



tion, 



m 



i 



p p i p' p J' JMP" MM 



- ta - tion coon plan-ta - tion, 





n J' i > p p ^^ 



£ 



Well show what we can do When we're on 



the stage. 




f J* I J* P p J> l > 3 



3e 



show what we can do When we're on 



the stage. 



£ 



8 



^ 



^ 




S 



Well show what we 




do When 



were 



on the stage . 



p i j J 1 >p >i 

hen we are on the 



^ 



fw 



We'll show what we 



do When 



e stage. 




r 



^m 



mi 



i 



s 



W^U show what we 



do When were on 



stage. 



m 



m 



N2 20 



163 



fve An Inkling- 



Lady Holy rood. 



Words and Music by PAUL RUBENS. 



Wee. 



^^ 



Allegretto. 



Not too fast. 



i. Now Ire 
%. There was 
3. There was 





met, in my time, some cu - rious men_ Some nice, some fair, some 
one par - tic - u - lar man I knew Whose name of course I shaifr 
one lit -tie man I used to know, With a stock of rep- ar 





j. j' i j > > j j> > i J r r p Jl i 



m 



dark,* 
tell, 

- tee,- 



I have met 
He had been 

But his sto 



quite a hand- some one now and then, But 
di - vore'd-was a bank- nipt too, Well, in 

ries were not quite comme-il - faut So they 




Copyright, MCM, by Francis,Day & Hunter. 



164 




i 



P«P^ 



<p i t i fc r f\ j , > Ji i 



still not quite up to the mark. 
fact, he was rath- er a swell, 
did - n t ap - peal to me. 



Now, a hus - band Ive man - ag'd at 

Now one day we went to a 

There was one lit - tie rhyme which he 






j* j^ i j > > 



Mr 



last 

play 

thought 



to find, Who is nei - ther too young nor too 

some -where, And aft - er-wards on to 

was new, And he asked if Id heard it be - 



old; 

tea, 

fore 5 



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J j \P u 



r 



•>i j> * fr J <J 



UFi * ffl. » 



tff T J^ 



i 




He's in 
When a 
When he 




E 



f^i# 



j 



n»//. 




J jl'JlJ J) J, J jg p 



If 

-tense - ly a - mus- ing. Not quite re - fined, But a man with a heart of gold. 

la - dy close by be-gan to stare And I thought that per-haps she knew me. 

start - ed to tell me, I saidr'Thatll do I dont want to hear a - ny morel' 



165 




REFRAIN. 
a tempo. 



jju J J i j' i 



^m 



i< > J i 



Now, Itn bound 

» 

Now, Im bound 
For. Im bound 



to 
to 
to 



say, 
say, 

say, 



In 
In 
In 



a 
a 
a 



kind 
kind 
kind 



of 
of 
of 



way, 
way, 
way, 



You 
I 
I 



had 
had 
had 



an 
an 
an 





mm 



rail. 

' i r ^ »> J ' v m 



ink - ling, ink - ling, ink - ling,, 
ink - ling, ink - ling, ink - ling, . 
ink - ling, ink - ling, ink - ling, 



I -TT3 ^ J ' I 



That itfe not his heart ,_ But the 

For my friend tunfd red, When she 

That I'd read that verse— On - ly 



r J- iJ'-T" 3 





gold - en 
bowd her 

rath - er 



part Of which Vm think- ling, think - 
head, And start - ed wink- ling, wink - 

worse, In the "Pink- ling; 1 "Pink - 



ling? think - ling, 
ling, wink - ling, 
ling?' u Pink- ling. 





mmi 



f 



F 



i 



J 1 1 \I 



a tempo. 



\£7 



PWH 




166 



N2 21. 



The Queen Of The Philippine Islands. 

(his only love) 
Dolores. 



Words and Music by PAUL RUBENS. 



Moderato. 

eon es pres* 



Piano. 





*= 



tj'ji i fg r r r |J J r r ^^ 




l.In the Phi -lip -pines lived a maid, en fair, With wond -'rous hair And 
2.Nowthis lov - er bold (once cu - pids dart had fierced his heart) Be- 




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f 



i 



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i 



£ 



^ 



I 



^ 



^ 



t 



r 



r 



r 



r 







a tempo. 



J r ft "p i 




eyes so rare That the men were 
gan to smart, For truth to 



all in - clin'd to 
tell, he was forced to 



swear By the 
part from the 



m 



* 



r 



? 




£ 



^ 



1 



rail. 



% 



* 



5 




m tempo. 



$ 



u 



3X 



Copyright,MGM,by Francis, Day & Hunter. 



167 




* 



J' J' J' J' J 



J 1 J' I T f P 



maid of the Phi - lip - pine 
maid of the Phi - lip - pine 



Is -lands 
Is -lands 




* 




5 



Now a stran • ger came in the 
But when o'er the o - cean 



mimm 



* 



3=*S 




I 





i 



W 



3 



fes* 



*==i 



u 



a 




raft 



a tempo. 




sto - ry of love he de-mure - ly told To the maid of the Phi-lip-pine Is- lands, 
heart for - got that his pro- mise lay With his queen of the Phi-lip-pine Is -lands. 




Refrain. 




Yet 1 ^ tolc * her that she was his on-ly love, Quite his on-ly love, His one and 



168 



accel. 




on-ly love And she said: Im a-fraidyou must be lone-ly, love If its quite true what you 





* 



/7\ 



rail. tempo. 



i 







> jom 




say. 



?> 



He in -si st -ed that she was his on-ly love, Quite his on-ly love, His one and 




m 



fit ^ rail. a tempo. _ 



^ 



* 



i 



j» 



$ 



forzando. 



T 




* 




* 




££ 



p p r ■ p p 



r 

^ rail. 




on-ly love 



And he vowd he'd be true, As he bade her a-dieu, Ere he 

/7\ 




IT 




a piacere. 



v*. 



r Mr p p S 



a piacere. 



/T\ 



^ 



P r p E 



^ 



roam'd oer the sea far a - way. 



roam'd o'er the sea far a - way. 




41. * 

J : 9 



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p 



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s 



a. 



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£ 



c##a #000. 




^ 



1 



169 



N9 22. 



I Want to be a Military Man. 

Donegal and Chorus. 



Words 'by 
FRANK A. CLEMENT. 



Music by 
LESLIE STUART. 




Piano.^ 



PP 



vy s if » i 



frp .ffini 



§=l 



$ 



k 



g£=g 



f f f if rf fl 



tfyi 



jm 






» 



^^ 



3 



& 



J JJ J> I 



* 



f 



l. Oh the man 

*• If you stroll 
8. Now as this 



that's dresstt as u 

down Pic - ca - dil 
is from the Sta 



f 



su - al, Is 

ly In the 
ble_Well I 



out of it to 

mid - die of the 
hope youllkeep it 




CopyrightyMCM, by Francis, Day & Hunter. 



170 




-day For a reg - u - lar dan - dy man, 
day And a ver y smart gen - tie - man, 
dark But the straight- est of tips I had, 



^m 



£ 



£ 



i 



I 



No sin - gle 

In kha - ki 

Prom Tat - ter - 




i=g 



m 




worn - an 
comes a - 
- sails to 



cares, 
long_ 
day_ 



She wont look up - on your suit, or you, iVe 
You may think he% Lord Tom Nod- dy or Sir 
And I hear that all the race cours-es, Right 




uj J i 



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m 



jp; ii, 



r 



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j j' j > 



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r 



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i 



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f 



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m 



i J J'iJ * i 



Jy jh 



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* 



p 



heard the world - ly say, Till youVe donned the garb that Tom - my At - kink 

Al - gy Pop - in - jay But I think its ver - y like - ly yoifll be 

down to Kemp- ton Park, Will be laid with kha - ki turf with out de - 




171 




i=*M 



wears, 
wrong, 
-lay 



I 
I 
I 



want 
want 
want 



to 
to 
to 



^^ 



be 
be 
be 



a 
a 
a 






man. 
man. 
man. 



There came a cry 

You real - ly raust_ 
And all the jock - 



to arms The frock coat 
con - fess That in the 
eys you will see Will 





lost- 
la - 
ride. 



i j ^Y y*'p i r v u p i r i>^^ 



it's charms and so the top - per came a crop - per at the 

- test dress The bet- ter class- es and the mass- es look as 

a kha- ki gee And the start -er will look smart- er, in the 




172 




rat - a - plan 

like as they can . 

so - ber tan. 



You loose a lot of 

While to gaze at him you 
And the vague im - press - ion's 





k 



& 



i 



£ 



r 'g r 



chan 

tar 

grow 






£ 



E 



ces And you dorft 
ry Some one saj's, 
ing That the Prince 



p r pi r 



get asked 
u 'wot cher 
of Wales 



to dan 

there's Har 

is go 




g 



£ee§=I 



£ 



? 



ces 

OS 

ing 



if 

Gone 
To 



yotfre 
and 
the 




Mr M 




k 



^m 



pse 






t 



m 



not dress'd all 
dress'd is - self 
ra - ces dress'd 



in kha 
in kha 
in kha 



j' i I,;" < 



ki like 
ki like 
ki like 




REFRAIN. 




join the mil - i - ta - ry - ta - ry I've 







173 




J- 1 I J J' J J^lJ J>J J»lr 



got no chance with Jane, or Flo, orMa-ry I 




want. 





CHORUS. 
That is my 



' 'infj.il ji 



hear the mar- tial rat - a - plan I want to be a mil - i - ta - ry man 




plan it is 




I want to be a mil - 



man 

'i I'lTiM 1 i" 

i- ta - ry To flirtwith J 




ane and Ma- ry. 





} 



'N 



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