· 2018. 3. 28. · 3 Contents Characters Foreword 3 4 Eyes and No Eyes 1. 2. 3. 4. 4a. 5. 6. 7....

Words by

W.S. GilbertMusic by

Florian Pascal

Eyes and No Eyesor

The Art of Seeing

Vocal Score with Complete Libretto

Sheet Music Back In Print Inc.Performance Editionssheetmusicbackinprint.com

Edited by Francis Lynch

A Comic Play in One Act with Music

2

Prepared for the projected 2011 Savoyaires ProductionEvanston, Illinois, USA

www.savoyaires.org

First Impression: March 2011

Published by Sheet Music Back In Print Inc., Evanston, IllinoisPrinted in the United States by Lulu.com

The libretto and music of Eyes and No Eyes are in the public domain.

Foreword and Editorial Notes Copyright © 2011 by Francis L. Lynchunder the Creative Commons Attribution–Noncommercial–Share Alike 3.0 License

http://creativecommons.org/licenses/by-nc-sa/3.0/

3

ContentsCharactersForeword

34

Eyes and No Eyes

1. 2. 3. 4.

4a. 5. 6.

7.

IntroductionOptional Introduction to No. 1Song: “As I at my wheel” (Clochette)Scena: “Yes, yes, I am that miserable Beauty” (Nicolette)Trio: “Of our parents each child is the son” (Arlequin, Pierrot, and Clochette)Quartette: “Well, here’s a very pretty state of things” (Clochette, Columbine, Pierrot, and Arlequin)Exit for Pierrot and Arlequin (Instrumental)Duet: “When you were eight and twenty” (Cassandre and Nicolette)Concerted Piece: “Now, Columbine, the magic cloak produce” (Cassandre, Nicolette, Columbine, and Clochette)Finale: “Agony and fell despair!” (Ensemble)

Editorial Notes

Characters

CASSANDRE

COLUMBINE

CLOCHETTE

ARLEQUIN

PIERROT

NICOLETTE

A wealthy farmer in love with Nicolette.

His Nieces.

Brothers.

An old Coquette

Bass

Mezzo-Soprano

Soprano

Baritone

Tenor

Contralto or

Mezzo-Soprano

} {

} {

{

510111726

415456

6375

96

4

Foreword

Between 1869 and 1875, W.S. Gilbert wrote a succession of musical plays for the GermanReed Entertainments, a prominent Vicorian couple’s attempts to provide a “respectable”alternative to the popular theatre of the day. Though both Thomas German Reed and hiswife, Miss P. (Priscilla) Horton, were experienced theatrical musicians and actors, theirreputations were free from any hint of the coarseness of the contemporary stage. Billingtheir entertainments as “illustrations” rather than plays, the German Reeds invited a“gathering” (not an audience) into a setting that looked like an elegant drawing roomrather than a stage, and presented shorter works, usually accompanied only by piano andharmonium. Their Gallery of Illustration, as it was called, was eminently successful andpaved the way for the public acceptance of the great stage works of the last quarter of theNineteenth Century.

In writing these libretti which were set to music by several different composers, Gilbertfirst experimented with many of the forms and, in many cases, plot elements that wouldappear in his most famous body of work, the operettas on which he and Arthur Sullivan sosuccessfully collaborated and which remain the most performed English stage works fromthe late Victorian era. Eyes and No Eyes was the last of the six plays that Gilbert wrote forthe German Reeds; it opened on July 5, 1875 and attracted little notice in the press, perhapsin part because it had already been eclipsed by Gilbert & Sullivan’s first great success, Trialby Jury, which had opened four months earlier. Nonetheless, in many ways it is the finestof the German Reed set, with crisp, funny dialogue and well-constructed musical numbers.

The original music for Eyes and No Eyes was written by German Reed himself, but whenthe Gallery of Illustration closed in 1895, this music was not found among the Gallery’smaterials, and Joseph Williams, the son of an important London music publisher of the samename, wrote new music under the pseudonym of “Florian Pascal.” The vocal score waspublished in 1896 and is the source of the musical material published here. Deviations fromthe original vocal score are listed in an appendix. As I have been unable to locate anyorchestration of the music (or even to determine whether Pascal ever arranged the music fororchestra), I have prepared a new orchestra score, published separately, of Pascal’s musicarranged for a standard Gilbert & Sullivan orchestra. Inquiries about this score can be madevia [email protected].

The libretto itself was drawn from Jane W. Stedman’s excellent book Gilbert Before Sullivan,from which the interested reader can learn more about Gilbert’s comic plays written for theGerman Reed Entertainments. It is my hope that providing this combined libretto and vocalscore (and the orchestrated version) will encourage more performances of this charmingbit of entertainment and expand the available repertoire for the many Gilbert & Sullivanperforming companies around the globe.

Francis LynchEvanston, IllinoisFebruary 2011

&

?

# # #

# # #

86

86

œœ> œ œ œ

œ> œ œ

œœ> œ œ œ

œ> œ œ

Allegro con brio

ƒ

œœ> œ œ œ

œ> œ œ

œœ> œ œ œ

œ> œ œ

œœ> œ œ œ œ œ


œ œ œ œ œ œ

œ œ œ œ œ œ

œœ> jœ

œœœœœ

œœ

œœ

œœ>

‰ œœ

‰

œœœœ> jœ

œœœœœ

œœ

œœ

œœ>

‰ œœ

‰

œœœœ>

jœ œ œ œ

œœ>

Jœ œ œ œ

&

?

# # #

# # #

8

.œ>U jœ ‰ ‰

.œ>U

Jœ ‰ ‰

.œ œ œ# œ.˙

.

.œœ# ..œœp

.œ> jœ ‰ ‰.œ Jœ

‰ ‰

.

.œœ#> jœœ ‰ ‰

.œ>

jœ ‰ ‰.œ Jœ‰ ‰

.

.œœn> jœœ ‰ ‰

.œ> jœ ‰ ‰.œ Jœ

‰ ‰

œœ#>

Jœ

Jœ ‰ ‰

œœ œ œ# œ

œ œ œ

œœ œ œ# œ

œ œ œƒ

œœ œ œ# œ

œ œ œ

œœ œ œ# œ

œ œ œ

&

?

# # #

# # #

15 œœ œ œn œn œ œ

œœ œ œn œn œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œœœœ#> jœ

œœœœœn œ

œœœ

œœ

>‰ œ

œ‰

œœœœ#> jœ

œœœœœn œ

œœœ

œœ

>‰ œ

œ‰

œœœœ#>

jœ œ œ œ

œœ

> jœ œ œ œ

.œ>U

jœ‰ ‰

.œ>U jœ ‰ ‰

&

?

# # #

# # #

21

.œ œ# œ# œ.˙

.

.œœ# ..œœ#p

.œ jœ ‰ ‰.œ Jœ ‰ ‰

.

.œœ# Jœœ ‰ ‰

.œn œ œ œ.˙n

.

.œœ ..œœ

.œ jœ ‰ ‰.œ Jœ ‰ ‰

.

.œœ Jœœ ‰ ‰

.œ œ œ œœ œ œ Jœ ‰ ‰

œœ œœ œœ Jœœ ‰ ‰

F

.œ œ œ# œœ œ œ Jœ ‰ ‰œœ# œœ œœ J

œœ ‰ ‰

œ œ œn œ œ œJœ ‰ ‰ Jœ ‰ ‰

Jœœ ‰ ‰

jœœ ‰ ‰

&

?

# # #

# # #

28

œ œ œ œ œ œJœ ‰ ‰ Jœ ‰ ‰

jœœ ‰ ‰jœœ ‰ ‰

.

.œœ

œœ

œœ#

# œœ

.œ jœ ‰ ‰œ œ œ Jœ‰ ‰

.

.œœ#

#Jœœ ‰ ‰

.œ jœ ‰ ‰œ‹ œ œ Jœ#

‰ ‰

.

.œœ

œœ

œœ#

# œœ

.œ jœ ‰ ‰œ œ œ Jœ‰ ‰

.

.œœ#

#Jœœ ‰ ‰

.œ jœ ‰ ‰œ‹ œ œ Jœ#

‰ ‰

œœ‹

‹Jœœ

œœ J

œœ

œœ œœ œœ œœ œœ œœ

5

Eyes and No Eyes

IntroductionMusic by

FLORIAN PASCAL

&

?

# # #

# # #

34 œœ J

œœ#

# œœ J

œœ

œœ‹ œœ œœ œœ œœ œœ

.œn œ œ œ

.˙n

jœœœ

œœ

.

.œœ

cresc.

.œ# œ œ œ

.˙#

jœ#œœ

œœ

.

.œœ

.œ# œ œ# œ

.˙#

jœ#œœ‹

‹ œœ

.

.œœ

œ œ œ# œ œ œ#.˙

jœœœ‹

‹ œœ

.

.œœ

f.œ œ# jœ..˙

œ ‰ Œ ‰.œ œ œ# œ

p

&

?

# # #

# # #

40

œ jœ œ jœ..œœ# ..œœ

.œ# Jœ œ œ

œ jœ œ# jœ..˙

.œ œ œ# œcresc.

œ jœ œ jœ..œœ# ..œœ

.œ# Jœ œ œ

œœœ Jœœœ

œœœ Jœœœ

œœ

œœ

œœ

œœ

jœœ

f

œœœ œœœ œœœ œœœ œœœ œœ

œœ

œœ

œœ

œœ

œœ

œœ

..œœ ..œœn

.˙

.˙.˙

dim.

..œœn œœœnjœœœn.œ

.˙.˙

&

?

# # #

# # #

# # # #

# # # #

43

43

47

...˙

.˙

...˙˙#

n

.˙

...˙˙n

.˙

jœœœ# ‰ ‰ Œ Jœ

jœ

‰ ‰ Œ ‰π

Adagio

p

U

U

œ œ œ.˙

jœ

..˙

˙ œ.˙

..˙

˙ œ.˙

...˙˙

˙ œ.˙

...˙˙

&

?

# # # #

# # # #

55

œ œ œ.˙

...˙

˙ œ.˙#

.

..˙˙

.˙ .˙

...˙˙

ggggg

œ œ œ..˙

..

.˙˙ggggg

œ œ œ.˙

...˙˙

ggggg

œ œ œ.˙

œ œ œ.˙

.˙ ..˙˙

œ œ œ.˙

˙ œ.œ œ œ

œ œ œ.˙

&

?

# # # #

# # # #

63

œœœ œœ œœ˙

.˙

œ œ œ.˙ œ

.˙˙ œ

œ œ œ.˙.˙

œ œ œ˙ œ

œ‹ œ œ˙ œ˙ œ

œ‹ œ œœ# œ œ

œ œ œ.˙

.˙ .˙œ Œ Œ

œ œ œœ œ œ

.˙ .˙∑

.˙œ# œ œ

.˙ .˙œ Œ Œ

˙ œœ œ œ

.˙ .˙∑

&

?

# # # #

# # # #

71 œ œ œ.˙

.˙ .˙

˙ œ.˙

.˙œ œ œ

.˙

.˙ .˙ .˙

.˙ .˙n

.˙

.˙ .˙

.˙ .˙

.˙

.˙ .˙

.˙ .˙n

.˙ .˙ .˙

œ œ# œ œ œ œ#..˙

.˙

.˙

jœ ‰ œœ œœ#Jœœ

‰

jœ ‰ Œ ŒJœ

‰ Œ Œ

6 Introduction

Eyes and No Eyes

&

?

# # # #

# # # #

79 ..œœJœœ# œœ

.˙ .˙œ Œ Œ

˙ œœ

.˙ .˙œ Œ Œ

˙ œ#.˙‹

.˙ .˙œ Œ Œ

œ Œ œœ Œ œ#

.˙ .˙œ Œ Œ

œ œ œ.˙

.˙ .˙œ Œ Œ

œ œ œœ œ œ#

.˙ .˙œ Œ Œ

.˙ .˙‹

.˙ .˙œ Œ Œ

˙ œ..˙n#

.˙ .˙.˙#

&

?

# # # #

# # # #

87 œ œ œ..˙

˙ œ.˙

œ œ œ.˙

œ œ œ.˙

˙ œ.˙

.˙

.˙

˙ œ.˙

˙ œ#.˙

œ œ œ.˙

œ œ# œ.˙

˙ œ‹˙ œ

˙‹ œ#œ

˙

.˙ .˙

.˙œ œn œ

˙ œœ˙

.˙œ œ

œ

&

?

# # # #

# # # #

95 œœ

œœ

œœ..˙

œœœ œœ œœ œœ œœ

˙ œœ


.

.˙..˙

œœœœ œœœ œœœ œœœ œœœ

˙ œ.˙

œœœ œœœ œœœ œœœ œœœ œœœ

œ œ œ..˙

œœœœ œœœ œœœ œœœ œœœ

&

?

# # # #

# # # #

100 ˙˙

œœ.˙#

œœœœ# œœœ œœœ œœœ œœœ

.

.˙.˙

œœœ œœ œœ œœ œœ

œœ

œœ

œœ.˙

œœœ œœœ œœœ œœœ œœœ œœœ

œœ

œœ

œœ.˙

œœœœœœ

œœœœœœ

œœœœœœ

œœ œœ œ

œœœœœœ

œœœœœœ

œœœœœœ

&

?

# # # #

# # # #

86

86

105 .œœ œœ œœ œœ œœ œœ


œ Œ œœœ œœ œœ œœ œœ œœ


œ œ œ..˙

jœ

..˙

˙ œ.˙

.

.˙˙

∑

∑

∑

˙ œπ

&

?

# # # #

# # # #

86

86

111 œœ> œ œ œ

œ> œ œ

œœ> œ œ œ

œ> œ œ

Tempo I

ƒ

œœ> œ œ œ

œ> œ œ

œœ> œ œ œ

œ> œ œ



œ œ œ œ œ œ

œ œ œ œ œ œ

œœ J

œœ

œœœœœœ

œœ

œœ ‰ œ

œ ‰

7Introduction

Eyes and No Eyes

&

?

# # # #

# # # #

n# # #

n# # #

116 œœœœ Jœœ

œœœœœœ

œœ

œœ ‰ œ

œ ‰

œœœœ Jœ œ œ œ

œœ Jœ œ œ œ

.œ>U

Jœ ‰ ‰

.œ>U

Jœ ‰ ‰

.œ œ œ œ.˙

..œœ ..œœ

p

.œ jœ ‰ ‰.œ Jœ‰ ‰

..œœ Jœœ ‰ ‰

&

?

# # #

# # #

121 .œ œ œ œ.˙

.

.œœ ..œœ

.œ jœ ‰ ‰.œ Jœ ‰ ‰

.

.œœ Jœœ ‰ ‰

.œ œ œ œœ œ œ Jœ ‰ ‰


F

.œ œ œ# œœ œ œ Jœ ‰ ‰œœ# œœ œœ J

œœ ‰ ‰

œ œ œn œ œ œJœ ‰ ‰ Jœ ‰ ‰

Jœœ ‰ ‰ J

œœ ‰ ‰

&

?

# # #

# # #

126

œ œ œ œ jœ.œ .œ#

.˙ .œ .œ#

.

.œœ

œœ

œœ

œœ.œ .œ#

œœ

œœœ œœœ Jœœœn

‰ ‰

...œœœ

## J

œœœ ‰ ‰.œn œ œ œ

œœ

œœœœœœ J

œœœ ‰ ‰

.

.œœ

œœ

œœ

œœ.œ .œ#

œœ

œœœ œœœ Jœœœn

‰ ‰

...œœœ

## J

œœœ ‰ ‰.œn œ œ œ

œœ

œœœœœœ J

œœœ ‰ ‰

&

?

# # #

# # #

43

43

131

..˙

.œ œ œ œ

.˙.˙

cresc.

..œœ ..œœ

œ#> jœ œ

> jœ

.˙.˙

..œœ ..œœœ>

Jœ œ>

Jœ

.˙.˙

œ> jœ œ

> jœ..œœ ..œœ

.˙.˙

.

.œœ

.

.œœ

.œ .œ

.

.œœ

.

.œœ

.œ .œ

.

.˙˙

.˙

.

.œœ J

œœ ‰ ‰

.œJœ

‰ ‰

&

?

# # #

# # #

43

43

139 ˙œœœ

œœœœ Œ

Tempo di Valza

ƒ

˙˙

œœœ

œœœœ Œ

˙˙

œœœ

œœœœ Œ

˙˙

œœœ

œœœœ Œ

˙˙ œœ

œ

œœœœ Œ

˙˙˙

œœœ

œœœœ Œ

˙˙

œœœ

œœœœ Œ

œœœœœœ

œœœ

œœ œœ œœ

8 Introduction

Eyes and No Eyes

&

?

# # #

# # #

147 œœœ

œœœ

œœœ

œœ

œœ œœ œœ œœ&

œœ

œœ

œœ

œœ

œœœ## œœœ œœœ œœœ

œœ

œœ

œœ

œœ

œœœ œœœ œœœ œœœ

œœ

œœ

œœ

œœ

œœœ œœœ œœœ œœœ

..œœ Jœœ œœ

..œœ#jœœ œœ

p

..œœ# Jœœ œœ

..œœnjœœ œœ

..˙

..œœ# jœœ œœ

&

&

# # #

# # #

154

œ œn œ œ œ#

œœŒ Œ ?

f

˙œœœ

œœœœ Œ

ƒ

˙˙

œœœ

œœœœ Œ

˙˙

œœœ

œœœœ Œ

˙˙

œœœ

œœœœ Œ

˙˙ œœ

œ

œœœœ Œ

˙˙˙

œœœ

œœœœ Œ

&

?

# # #

# # #

161˙˙

œœœ

œœœœ Œ

œœœœœœ

œœœ

œœ œœ œœ

œœ œœ œœœœ

œœ œœ œœ œœ

˙œœ

˙ œœ

œœ œœ œœœœn

œœn œœ œœ œœ

˙˙n œœ

˙ œœn

œœ œœœœ œœ œœ

œ œ œœœ œ

&

?

# # #

# # #

..

..

168 œœ œœ œœœœ

œœœ œ œœ

œœ# œœœœ œœ œœ

œ œ œœ# œ œ

œœ œœ# œœœœ

œœ# œ œ œœ

˙˙

œœœ

œœ

œœ œ

œ

..

.˙˙

œœ

œœ

œœ

œœœœœœ

œœœ

œœ

œœ

œœ

&

?

# # #

# # #

..

..

174 œœœ

œœœœœœ

œœ

œœ

œœ

œœœ œœœ Œ

œœ

œœ Œ

œœœ# œœœ Œ

œœ

œœ Œ

˙˙

œœœ

Œ œœ

œœ

œœœ œœ œœœ

œœ

œœ

œœ

œœœ œ# œ œ œ

œœ

Œ Œ

œœ œ‹ œ œ œ

œœœ Œ Œ

&

?

# # #

# # #

181 ..

œœ Jœ œœ

œœœ Œœœœ

.

.œœ Jœ œœ

œœœ Œœœœ

œœœ œœœœœœ

œœ

œœ œ

œ

œœœœœœ œœœ

œœ œ

œœœ

œœœ œ œ œ œ

œœ

œ œ œ œJœœ ‰ œ œ œ œ

Jœ ‰ œ œ œ œ

.

.˙˙

U

.˙.˙

UJœœ ‰ Œ Œ

jœ ‰ Œ Œ

9Introduction

Eyes and No Eyes

&

?

# #

# #

43

43

œœœU œœœ

U œœœU

œœU œœU œœU

Tempo di Valza

Pœœ œœ œœ

œœ

œœ œœ œœ œœ

F˙

œœ

˙ œœ

œœ œœ œœœœn


˙˙n œœ

˙ œœn

œœ œœœœ œœ œœ

œ œ œœœ œ

cresc.

œœ œœ œœœœ

œœœ œ œœ

&

?

# #

# #

42

42

8

œœ# œœœœ œœ œœ

œ œ œœ# œ œ

œœ œœ# œœœœ

œœ# œ œ œœ

œ œ œnœ#.˙#

.œn œ œ

œ œ œ œ œœ

œ

.œ

.œœœ œœ œœ

fœ œ œ œ œ

œœ

...œœœ œœœ œœœ œœœœ

œœ

œœ

œœœ œœ œœ

œ œ œ

.˙ ..˙

..˙

jœ ‰ Œ ŒJœœ

‰ Œ Œ

jœœ ‰ Œ Œ

&

?

# #

# #

42

42

16

..œœ œœ œœ œœ

œœœœœœ

Allegretto

Fœ œ œœ œœ

œœ>

œœœœœœ

œœœ>

..œœ œœ œœ œœœ œ

œœ

œœ

œœœ œœœœ>

œœ œœ œœ>

œœœ œ œœœ œ

œœœ

œœœ

œœœ œœ œœ

œœœ œœ

œœ œ œ œ .œ œœ

œœ œ .œ œ

œ

œœœœœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ œ

&

?

# #

# #

83

83

24 œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.

œœœœœœ

œ œ œœ œœœœ>

œœœœœœ

œœœ>

œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.

œœœœœœ


œœœœœœ

œœœ>

œœœ œ œœœ œ

œœœ

œœœ

œœœ œœ œœ

œ#œœ# œœ

œ œ œ œ .œ œœ œ .œ œœ œœ ..œœ# œ

œ

œ œ œ œœœ

œœ

œœ

œœ

3 3

œœœ

œ œ œ œ œ œ œ3

3

&

?

# #

# #

83

83

32 œ œ œ.œ

œœœ œœ

leggiero

Andantino

œ œ œJœ

œ

œœœ œœ

œ# œ œœ œ œ

œ

œœ œœ

œ œ œ œ œ œJœ‰ ‰

Jœœœ ‰ ‰

.œn ‰ œœ

œ ‰ œ

.œ‰ œœ

œ ‰ œ

.œ# ‰ œœ

œ ‰ œ

œ ‰œœ œœ

‰

œ œ# œ œ œ œ

‰œ œ œ# œ

‰ œœ.œn

œ œ œ œ

‰ œœ.œ

&

?

# #

# #

42 œ jœ#œ œ# œn

œ œ œ#œ#

Jœ

œ œ œ œnœJœ

œ jœœœ

œrall. e dim.

œ œ œ œœJœn

œ jœœœ œ

œ œ# œ œœ Jœn

œ jœ#œœ

œ

œ œ œjœb

Jœ ‰ Jœjœn ‰jœ

Jœ‰

Jœ

œ œ œjœ#

Jœ ‰ Jœjœ ‰ jœJœ

‰Jœ

.œn .œ

.œ .œ

jœ ‰ ‰Jœ

‰ ‰

jœ ‰ ‰

Jœ‰ ‰

10

Eyes and No Eyes

Extended Introduction to No. 1(to be used as an alternative to the Introduction on p. 5)

&

?

# #

# #

83

83

œ œ œ œ œ œRœ>

..œœ

Andantino

p

œ# œ œ œ œ œRœ>

Jœœ ‰ ‰


..œœ


Jœœ ‰ ‰


..œœ


Jœœ ‰ ‰

&

&

?

# #

# #

# #

CLO.

7

∑


..œœ

.œAs


Jœœ ‰ ‰

œ œ œI at my


..œœ

œ Jœwheel sit


Jœœ ‰ ‰

.œspin - - -


..œœ

jœ ‰ jœning, I


Jœœ ‰ ‰

&

&

?

# #

# #

# #

CLO.

13

œ œ œthink of my

œ œ œ œ œ œRœ

..œœ

œJœ

maid - en


.

.œœ

.œstate,


jœœ ‰ ‰

‰ œ œFor I

œ œ œ œ œ œRœ Rœ Rœ

.œœ œ œ

œ œ œam, at my


..œœ

œ œ œlife’s be -


Jœœ ‰ ‰

&

&

?

# #

# #

# #

CLO.

19

.œ#gin - - -

œ œ œ# œ œ œRœ

..œœ

Jœ ‰ Jœning, A


Jœœ ‰ ‰

œ œ œthread in the


.

.œœ

œ jœhands of

œ œ œ œ œ œRœjœ

œ ‰ ‰

.œFate.


œ œ œ

‰ œ œFor I


.œœ œ œ

11

Eyes and No Eyes

No. 1. Song: “As I at my wheel”Clochette

SCENE: Exterior of CASSANDRE’s cottage. Cottage in flat with door and practicable window.Trees, &c. R. and L.

CLOCHETTE discovered with Spinning-wheel.

&

&

?

# #

# #

# #

CLO.

25œ œ œ

am, at my


..œœ



Jœœ ‰ ‰

.œgin - - -


..œœ

Jœ ‰ Jœning, A


Jœœ ‰ ‰



.

.œœ

.jœ ≈ jœhands of


.

.œœ

&

&

?

# #

# #

# #

CLO.

31

.œFate.

œn œ œ œ œ œ.œ

Jœœ ‰ ‰

.œ

œ œ œ œ œ œ.œ

..œœ

∑

œb œ œ œ œ œ.œ

..œœ

∑

œ œ œ œ œ œJœ

jœœ

‰ ‰

∑

Jœ œ œ œ œ

Jœœœ ‰ ‰

‰ œ œShall I

œ œ# œ œ œ œ

∑

&

&

?

# #

# #

# #

CLO.

37

.œ œ œdwell a-mong

œ œ œ œ œ œ

œ Jœœ

œ jœcrowds that

œ œ# œ œ œ œ

œœ jœ

jœ œ#flat - ter,

œ# œ œ œ œ œ.œ

œ Jœœ#

jœ ‰ JœA

œ# œ œ œ œ# œRœœœ jœ

œ œ œrobe for a


œ Jœœ

œ œ œking to

œ œ œ œ œ œ.œ

œœJœœ

&

&

?

# #

# #

# #

CLO.

43

.œbear—

œ œ# œ œ œ œ.œ#

..œœ#

Rœ ≈ œ œOr a

œ œn œ œ œ œ.œn

Jœœ#

n ‰ ‰

œ œ œpoor lit-tle


..œœ

œ œ œrag of a

œ œ œ œ œ œ

Jœœ ‰ ‰

Jœ œtat - ter

œ œ œ# œ œ œ

.

.œœ

Jœ ‰ JœA

œ œ œ# œ œ œ.œ

..œœ

12 No. 1. Song: “As I at my wheel”

Eyes and No Eyes

&

&

?

# #

# #

# #

CLO.

49

œ œ œbeg - gar would

œ œ œ# œ œ œ.œ

.œ

œ jœ#scorn to

.œ# ≈ œ œ œ œ œ

.

.œœ

.œwear?

œ œ# œ œ œ œJœ

jœ ‰ Jœœ

jœ ‰ ‰

œ œ# œ œ œ œ

Jœœ ‰ J

œœ

∑

œ œn œ œ œ œ

jœœœggggg

‰ ‰

Œ jœAs

œ œ œ œ œ œ

Jœœ ‰ ‰

&

&

?

# #

# #

# #

CLO.

55œ œ œI at my


..œœ

œ Jœwheel sit


Jœœ ‰ ‰

.œspin - - -


..œœ

jœ ‰ jœning, I


Jœœ ‰ ‰

œ œ œthink of my


..œœ

œJœ

maid - en


.

.œœ

&

&

?

# #

# #

# #

CLO.

61

.œstate,


jœœ ‰ ‰

‰ œ œFor I


.œœ œ œ

œ œ œam, at my


..œœ



Jœœ ‰ ‰

.œ#gin - - -


..œœ

Jœ ‰ Jœning, A


Jœœ ‰ ‰

&

&

?

# #

# #

# #

CLO.

67



.

.œœ

œ jœhands of

œ œ œ œ œ œRœjœ

œ ‰ ‰

.œFate;


œ œ œ

‰ œ œFor I


.œœ œ œ

œ œ œam, at my


..œœ



Jœœ ‰ ‰

13No. 1. Song: “As I at my wheel”

Eyes and No Eyes

&

&

?

# #

# #

# #

CLO.

73

.œ#gin - - -


..œœ

Jœ ‰ Jœning, A


Jœœ ‰ ‰

œ .œ œthread in the


.

.œœ

œJœ

hands of


jœœ ‰ ‰

.œFate,


..œœ

‰ œ œin the

œ# œ œ œ œ œRœ

Jœœ ‰ ‰

&

&

?

# #

# #

# #

CLO.

79

.œhands


..œœ

Œ jœof


Jœœ ‰ ‰

.œFate,


..œœ

jœ ‰ ‰

œ# œ œ œ œ œRœ

Jœœ ‰ ‰

∑


..œœ

.œof


Jœœ ‰ ‰

&

&

?

# #

# #

# #

CLO.

85

.œFate.


Jœœ. œ.dim.

.œ


‰ œ. œ.

jœ ‰ ‰


‰ œ. œ.

∑


‰ œ. œ.

∑

.

..œœœ

jœ.‰ ‰

∑

jœœœ.‰ ‰

Jœœ.

‰ ‰

14 No. 1. Song: “As I at my wheel”

Eyes and No Eyes

CLO. Half-past one and Columbine not home yet. I hope no accident has happened to the old mare.If there has, I wouldn’t be in Uncle Cassandre’s way when he hears of it! There’s a stingy crossold man for two dear little orphan nieces to have to live with. And when he’s married toNicolette— and he’s to be betrothed to her today— the cottage will be unendurable. Here comesthe conceited old maid. Well, as she’s going to be my aunt, I suppose I had better be civil to her.(Spins.)

5

15

Eyes and No Eyes

Dialogue between No. 1 and No. 2

Enter NICOLETTE.

NIC. Good morning, my dear. Hard at work, I see.

CLO. Oh yes, hard at work. No time to be idle like some people. No time to go gadding aboutsetting honest folk by the ears like some people. No time for flirting and ogling, and making myselfconspicuous and getting myself talked about like some people. Ugh! (Aside.) Must be civil to her.

NIC. Ah, well, I like to see little girls busy. It keeps them out of all sorts of mischief. I oftenwish I could work too.

CLO. Oh, but at your age, Nicolette—

NIC. Exactly, as you say, at my age one’s time’s fully employed in receiving those littleattentions which fall to the lot of an extremely lovely girl. Your time will come some day, but themen are terrible plagues, and you needn’t wish you were me, dear.

CLO. I don’t.

NIC. I’m not the gay and giddy young thing I look.

CLO. (aside). I know you’re not! Made up old thing!

NIC. When you see me, the centre of an eager throng, vieing with each other as to who shall saythe sweetest things to me; when you see me playing fast and loose with one, encouraging another,and sending a third about his business, broken-hearted, say to yourself, “I hope I may never, never,never be like Nicolette.”

CLO. Believe me, it is my most earnest prayer.

NIC. For reflect — say I have a hundred admirers—

CLO. I beg your pardon—how many?

NIC. Say a hundred. Now out of this hundred I can only marry one.

CLO. Poor fellow!

NIC. Well—I declare myself in favour of that one, and what becomes of the other ninety-nine?

CLO. (after a pause). I give it up.

NIC. (annoyed). Why, they blow their brains out, of course!

CLO. What, right out?

NIC. Right out. Bang! Poof! and it’s over. Now that’s a fearful responsibility for a youngwoman to have on her mind.

10

15

20

25

30

35

16

Eyes and No Eyes


CLO. Appalling! Oh, Nicolette, I do indeed hope more than ever that I shall never be anythingat all like you.

NIC. Well, to do you justice, I don’t think you ever will. You’re a good girl, but you’re notpretty, and if ever you’re a full-grown woman like me, you’ll be plain.

CLO. Yes — if ever I’m a full-grown woman like you, I shall be very plain indeed. And now,what can I do for you?

NIC. Do for me?

CLO. Yes, I suppose you’ve called about something?

NIC. No! Oh no — I’ve come to spend a long, long day with my two dear little friends,Clochette and Columbine.

CLO. Oh that is nice. I’m so glad, because it’s so dull here without uncle.

NIC. (taken aback). Without uncle? Isn’t he at home?

CLO. Oh no, he’s out, and he won’t be home for ever so long. You’ll have us all to yourself,you dear old thing, and we’ll be as happy as three little birds.

NIC. Oh. (Getting up.) Well, I must be off.

CLO. You’re not going?

NIC. Oh yes I am. I can’t stop chattering here all day. I’m very busy, very busy indeed. Butbefore I go, I should like to break a bit of very bad news to you.

CLO. I’m sure you would.

NIC. Yes. It’s about Pierrot and Arlequin. It’s generally understood that they’re in love withyou and Columbine. My dear, they’re not.

CLO. What do you mean?

NIC. They used to come and see you every day, I believe?

CLO. Yes.

NIC. But they haven’t been for the last two days?

CLO. Well?

NIC. My dear, I’m very sorry for you, but — they’ve seen me!

CLO. You don’t mean to say that you’ve frightened them away?

40

45

50

55

60

&

&

?

b

b

b

44

44

44

∑

wŸ œ œ

ww# œ œ# œn œn

Andante assai

f

Ó Œ œYes,

˙˙

œœ. œ

œ.

Œœ# œ œ

œœœbn. œœœ

.Œ œ œ œ œ

fZ p

œ ‰ jœ œ œ œ œ œ œyes, I am that mis-e- ra-ble

.

.˙˙

œœJœ ‰ Jœ# ‰ Jœ ‰ Jœ ‰

œ ‰ œ‰ œ ‰ œ# ‰

œœ ‰ œ œ œ

Beau - ty, Whose lot it

.

.˙˙

jœœ ‰Jœ ‰ Jœ ‰ Jœ# ‰ Jœn ‰

œ ‰ œ ‰ œn ‰ œb ‰

&

&

?

b

b

b

NIC.

5

œ œ œ .œ .œ jœis to with-er hearts andjœœœ# ‰ jœœœ#n ‰ jœœœ#

‰ jœœœ

n ‰

w

˙ Œ œhomes; Who,

œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰

œ œ œ œ œ œ œ œ

œ œn œ œ œ œ œ œin the course of her un- hap-py

œœœ‰ œœœ

‰ jœœ œ œ œ.œ

˙ jœ œ œn œ

œ œ Œ œdu - ty, Brings

œœœn ‰ œœœ‰ œœœn

> œœœ>

Jœœœ> ‰

w#Ÿ

&

&

?

b

b

b

NIC.

9

œ œn œ œ œ ‰ jœb œ œ3

grief and mis - e - ry wher-e’er she

œœœ‰ œœœ

‰ œœb ‰ œœ‰

˙ ˙Ÿ>

˙ ‰ œ# œ œroams. The man who

jœ œ œ œ# jœ œ œ œJœ .œ Jœ

..œœ

jœ# œ œ œ jœ œ œ œ

œ œ œœ ‰ Jœ

on me sets his

œœœ‰ œœœ

‰ œœœ ‰ œœœ ‰

jœ œ œ œ jœ œ œ œ

17

Eyes and No Eyes

No. 2. Scena: “Yes, yes, I am that miserable Beauty”Nicolette

NIC. You are quite right, I don’t mean to say it. On the contrary, I am very very sorry to say thatthey love me fondly. They told me so. I did all I could to persuade them to be true to you, but invain. “Ah, Pierrot! Ah, Arlequin!” I said, “Moths about a candle — moths about a candle! howsoon will ye burn your poor wings, and lie helplessly and hopelessly with a hundred others at myfeet. Better, far better are the solid practical virtues of the homely Clochette than the superficialattractions of the beauty who, like the jeweled serpent, fascinates only to destroy.” “Be pitiful, ohlovely Nicolette,” said they. “I cannot,” I replied, “I am a basilisk. I am Nicolette the Destroyer!”

65

70

&

&

?

b

b

b

NIC.

12

˙# Jœ ‰ Œeyes—

jœœœ# œœ œœn œœ Jœœ œœ œœ œœœœb œœ œœ

jœœœ# œœn œœ J

œœ

œ Jœ ‰ .œ# jœHe is my

jœœ# ‰ œœ# jœœ‰ œœnJ

œœ ‰

œœ Jœœ ‰ œœ

Z

˙ Œ œprize! He

œ œœ œœ œ œœ œœœ# œ œ œ œ œjœœ ‰ œ œ œ

.œ jœ .œ jœcan’t es-cape— he

‰ œœjœœ ‰ œœ

jœœŒ œ# Œ œ

.œjœ .œ

jœ

&

&

?

b

b

b

n# #

n# #

n# #

NIC.

16

.œ jœ .œ# jœpines and dies! This

‰ œœjœœ

‰œœ# jœœŒ œ

.œjœ

Œ œ˙

œ œ œ œ œ œ œ œstate of things goes on from bad to

jœœœ ‰ œœœœœœ œœw# Ÿ œ œ œ œ‹ œ

poco rall.

.˙Œ

worse;

‰ œœ# œœn œœ‰ .œ‰ œœ œœ# œœ

jœœ# ‰Jœ

‰ œœ œ

&

&

?

# #

# #

# #

nnb

nnb

nnb

NIC.

19

‰ œ œ œ œ Jœ ‰I am so fair,

‰ œ œ œ ˙Œ œœ Œ œœ

jœ‰ jœ ‰ ˙

Lento

dolce

‰ œ œ œ œ Jœ ‰So pas-sing fair,

‰ œ œ œ ˙Œ œœ Œ œœ

jœ‰ jœ ‰ ˙

Œ œ œ œ œ œSo dan-ger-ous- ly

Œ œœ ˙‰ œ œ œ Jœ œ Jœ

Œ œ jœ œ œ œw

wfair,

jœœœbb ‰

œœœb œœœœœœ

jœ ‰œœ œœ œœ

Jœ

&

&

?

b

b

b

86

86

86

NIC.

23

‰ œ œ œ œ œ ‰ œ œThat peo - ple call me the Do-œœœ Œ œ œ œ

>œ>

œ œ œœœ Œ œœ œ> œ>

Tempo I œ œ# ˙mes - tic Curse!

Jœœœ ‰

œœœ#Jœœœ œœœ

Jœœœ

Jœœ ‰ œ

œ ˙#˙#

Z Z ƒ

∑

Jœœœ œœœ œœœ

œœœjœœœ

˙b˙b

˙˙

∑

œ œ œ œ˙ œœ œœ

jœ

œ œ œ jœ

18 No. 2. Scena: “Yes, yes, I am that miserable Beauty”

Eyes and No Eyes

&

&

?

b

b

b

86

86

86

NIC.

27

œ œ œ œ jœWom-en a - void me

œœjœœ œœ

jœœ

œœjœœ œœ

jœœ

Allegretto

p

œ Jœ œ jœlike a plague, For

œœjœœ œœ jœ

œ jœ œ jœ.œ œ

œb œ œ .œbthey have heard tales,

.œb .œb..˙b

.œb .œb

.˙

œb jœ .œstrange and vague,

œb jœ œ‰

œœ Jœœ œœ

‰

œb jœ œ ‰œn Jœ œ

‰

&

&

?

b

b

b

NIC.

31

œ œ œ œ jœTold at the fire with

œ.

œ.

œ.

œ.

œ.

œ.

.œJœ ‰ ‰

.

.œœ Jœœ ‰ ‰

œ jœ œ jœba - ted breath, Of

œ.

œ.

œ.

œ.

œ.

œ.

.œJœ ‰ ‰

.

.œœ# Jœœ ‰ ‰

œ œ œ œ œ# œbeau - ti - ful witch - es who

..œœ ..œœn‰ œ ‰ œ

.œ .œ#

œ jœ œ jœlure to death— Of

œ

œ

# œ

œ

œ

œ

n œ

œ

jœœ Jœ œ

œJœ

œ ‰

&

&

?

b

b

b

NIC.

35

œ Jœ œ jœhus - bands false and

œœ ‰ œœœœ ‰

œœ

..œœb > ..œœ#

œ jœ œ jœcheat - ed wives— Of

œœ.

œœ. œœ

.œœ jœœœœb

.œœ.

œœ#.

œœ

Jœœ#

œ Jœ œ jœbro - ken hearts and

œœ ‰ œœœœ ‰ œœ

..œœnb ..œœ

œ jœ œ jœwas - ted lives— Of

œœ.

œœ. œœ

. jœœ ‰ jœœœœœb.

œœ.

œœ. J

œœ

Jœb

&

&

?

b

b

b

NIC.

39

œb œ œ jœ ‰ jœsu - i - cides in

œœœnb œœœ œœ

œb œ œœ œ œ

œb œ œ

.œb Jœ ‰ jœbchill des -

œœœbb‰ ..œœbb .œ

œn

œ œ œb œ œn

Z

.˙pair—

jœœœ‰ ‰ ...œœœbn

œ. œœ

œ. œœ

jœ‰ ‰ Œ ‰

...œœœ...œœœ

œ. œœ

œ. œœ

œjœ œ œ œ

Oh So - ci - e - ty!

œjœ œ j

œ.˙

..˙

19No. 2. Scena: “Yes, yes, I am that miserable Beauty”

Eyes and No Eyes

&

&

?

b

b

b

NIC.

44

œjœ œ œ œ

Oh So - ci - e - ty!

œjœ œ j

œ.˙

..˙#

œ œ œ œ JœIs it my fault if

œ œ œ œœjœ

œœ Jœ

œœ Jœœ œœ J

œœb

œ jœ .œI am fair?

œœ

jœœœœ J

œœ

..œœ..œœ

œ Jœ œ œ œOh So - ci - e - ty!

.

.œœ> jœœ#

‰ ‰

..œœ# >Jœœn ‰ ‰

œ jœ œ œ œOh So- ci - e - ty!

..œœ> jœœ#

‰ ‰

..œœb > jœœn ‰ ‰

&

&

?

b

b

b

NIC.

49

œ# œ œ œ# œn œThat I’m a Bas - i - lisk

jœœ#‰ ‰ jœœ

‰ ‰

jœœn ‰ ‰jœ

œ## ‰ ‰

œn jœ œ jœis too true, But,

œœœn#jœœ# œœ.

œœ.œœ.

œjœ œ.

œ. œ# .

œ Jœ œ œ# œOh So - ci - e - ty!

.

.œœ#> jœ ‰ ‰

.

.œœ

n >Jœœ ‰ ‰

œ jœ œ œ# œOh So - ci - e - ty!

..œœ#>

jœ ‰ ‰

..œœ>

Jœœ ‰ ‰

&

&

?

b

b

b

n# #

n# #

n# #

NIC.

53

œ œ œ œ œ œWhat in the world would you

...œœœ

...œœœn

œ jœ œ# jœ

œ jœ .œhave me do?

œœ#jœœn œœ

jœ

œ œ œ œ ‰œJœ

œ ‰

∑

œ jœ œ# jœnœ œ œ# œ œ œ

‰ œ jœ œœ# Jœœ Jœ#

Œ ‰ Œ jœU

I’ll

œ jœ œ# jœU

œ# œ œn œ JœŒ ‰

œnjœ#

Uœ Jœ Jœ œ

u

&

&

?

# #

# #

# #

NIC.

57

œ œ œ œ jœdo an - y - thing you

.œ œ jœœ Jœ œ Jœœ jœœ œœ

jœœ

œ jœ œ jœlike, I’m sure! I’ll

œ œ œ .œ.˙

..˙

œ jœ œ œ œdress in cot - ton and

.

.œœ œœ

.œ œ ‰œ Jœ œ Jœ

œ Jœ œ ‰cheap ser-ges,

..œœ œœ ‰

œ œ œ œ ‰.œ œ

‰


Eyes and No Eyes

&

&

?

# #

# #

# #

NIC.

61

œ œ œœ œ œ

Black - en my face like a

..œœ ..œœ.˙

‰ œ œ# œ œ œn

œ jœ œjœ

Black - a - moor— A

..œœjœœ ‰ ‰.œ Jœ

‰ ‰

‰œ œ Jœ ‰ ‰

œ jœ œ jœBlack - a - Moore - and -

œœjœœ œœ

jœœ

.œ .œ

&

&

?

# #

# #

# #

NIC.

64jœ œ jœ ‰ ‰

Bur - gess!

œœ Jœœ

jœœ ‰ ‰

œJœ Jœ œ œn œ œœ

F

œ œ œ œ œ œStroll in the park in a

..œœ ..œœb

..˙

œ œ œ œ ‰Life Guards-man’s boots,

jœœ œ œjœ ‰ ‰

œbJœ

‰ ‰

jœœ

œœjœ

œ‰ ‰

&

&

?

# #

# #

# #

NIC.

67

œn Jœ .œnSmoke che-roots,

...œœœn

nJœœœ ‰ ‰

œœœ œœœ œœœJœœœ# ‰ ‰

Z

Œ ‰ Œ jœnPull

œn jœ

.œnœn Jœ .œn

œjœ œ œ œ

out my eye - lash - es

...œœœ

jœœœ‰ ‰

.œ jœ ‰ ‰œ# œ œ Jœ

‰ ‰

œjœ œ ‰

by the roots!

...œœœ Jœœœ ‰ ‰

.œ jœ ‰ ‰œ# œ œ Jœ ‰ ‰

&

&

?

# #

# #

# #

NIC.

71

œ œ œ œ ‰Pad my - self out

.œ œ œ œ..˙

.˙ .œ# .œn

œ œ œ œ ‰Till I look stout;

œ ‰ œœœ œœœ œœœœœ

œœ# ‰œœ# œœ œœ

Œ Jœ œ jœMy H - ’s

Jœœœ ‰ ‰ .œ ..œœ

.œJœœ ‰ ‰ .œ

.œ jœ ‰ ‰drop,

.œ .œn..˙

.˙ .œb .œ


Eyes and No Eyes

&

&

?

# #

# #

# #

NIC.

75

œ ‰ œ ‰Squint, limp,

œ œ œ œ œ œœ Jœb œ Jœ

œœ Jœœbn œœ J

œœp

œ œ œ Jœ ‰ œ œ#loll - op and flop, Go to

œ œ œjœ ‰ J

œœœ Jœb

Jœ

œœ Jœœbn

jœœ ‰ JœœN

F

œ œ œ œ œ œ œdin-ner-par - ties in a great

œœ Jœœ œœ J

œœ

œœ Jœœ œœ J

œœ

œJœ

œ jœpaste - board nose (Or

œœ. œœ

. œœ. œœ ‰

œœ. œœ

. œœ. œœ ‰

&

&

?

# #

# #

# #

NIC.

79

œ# jœ œ œ œ œone of gut-ta-per - cha

..˙#

.œ .œ .œb .œ

jœ œ Œ jœplas-tic), And

œœ.œœ.

‰œœ. œœ

.‰

œœ.œœ.

‰œœ. œœ

.‰

Z Z

œ jœ œ jœshave off all my

.œ œ jœœ Jœ œ Jœ

œ jœœ œœjœœ

F

*.œ jœ ‰ jœ

hair, And

œ œ œ ..œœ.˙

..˙

&

&

?

# #

# #

# #

89

89

89

NIC.

83œ jœ œ œ œ

walk a - bout with my

‰ œ œ œ ‰ œ œ œ.œn .œ

‰œœ ‰

œœp

* These two bars (81 and 82) are an editorial insertion; see p. 96.

.œœ jœ

head bare, And

‰ œ œ œ ‰ œ œ œ.œ .œ

‰ œœ# ‰ œœ

œ œ œ œ œ œ œwear noth - ing on it but a

..œœ ...œœœ#

.

.œœ

.

.œœ#

#

.œ œ œ œrose On a

jœœœœœ.

œœ. Jœœ ‰ ‰

jœœ

œ. œ. Jœ ‰ ‰

&

&

?

# #

# #

# #

89

89

89

NIC.

87

œ œ œ jœ œ Œ ‰piece of e - las - tic!

..œœjœœ

‰ Jœœ œœœ

Jœœœ

..œœjœœœ

‰ ‰ Œ ‰

AdagioŒ ‰ Œ ‰ œ œ œ

Use-less, a -

œœœJœœœ œœœ ‰ jœœœ

‰ ‰

jœœ

œ œ œ‰ jœ ‰ ‰œ œ

Allegretto

œ jœ œjœ œ

Jœlas, would be the vain en -

...œœœjœœœ ‰ ‰ ‰ œœ#

œ œ œjœ ‰ ‰ œ Jœ#

.œ Œ ‰


Eyes and No Eyes

&

&

?

# #

# #

# #

NIC.

90

Jœ œ Œ jœ œ Jœdeav-our, For if I

jœ œjœ œ œ

œ Jœœ..œœ

..œœ

œgggg œ œ ‰ œ œ ‰ œ œ

œ.œ

œ jœ œjœ

œnJœ

did all this (though you may

œœ ‰ œ Jœ

œœnJœœ

‰ œ œ ‰ œ œ ‰ œ œ.œ .œ .œ

.œ# Jœ ‰ Jœ œ# Jœdoubt me), There’d still be

.œ# jœ ‰ ‰.œ

œ œ œ œ œ œ œ œ œ

‰ œnœ .œ Œ ‰œ Jœ

.œ Œ ‰

&

&

?

# #

# #

# #

NIC.

93

œ#Jœ œ jœ .œ œ œ œ

some - thing so re-mark - a-ble a -

œ# jœ œ jœ .œ œ œ œ.˙# œ

‰ œœ ‰ œ

œ ‰ œœ

.œ Œ ‰ .œ

.œ .œ Œ jœbout me That

.œ jœ ‰ ‰ ‰œ

œœ..œœ Jœœ ‰ ‰ ‰

œ‰

œ œ ‰ œ œ .œ.˙ Œ ‰

œ# Jœœ

Jœ œ jœmen would stare at me as

‰œ#

œœ# ‰œ

œœ ‰œ œœ‰

œ‰

œ‰

œ

.œ .œ .œ

&

&

?

# #

# #

# #

NIC.

96

œ jœ# jœ œ Œ ‰much as ev - er!

‰œ œœ## ‰

œ œjœ#

>œ‰

œ‰

œ..œœ

.œjœ ‰ ‰

‰ œ œ‰ ‰ .œ

Œ ‰ Œ ‰ œ œ œFor a -jœ#

>œ .œ jœ ‰ ‰..œœ

Jœœn ‰ ‰

‰ œ œŒ ‰ jœ ‰ ‰.œ

œ jœ œjœ .œ œ œ œ#

las, I am that mis - er - a-ble

œœ

jœœ

œœ J

œœ

œœ

Jœœ..œœ

.œ

œ œ œ œ ‰..

œœ#

nF

&

&

?

# #

# #

# #

NIC.

99

œ jœ Œ jœ œ Jœ

Beau - ty Whose lot it

œœ J

œœ ‰ œ œ ‰ œ œ.œ ‰ œœ ‰ œœ

‰ œ œ#Jœ ‰ ‰ .œ .œ

œ jœ œjœ

œnJœ

is the with - er hearts and

Œ ‰ œ Jœœœn

Jœœ

‰ œ œ ‰ œ œ ‰ œ œ.œ .œ .œ

.œ Jœ ‰ jœ œ jœhomes; Who in the

‰œ

‰œ

‰ œ‰ œ œ ‰ œ œ ‰ œœ

jœœœ jœ

œœ#jœ

œœ


Eyes and No Eyes

&

&

?

# #

# #

# #

NIC.

102

œ jœ œjœ œ

jœcourse of her un - hap - py

.˙ .˙..œœ .œ

..˙˙ .˙ ..œœ .œf

œ jœ œ ‰ .œdu - ty Brings

..œœ .œ..œœ .œ

..œœ#.œ#

..œœ.œ ..œœ

.œ ..œœ#.œ#

.œ Jœ ‰ jœ œ œ œgrief and mis - er - y

Jœœœœ

œœœ œœœ Jœœœ ‰ ‰ Œ ‰

Jœœœ

œœ œœ Jœœ ‰ ‰ Œ ‰

Z

&

&

?

# #

# #

# #

NIC.

105

.œ .œ# œjœ

wher - e’er she

jœœœ œœœjœœœ## œœœ

.œœœ œœn œœ

.˙.˙

.œ.œ

.˙ Œ ‰roams!

jœJœœ œ œ œ œ œ œ

œœœ œ

œ

jœœ

œ œ œ œ œŒ ‰

∑

œœ

jœœ

œœ J

œœ

œœ

Jœœ..œœ

.œ

œ œ œ œ ‰..

œœ#

n

(Exit NICOLETTE.)

&

&

?

# #

# #

# #

NIC.

108

∑

œœ

Jœœ œ œ œ œ jœ.œ

.œ œ œ œ#

‰ œ œ# ‰ œ œ œ jœ#œ ‰ Œ ‰ ‰ œ

∑

œ jœ œ œ œ œ jœ..œœ .œ ..œœ

œœ œ œ œ œ œ œ œ œ

∑

œ œ œ œ jœ œ jœ.œ ..œœ ..œœ

.˙ .˙ .œ .œ

&

&

?

# #

# #

# #

NIC.

111

∑

Œ ‰ œ jœ œ jœŒ ‰ ..œœ ..œœ

.˙ .˙ .œ .œ

dim.

∑

Œ ‰ ...œœœ ...œœœ

.˙ .˙ .œ .œ

∑

....˙˙

....œœœœ

.œ..˙

∑

...œœœ Œ ‰ Œ ‰

..œœŒ ‰ Œ ‰

π


Eyes and No Eyes

25

Eyes and No Eyes

CLO. Poor dear old lady — it’s very melancholy! So Pierrot and Arlequin have been amusingthemselves by playing on the poor old thing’s weakness, have they? I’m afraid they’re a pair ofterrible rakes. Well, a reformed rake is a useful implement of husbandry after all!

(Enter ARLEQUIN and PIERROT suddenly, their arms about each other’s necks. They strike anattitude.)

Oh, here you are, you two!

ARL. Yes, here we are, we two.

PIER. Oh yes, here we are.

ARL. What are you spinning?

CLO. Why, my wedding linen, of course.

PIER. Her wedding linen.

ARL. Oh rapture!

(They skip simultaneously and strike another attitude.)

CLO. Yes, I believe one of you is going to marry me.

PIER. Yes, only one.

CLO. And the other is going to marry Columbine.

ARL. Yes — only the other.

CLO. By the bye, which other?

ARL. True. Pierrot, which other?

PIER. I don’t care, I love ’em both.

ARL. So do I, madly.

PIER. After all, what does it matter? Our love is a grand love, a majestic love, a heroic love, apyramidical love. We two love you two pyramidically. A love like ours cannot condescend todetails. Let us leave the details to be settled by sordid lawyers.

CLO. Well, as long as you don’t quarrel about us—

ARL. Quarrel? We never quarrel. We are twins.

PIER. Are we?

ARL. Certainly. Did I never mention it? Oh yes — I came into the world with you.


5

10

15

20

25

V

&

?

bbbbb

bbbbb

bbbbb

86

86

86

‰

œ. œ.

‰F

Moderato grazioso∑

œ œ ‰ œ œ ‰

..œœ ..œœ.˙

Œ ‰ ‰ œ œOf our

jœ œ jœU

œœ œœ.œ Jœ

Œ jœ JœœU œ œ

ARLEQUIN

p

œ œ œ œ œ œpar - ents each child is the

œœ Jœœ œœ œœ œœ

œjœ œ œ œ

.˙

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

4

Œ ‰ ‰ œ œYet you

∑

.œ Jœ ‰ ‰son,

œœjœœœ

jœœœ œœ œœœ Jœœ J

œœ

œ œ œœ

CLOCHETTE

œ œ œ œ œ œhad the same fa - ther and

∑

∑


œjœ œ œ œ

.˙

Jœ œ Œ ‰moth-er.

Œ ‰ Œ jœIn

∑

œ œjœœœ œœœ j

œœœ Jœœ œœ

œ œ ‰œ

PIERROT

∑

œ œ œJœ ‰ œ œ

num - ber we’re two— I am

∑

œ œ œœ ..œœ œJœ

œ Jœœ ..œœ

26

Eyes and No Eyes

No. 3. Trio: “Of our parents each child is the son”Clochette, Pierrot, and Arlequin

PIER. Did you? Sociable creature. (Shaking his hand.) How good of you. But, are you sure?

ARL. Quite. (Beckoning to him mysteriously.) I was there — you were not.

PIER. That settles it — if you were there you must know.

CLO. Why, bless me!

BOTH. What?

CLO. If you are both twins, that accounts for your being brothers!

ARL. Yes, we are rather remarkable people. We are called “The Coincidental Infants.”

30

35

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

P.

A.

8

.œ jœ ‰ ‰one,

Œ ‰ Œ jœAnd

œœœ

jœœœ œœœ jœ>Jœœ œœ

œœ

ARLEQUIN

∑

œ œ œ œ œ œI, if you please am the

œ œ œ œ œ œœ Jœ œ Jœ

.˙œ Jœ œ Jœ

Œ ‰ Œ jœOur

jœ œ Œ ‰oth-er.

œ œjœœ œœ ‰œ J

œœ œœ ‰

œ œœ

œ œ œ œ œ œlives did to - geth - er be -

∑

‰ œ ‰œ

‰ œ œ ‰ œ œ

.˙ .œn .œ

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

12

Œ ‰ Œ jœnA

.œn Œ ‰gin,

∑

‰ œn ‰ œ‰ œ œn ‰ œbœ

.˙ .œ .œ

CLOCHETTE

œ œ œ œ œ œfact they’ve no rea - son to

∑

∑

‰œ

‰œ

‰ œ œ ‰ œn œ

.œ .œ.œ .œ

Jœ œ Œ ‰smoth-er,

∑

Œ ‰ Œ JœMore -

‰œ œ jœ

‰ œb œ œ œ Jœ

.œ œ jœ

.˙n

ARLEQUIN

∑

∑

œ œ œ œ œ œo - ver, each one is a

jœ‰ ‰ ..œœJœ ‰ ‰

jœ ‰ ‰ .œnJœ

‰ ‰ .œ

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

P.

A.

16

Œ ‰ .œnAnd

œ ‰ Œ ‰twin.

..œœ ..œœn

œ œ œ œn œ œ.˙

PIERROT

œœ œ œ œ œ

each of the twins is a

∑

jœœ‰ ‰ jœœn ‰ ‰

jœ ‰ ‰jœ

œ‰ ‰Jœ ‰ ‰ ‰ ‰

poco rall.

colla voce

jœ œ Œ ‰broth-er.

∑

jœœ‰ J

œœJœœb ‰ J

œœ

Œjœ jœ ‰ jœ

Jœœ Jœ œ

∑

∑..œœb ..œœn

.œ .œbœ œ œ œ œ œ

27No. 3. Trio: “Of our parents each child is the son”

Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

20

Œ ‰ Œ jœOh,

Œ ‰ Œ jœOh,

Œ ‰ Œ jœOh,

œœ œœ ‰ œœ œœ jœ

œn œ ‰ œ œ

Jœœ

œ Jœ œ

.œ œ œ .œ œ œpray to their his - to-ry,

.œ œ œ .œ œ œpray to our his - to-ry,

.œ œ œ.œ œ œ

pray to our his - to-ry,

jœœœ ‰ ‰jœœœ ‰ ‰

.

.œœ

œœ

œœ

.

.œœ

œœ

œœ

leggiero

a tempo

a tempo

a tempo

a tempo

.œ Jœ ‰ Jœ∫hark! Their

.œb Jœ ‰ Jœhark! Our

.œ Jœ ‰ Jœhark! Our

œ œ œ œ œn œ Jœ œ œ œ∫ œb

...œœœnbJœœœ

‰ ‰

œ œ œ œ œ œsto - ry is sing-u - lar



œœ ‰

œœ œ

œ ‰œœ


&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

24

œ œ ‰ Œ jœve-ry, And



œœœœœœ ‰ Œ

jœJœ

œœ œœ


.œ œ œn .œ œ œjust - i - fies well the re -

.œn œ œ .œ œ œ

just - i - fies well the re -

.œ œœ .œ œ œ

just - i - fies well the re -

.œ .œ œn œ

.œ œ œn .œ œ œ


.œ .œœ œ

œ ‰ .œmark, Oh,

œb ‰ .œ

mark, Oh,

œn ‰ .œmark, Oh,

œ œ œ œ œ œ œ œ œ œJœ ‰ ‰ Jœ ‰ ‰

Jœœn

b‰ ‰ J

œœ ‰ ‰

œ œ ‰ Jœ œ œ ‰ Jœder-ry! oh, der-ry! down

œ œ ‰ Jœœ œ ‰ Jœ

der-ry! oh, der-ry! down

œ œ ‰ jœ œ œ ‰ jœder-ry! oh, der-ry! down

.œ .œnœ .œ œ œ .œ œ

œ .œ œ œ .œ œŒ ‰ .œ

28 No. 3. Trio: “Of our parents each child is the son”

Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

28

œ .œ ‰ Œ ‰der-ry!

œ .œ ‰ Œ jœder-ry! Oh,


œn .œ‰ Œ ‰œ .œ ‰ Œ ‰

œ .œ ‰œJœ

.œ œ œ

Œ ‰ Œ jœOh,


∑

Œ ‰ Œ jœ

.œ .œ

.œ œ œ .œ œ œpray to their his - to- ry,

.œ Jœ ‰ Jœnhark! Our

Œ ‰ Œ jœOh,

.œ œ œ .œ.œ œ Jœn

.œ œ jœ

.œ jœ ‰ Jœhark! Their

œ œ œ .œ œ œbsto - ry is sing - u - lar

.œ œ œ .œ œ œpray to our his - to - ry,

.œ œjœ.œ œ

Jœb

.œ œ œ .œ

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

32

œ œ œ .œn œ œsto-ry is sing-u-lar

Jœ œ .œ œ œve-ry, sing-u-lar

.œ .œbhark! Our

.œ œnjœ

.œ .œ

.œ œ œ .œb œ œ.˙

Jœ œ .œve - ry,

Jœ œ .œve - ry,

œ œ œ .œ œ œsto-ry is sing - u-lar

jœ œjœ œ

Jœ œ.œ

œ œ œ .œ œ œ.œ Œ ‰

jœ ‰ ‰ Œ jœAnd

Jœ ‰ ‰ Œ jœAnd

œ œ ‰ Œ jœver-y, And

œœ

œœ

‰œœ

œœ ‰

œ œ ‰ œœ

œœ ‰

f F

.œ œ œ .œn œ œjust - i-fies well the re -

.œ œ œ .œ œ œjust - i-fies well the re -


œœ ‰ œœ œœn ‰ œœ

.œŸ .œŸ

œ ‰ .œ

mark, Oh,

œn ‰.œ

mark, Oh,

œ ‰ .œnmark, Oh,

.

.œœn..œœ

.œ œ œ ..

œœn

n œœ

œœ


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

37 œ œ ‰ Jœ œ œ ‰ jœder-ry! oh, der-ry! down

œ œ ‰ Jœ œ œ ‰ Jœ



œœ œœœ ‰ jœœœ œœœœœœ ‰ jœœœ

œœ

œœ ‰

jœœ J

œœ ‰ jœ

œ

œ .œ ‰ Œ jœder-ry! And


œ.œ ‰ Œ jœ

der-ry! And

œœ ..œœ ‰ œœ ..œœ ‰

.

.œœ

œœ ..œœ‰


.œ œ œ .œ œ œ

just - i-fies well the re -


..

.œœœ

œœœœœœ

...œœœn

n œœœœœœ

.œŸ .œŸ

œ ‰ .œ

mark, Oh,

œn ‰.œ

mark, Oh,


œœœn ‰...

œœœbb >

.œ œ œ ..

œœn

n œœ

œœ

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

41 œ œ ‰ Jœ œ œ ‰ Jœder-ry! oh, der-ry! down




œœœœœœ ‰ J

œœ œœ œœœn ‰Jœœœb

œœ

œœ ‰

jœœ

œœ

œœ ‰ jœ

œ

œ.œ ‰ Œ ‰

der-ry!


œ.œ ‰ Œ ‰

der-ry!

œœœ .œ Jœœœ J

œœœ ‰ œ. œ.

œœ

.œ Jœœœ

Jœœœœ ‰ ‰

p

∑

∑

∑

œ œ ‰ œ œ ‰

..œœ ..œœ.˙

Œ ‰ ‰ œ œThey were

∑

∑

jœ œ jœU

œœ œœ.œ Jœ

Œ jœ JœœU œ œ


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

45

.œ œ œ œ œ œborn the same mo - ment ex -

∑

∑


œjœ œ œ œ

.˙

.œ Jœ ‰ ‰act,

∑

Œ ‰ ‰ œ œWhich at

œœjœœœ

jœœœ œœ œœœ Jœœ J

œœ

œ œ œœ

∑

∑

œ œ œ œ œ œtimes sets us won- der - ing


œjœ œ œ œ

.˙

∑

Œ ‰ Œ jœThat

Jœ œ Œ ‰whe-ther

œ œjœœœ œœœ j

œœœ Jœœ œœ

œ œ ‰œ

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

P.

A.

49œ œ œ œ œ œ

may not ac-count for the

∑

œ œ œœ ..œœœJœ

œ Jœœ ..œœ

.œ jœ ‰ ‰fact

Œ ‰ Œ œ œThat our

œœœ

jœœœ œœœ jœJœœ œœ ‰

œœ

∑

œ œ œ œ œ œbirth-days come al - ways to -

œ œ œ œ œ œœ Jœ œ Jœ

.˙œ Jœ œ Jœ

Œ ‰ Œ œ œWe could

jœ œ Œ ‰geth-er.

œ œjœœ œœ ‰œ J

œœ œœ ‰

œ œœ

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

P.

A.

53

œ œ œ .œ œ œwalk when we grew to be

∑

‰ œ ‰œ

‰ œ œ ‰ œ œ

.˙ .œn .œ

.œn Œ ‰men,

Œ ‰ Œ jœnBut

‰ œn ‰ œ‰ œ œn ‰ œbœ

.˙ .œ .œ

∑

œ œ œ .œ œ œwhen we were born we were

‰œ

‰œ

‰ œ œ ‰ œn œ

.œ .œ.œ .œ


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

56

Œ ‰ Œ JœAnd

∑

Jœ œ Œ ‰car-ried,

‰œ œ jœ

‰ œb œ œ œ Jœ

.œ œ jœ

.˙n

œ œ œ .œ œ œeach was a bach-e-lor

∑

∑

jœ‰ ‰ ..œœJœ ‰ ‰

jœ ‰ ‰ .œnJœ

‰ ‰ .œ

œ ‰ .œnthen, For

∑

∑

..œœ ..œœn

œ œ œ œn œ œ.˙

œœ œ œ œ œ

nei-ther had ev-er been

∑

∑

jœœ‰ ‰ jœœn ‰ ‰

jœ ‰ ‰jœ

œ‰ ‰Jœ ‰ ‰ ‰ ‰

poco rall.

colla voce

jœ œ Œ ‰mar-ried.

∑

∑

jœœ‰ J

œœJœœb ‰ J

œœ

Œjœ jœ ‰ jœ

Jœœ Jœ œ

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

61

∑

∑

∑

..œœb ..œœn

.œ .œbœ œ œ œ œ œ

Œ ‰ Œ jœOh,

Œ ‰ Œ jœOh,

Œ ‰ Œ jœOh,

œœ œœ ‰ œœ œœ jœ

œn œ ‰ œ œ

Jœœ

œ Jœ œ

.œ œ œ .œ œ œpray to their his - to - ry,

.œ œ œ .œ œ œ

pray to our his - to - ry,

.œ œ œ.œ œ œ

pray to our his - to - ry,


.

.œœ

œœ

œœ

.

.œœ

œœ

œœ

leggiero

a tempo

a tempo

a tempo

a tempo

.œ Jœ ‰ Jœ∫hark! Their

.œb Jœ ‰ Jœ

hark! Our

.œ Jœ ‰ Jœhark! Our


...œœœnbJœœœ

‰ ‰


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

65


œ œ œ œ œ œ

sto - ry is sing-u - lar


œœ ‰

œœ œ

œ ‰œœ


œ œ ‰ Œ jœve - ry, And



œœœœœœ ‰ Œ

jœJœ

œœ œœ


.œ œ œn .œ œ œjust - i-fies well the re -



.œ œœ .œ œ œ


.œ .œ œn œ



.œ .œœ œ

œ ‰ .œmark, Oh,

œb ‰ .œ

mark, Oh,

œn ‰ .œmark, Oh,


Jœœn

b‰ ‰ J

œœ ‰ ‰

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

69

œ œ ≈ Jœ œ œ ≈ Jœder-ry! oh, der-ry! down

œ œ ≈ Jœœ œ ≈ Jœ


œ œ ≈ jœ œ œ ≈ jœder-ry! oh, der-ry! down




œ .œ ‰ Œ jœder-ry! Oh,


œn .œ‰ Œ ‰œ .œ ‰ Œ ‰

œ .œ ‰œJœ

.œ œ œ

Œ ‰ Œ jœOh,


∑

Œ ‰ Œ jœ

.œ .œ

.œ œ œ .œ œ œpray to their his - to-ry,

.œ Jœ ‰ Jœnhark! Our

Œ ‰ Œ jœOh,


.œ œ jœ


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

73

.œ jœ ‰ Jœhark! Their

œ œ œ .œ œ œbsto - ry is sing - u - lar

.œ œ œ .œ œ œpray to our his - to - ry,

.œ œjœ.œ œ

Jœb

.œ œ œ .œ

œ œ œ .œn œ œsto - ry is sing - u-lar

Jœ œ .œ œ œve - ry, sing - u-lar

.œ .œbhark! Our

.œ œnjœ

.œ .œ


Jœ œ .œve - ry,

Jœ œ .œve - ry,

œ œ œ .œ œ œsto - ry is sing - u-lar

jœ œjœ œ

Jœ œ.œ




œ œ ‰ Œ jœver -y, And

œœ

œœ

‰œœ

œœ ‰

œ œ ‰ œœ

œœ ‰

f F

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

77


.œ œ œ .œ œ œ




.œŸ .œŸ

œ ‰ .œ

mark, Oh,

œn ‰.œ

mark, Oh,


.

.œœn..œœ

.œ œ œ ..

œœn

n œœ

œœ

œ œ ‰ Jœ œ œ ‰ jœder-ry! oh, der-ry! down





œœ

œœ ‰

jœœ J

œœ ‰ jœ

œ



œ.œ ‰ Œ jœ

der-ry! And


.

.œœ

œœ ..œœ‰


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

81


.œ œ œ .œ œ œ



..

.œœœ

œœœœœœ

...œœœn

n œœœœœœ

.œŸ .œŸ

œ ‰ .œ

mark, Oh,

œn ‰.œ

mark, Oh,


œœœn ‰...

œœœbb >

.œ œ œ ..

œœn

n œœ

œœ

œ œ ‰ Jœ œ œ ‰ Jœder-ry! oh, der-ry! down




œœœœœœ ‰ J


œœ

œœ ‰

jœœ

œœ

œœ ‰ jœ

œ

œ.œ ‰ Œ ‰

der-ry!


œ.œ ‰ Œ jœ

der-ry! A -

œœœ .œ Jœœœ J

œœœ ‰ jœœœ

œœ

.œ Jœœœ

Jœœœœ ‰ jœ

œ

&

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

A.

85

∑

œ œ œ œ œ œston - ish - ing ques-tions oc -

..œœ ..œœ.œ œ Jœ

œœ

‰ œœ

œœ

‰ œœ

poco accel.

Œ ‰ Œ œ œA so -

.œ jœ ‰ ‰cur—

œœœ ‰ œœœ œœœ ‰ œœœ

œœ

‰ œœ

œœ

‰ œœ

œ œ œ œ œ œ

lu - tion, per-haps, I may

∑

...œœœ...œœœ

œœ

‰ œœ

œœ

‰ œœ

jœ œ Œ ‰ren-der?

Œ ‰ Œ JœIf

œœœ ‰ œœœœœœ ‰ œœœ

œœ

‰ œœ

œœ

‰ œœ

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

P.

A.

89

∑

œ œ œ œ œ œI had been changed to a

...œœœn...œœœ

œœ

‰œ œ

œ‰ œ

Œ ‰ Œ JœAnd

.œ jœ ‰ ‰her,

œœœ ‰ œœœn œœœ ‰ œœœn

œœn

n ‰ œœ#

# œœ

‰ œ

œ œ œ œ œ œI had been fe - male in

∑


œœ

‰ œ œœ

‰ œ

.œ jœ ‰ ‰gen - der;

Œ ‰ Œ jœAnd

...œœœnjœœ

‰ jœ

œœ

œœ

œœ

jœ ‰ ‰


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

93

∑

∑

œA œ œ œ œ œboth had been twins from our

...œœœb ...œœœnn

œœ

‰ œœ

œœ

‰ œœ

Œ ‰ Œ JœBut

∑

.œb jœ ‰ ‰birth,

...œœœbbb ...œœœn

œœ

‰ œœ

œœ

‰ œœ

œ œ œ œ œ œborn of two dif - fer - ent

∑

∑

...œœœb ...œœœn

œœ

‰ œœ

œœ

‰ œœ

Jœ∫ œ Œ ‰moth-ers,

∑

Œ ‰ Œ jœWhat -

...œœœ∫b ...œœœ

œœ

‰ œœ

œœ

‰ œœ

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

97

∑

∑

œ œ œ œn œ œev - er re - la - tion on

..œœ ..œœn

.œ .œbœ Jœ œ Jœ

∑

Œ ‰ Œ jœWould

œ ‰ Œ ‰earth

..œœ..œœ

.œ .œbœ Jœ œ Jœ

∑

œ œ œ œn œœb

each of us be to the

∑

..œœ..œœb

.œb .œnœ Jœ œ Jœ

Œ ‰ Œ œ œOn that

Jœ œ Œ œ œoth - er? On that


œœ ‰œœ œ

œ jœ

œ ‰œ œ

Jœœœ

ƒ


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

101 .œ œ œ .œ œ œpoint they are still in the

.œ œ œ .œ œ œ

point we are still in the

.œ œ œ.œ œ œ

point we are still in the


.

.œœ

œœ

œœ

.

.œœ

œœ

œœ

leggiero

.œ Jœ ‰ Jœ∫dark, The

.œb Jœ ‰ Jœ

dark, The

.œ Jœ ‰ Jœdark, The


...œœœnbJœœœ

‰ ‰

œ œ œ œ œ œque-ry is sing-u-lar,

œ œ œ œ œ œ

que-ry is sing-u-lar,

œ œ œ œ œ œque-ry is sing-u-lar,

œœ ‰

œœ œ

œ ‰œœ





œœœœœœ ‰ Œ

jœJœ

œœ œœ


&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

105

.œ œ œn .œ œ œjust - i - fies quite the re -


just - i - fies quite the re -

.œ œœ .œ œ œ


.œ .œ œn œ



.œ .œœ œ

œ ‰ .œmark, Oh

œb ‰ .œ

mark, Oh

œn ‰ .œmark, Oh


Jœœn

b‰ ‰ J

œœ ‰ ‰

œ œ ‰ Jœ œ œ ‰ Jœder-ry! oh der-ry! down

œ œ ‰ Jœœ œ ‰ Jœ

der-ry! oh der-ry! down

œ œ ‰ jœ œ œ ‰ jœder-ry! oh der-ry! down




œ .œ ‰ Œ œ œder-ry! On that


œn .œ‰ Œ ‰œ .œ ‰ Œ ‰

œ .œ ‰œJœ

.œ œ œ


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

109


.œ œ œ .œ œ œpoint we are still in the

∑

Œ ‰ Œ jœ

.œ .œ

.œ œ œ œ œ œpoint they are still in the

.œ Jœ ‰ Jœndark, The

Œ ‰ Œœ œ

On that


.œ œ jœ

.œ jœ ‰ Jœdark, The

œ œ œ .œ œ œbque - ry is sing - u - lar,

.œ œ œ .œ œ œpoint we are still in the

.œ œjœ.œ œ

Jœb

.œ œ œ .œ

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

112

œ œ œ .œn œ œque-ry is sing-u-lar,

Jœ œ .œ œ œve - ry, sing-u-lar,

œ ‰ .œbdark, The

.œ œnjœ

.œ .œ


Jœ œ .œve - ry,

Jœ œ .œve - ry,

œ œ œ .œ œ œque-ry is sing-u-lar,

jœ œjœ œ

Jœ œ.œ





œœ

œœ

‰œœ

œœ ‰

œ œ ‰ œœ

œœ ‰

f F

.œ œ œ .œn œ œjust - i-fies quite the re -

.œ œ œ .œ œ œ

just - i-fies quite the re -

.œ œ œ .œ œ œjust - i-fies quite the re -


.œŸ .œŸ

œ ‰ .œ

mark, Oh

œn ‰.œ

mark, Oh

œ ‰ .œnmark, Oh

.

.œœn..œœ

.œ œ œ ..

œœn

n œœ

œœ


Eyes and No Eyes

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

117 œ œ ‰ Jœ œ œ ‰ jœder-ry! oh der-ry! down


der-ry! oh der-ry! down

œ œ ‰ jœ œ œ ‰ jœder-ry! oh der-ry! down


œœ

œœ ‰

jœœ J

œœ ‰ jœ

œ



œ.œ ‰ Œ jœ

der-ry! And


.

.œœ

œœ ..œœ‰

.œ œ œ .œn œ œjust - i - fies quite the re -

.œ œ œ .œ œ œ


.œ œ œ .œ œ œjust - i - fies quite the re -

..

.œœœ

œœœœœœ

...œœœn

n œœœœœœ

.œŸ .œŸ

&

V

V

&

?

bbbbb

bbbbb

bbbbb

bbbbb

bbbbb

CLO.

P.

A.

120

œ ‰ .œ

mark, Oh

œn ‰.œ

mark, Oh

œ ‰ .œnmark, Oh

œœœn ‰...

œœœbb >

.œ œ œ ..

œœn

n œœ

œœ

œ œ ‰ Jœ œ œ ‰ Jœder - ry! oh der - ry! down


der - ry! oh der - ry! down

œ œ ‰ jœ œ œ ‰ jœder - ry! oh der - ry! down

œœœœœœ ‰ J


œœ

œœ ‰

jœœ

œœ

œœ ‰ jœ

œ

œ.œ ‰ Œ

der-ry!

œ .œ ‰ Œder-ry!

œ.œ ‰ Œ

der-ry!

œœœ .œ ‰œœœ

U

œœ

.œ ‰œœœ

Uƒ


Eyes and No Eyes

40

Eyes and No Eyes


CLO. (crying). Ah, there are no coincidences in my family. My brother’s a sister, and she’s ever somuch older than I am, and besides that, she was born first and at a different date too, and neitherof us is a twin, and we are both girls.

ARL. This is bad news, Pierrot.

PIER. Very. I’d no idea they were both girls.

CLO. If that’s an objection you’d better trot off to Nicolette. She is not a girl, and I know you’vebeen flirting with her.

ARL. (carelessly). Oh yes, we’ve flirted with her. Lardy-da, Lardy-da — Nothing more, ’sure you!

PIER. We flirt with all women. We love ’em all, on principle.

CLO. On principle? On want of principle you mean. You know you don’t want to marry her.

PIER. Oh dear no! She’s too old — and stout, and her complexion isn’t what it was.

CLO. What, has she changed her perfumer, then?

ARL. Oh come, that’s very good — oh dear me, that’s very subtle!

CLO. But perhaps you’re not aware that Uncle Cassandre is going to marry Nicolette — and thenshe’ll be my aunt.

PIER. Why, then, if I’d married her I should have been your uncle. No, I’m wrong. But are yousure he’s going to marry her?

CLO. Yes, he’s to be formally betrothed to her this afternoon, and what’s more he’s sentColumbine to town to buy him a magnificent mantle to do it in.

ARL. A magnificent mantle?

CLO. Yes, cotton velvet trimmed with rabbit-skin, and I expect her home with it every minute.

PIER. You expect Columbine home? Beloved Columbine!

ARL. How we adore that girl.

PIER. We will wait for her.

(They sit simultaneously.)

CLO. Well, you won’t have to wait long, for here she is!

Enter COLUMBINE.

5

10

15

20

25

&

&

?

bbbb

bbbb

bbbb

42

42

42

∑

≈ œ œ œ œ

˙ ˙f

Poco agitato∑

œ œ œ œ œ

˙ ˙

∑

œ œœ œ œ

œ œ œœ œ œ

œ

œœn

n œœ

œœ

œœ

Œ ‰ JœWell,

Rœ≈ R

œœœ ≈ ‰jœœn

rœ ≈Rœœn

n≈

R

œœœ ≈ ‰ ‰

Z F

COLUMBINE (agitated) .œ œ œ œ œ œ

here’s a ve - ry pret-ty

œœ ≈ ≈ œœœœ œœ œœ œœ

≈œ

œ ≈ ≈ œ. œ. œ.

&

&

?

bbbb

bbbb

bbbb

COL.

6 œn œn œ Rœ ≈ ≈ rœstate of things, Up -

œœœn ≈ œœn ≈ Jœœ œ œ

≈œ. œ. œ. Jœ ‰

.œ œ .œ œon my word I

œœœnn ≈ ≈ œœœ œœœ ≈ ≈ œœœ

≈ œœ ≈ ≈ œ

œ ≈

œ œ œn œn œœ

don’t know what to do; Each

jœn œn œn jœ ‰Jœ J

œœn Jœn ‰

Jœœ J

œœ Jœœ ‰

&

&

?

bbbb

bbbb

bbbb

nnnb

nnnb

nnnb

83

83

83

COL.

9 .œ œ œ œ œ œday some fresh per-plex-ing

œœjœœ ‰œb œ

Jœn ‰

œb œ œ œ œn œ œ œ

œ .œJœ ≈ Rœ

wor-ry brings, Such

œœjœœ ‰œ œb

Jœ‰

œ œ œn œ œ œ œ œ

œ œ œ œ œ œter-ri-bly bad luck I

œn œ œ‰ œ œn œ

‰ œœ

jœœn

n

œn œ œ ‰nev-er knew!

jœn ‰ œœn œœ œœ

Jœ‰ œœ œœ œœ

œœ u

U

U

f

V

V

&

?

b

b

b

b

83

83

83

83

P.

A.

13

œ JœOh, we

œjœ

Oh, we

‰ œœœœœœ

.œ>

Jœ ‰ ‰

PIERROT

ARLEQUIN

Tempo di Valse

p

œ Jœlove you

œ jœlove you

‰ œœœœœœ

.œJœ

‰Jœ

œ Jœ

fond - ly—

œjœ

fond - ly—

‰ œœœœœœ

.œJœ ‰ ‰

œJœ

mad - ly,

œ œ œmad - ly,

‰ œœœ œœœ

.œJœ

‰ ‰

œ jœWe would

œ JœWe would

‰ œœœ œœœ

.œJœ ‰ ‰

jœœ

mar-ry

jœœ

mar-ry

‰ œœ œœœ

.œJœ

‰ ‰

œJœ

you most

œ jœyou most

‰ œœœ œœœ.œ

Jœ ‰ ‰

œ jœglad - ly;

œjœ

glad - ly;

‰œ

‰œ œ

œ jœœ Jœ

41

Eyes and No Eyes

No. 4. Quartette: “Well, here’s a very pretty state of things”Clochette, Columbine, Pierrot, and Arlequin

&

V

V

&

?

b

b

b

b

b

bbbb

bbbb

bbbb

bbbb

bbbb

COL.

P.

A.

21

∑

œ Jœ

I a -

.œI

jœœœœ

œœœœœœ

Jœjœœœ œœ œœ

Jœ

CLOCHETTE

∑

œJœ

dore you,

jœ ‰ jœ#a -

‰ œ œ‰ œ

‰ œ œ#.œn

∑

œJœ

so does

œ Jœ

dore

œ jœJœ ‰ ‰

jœ Jœœœ ‰

Jœ

∑

œ ‰he—

œ œ œyou,

.œœœ œœ œœ

œ œ œ

COLUMBINE

œ œ œ œGo a-way and

Jœn ‰ ‰so

jœ ‰ ‰so

jœn ‰ ‰Jœœ ‰ ‰

œ œ œ œ

(irritably) œ Jœlet me

Jœ ‰ ‰does

jœ ‰ ‰does

jœœœn ‰ ‰

œœ

œœ

œœ

œœ

.œbe!

.œ

he!

.œhe!

jœœ œ œ œ œn

jœœ

œ œ œ œn

Jœ ‰ ‰

Jœ ‰ ‰

jœ‰ ‰

Jœ œ œb œ œn

Jœ ‰ ‰

&

&

&

?

bbbb

bbbb

bbbb

bbbb

CLO.

COL.

29

‰ œ œWhy, what’s

∑

œ ‰œœ

œnœœœ ‰

p

œ œ œhap - pened?

∑

œœ ‰ œœn

œœœ

‰

‰ œ œcome, come,

∑

œœJœœ

œ œJœ

œ

œJœ

dry your

∑

œœJœœ

œn œJœ œ& ?

COLUMBINE

jœ ‰ ‰eye!

‰ ≈ œ œ œThe cloak that

œ ‰ œœ

œœœœ ‰

&

&

&

?

bbbb

bbbb

bbbb

bbbb

CLO.

COL.

34

∑

œn œ œ œ œ œun - cle or-dered me to

œœn ‰ œœ

œœœ ‰

∑

œ œ ≈ ‰buy—

Jœœn œœ

œn œ œ.œ

∑

∑

œ œ œ.œ

œ jœ.œ

(sobbing)

Œ JœYes,

∑

œ ‰ œ

Jœœœ

Jœ ≈ œb œ œyes— I’m al-most

∑

œ œ œb œ œ

jœnœœœ

œ œ ≈ œ œdy-ing to be -

∑

œ œ œ

jœœœœ

42 No. 4. Quartette: “Well, here’s a very pretty state of things”

Eyes and No Eyes

&

&

&

?

bbbb

bbbb

bbbb

bbbb

CLO.

COL.

40

Jœ œhold it—

∑

jœ œ‰ œ œb

‰ œ.œ

∑

‰ ≈ œ œ œA doz-en

œ œ œ.œ

œjœ

.œ

COLUMBINE (sobbing)

∑

Jœ ≈ œ œ œcrowns I paid to

.œœ œb œ

œ œ œ.œ

∑

œ ‰ œhim who

œ œ œœ Jœn

œb jœn.œ

∑

œ œ ‰sold it.

œ jœœœ œœb œœ

.œœ Jœ

CLOCHETTE‰ ≈ œ œ œIt must be

∑

œ œ œœ Jœ

.œ

.œ

œ œ œ ≈ Rœbeau-ti-ful in -

∑

.œœ œ œ

œ œb œ.œb

&

&

&

?

bbbb

bbbb

bbbb

bbbb

CLO.

COL.

47

œ Jœ

deed to

∑

œ œn œb.œ

.œ .œ

œb œ œcost it! Come,

∑

œb œjœœ

>

œ œ Jœœ>

œ œœ

œ œ œ ‰show it me—

Œ JœI

œœ œœ œœjœœœ

>œœn œœ œœ J

œœb>

Œ jœWhy

œ ‰can’t.

œœ œœ œœ jœœ>

œœn œœ œœ

Jœœb >

œ ‰not?

∑

œœ œœ œœjœœœn

>

œœnn œœ œœ Jœœb >

∑

Œ jœI’ve

œœ œœ œœjœ

œœnn œœ œœ jœœ

f

&

&

&

?

bbbb

bbbb

bbbb

bbbb

CLO.

COL.

53

∑

Jœ œlost it!

œœ œ œ œ

œœ

‰œ

œ œ ‰Lost it—

.œ

..œœ‰ œ œ œ

œœ

‰ œ

œ œ ‰lost it—

jœ ‰ ‰

..œœ‰ œ œ œ

œœ

‰ œ

œb Jœlost the

œjœ

lost the

œœbjœœ

‰ œ

œœn

n œ œœ

œ œ œ

cloak— ’Tis a

œ œ œcloak— ’Tis a

œœ œœ œœ

‰ œ œ œ

Jœœ

‰ ‰

œ œ œn œ

ve - ry se - rious

œ œ œ œve - ry se - rious

œœ œœ œœn œœ

œ œ œ œ

43No. 4. Quartette: “Well, here’s a very pretty state of things”

Eyes and No Eyes

&

&

&

?

bbbb

bbbb

bbbb

bbbb

CLO.

COL.

59 œ ‰joke—

œ ‰joke—

Jœœ ‰ ‰

‰ œ œ œ.œ

œb œ œ œThink of Un - cle’s

∑

‰ œ œ œb.œb

..œœ

œ œ œaw-ful rage.

∑

œn ‰œ œ œ

‰

jœœ

œ œ œ

∑

œb œ œ œHow he’ll blus - ter,

‰ œ œ œbœ œ œb

Œ jœ

∑

œ œ œstamp and scold.

.œn .œ

jœœ œ œ

&

&

&

?

bbbb

bbbb

bbbb

bbbb

nnnb

nnnb

nnnb

nnnb

CLO.

COL.

64

œ œ œ œFix like this would

œ œ œn œFix like this would

œ œ œ œn.œ

..œœ

œn œ œ ‰mad-den sage,

œ œ œn ‰mad-den sage,

jœn ‰ ‰œ œn œn œ

jœœ

‰ ‰

œ œ œ œWho to tell him

œ œ œn œWho to tell him

œ œ œ œnœ œn œ

œ œ œŒ ‰

œ œn œwill make bold?

œn œ œwill make bold?

œ œn œœn œ œ

œ œ œœ Jœ

.œ

∑

.œ œb œn œ

œn œ œœ Jœ

Jœ ‰ ‰

∑

.œœ œ# œ

œ œn œœ Jœ

V

V

&

?

b

b

b

b

P.

A.

70

œ JœYes, we

œjœ

Yes, we

‰ œœœœœœ

.œ>

Jœ ‰ ‰

PIERROT

ARLEQUIN

p

œ Jœlove you

œ jœlove you

‰ œœœœœœ

.œJœ

‰Jœ

œ Jœ

fond - ly—

œjœ

fond - ly—

‰ œœœœœœ

.œJœ ‰ ‰

œJœ

mad - ly,

œ œ œmad - ly,

‰ œœœ œœœ

.œJœ

‰ ‰

œ jœWe would

œ JœWe would

‰ œœœ œœœ

.œJœ ‰ ‰

jœœ

mar-ry

jœœ

mar-ry

‰ œœ œœœ

.œJœ

‰ ‰

œJœ

you most

œ jœyou most

‰ œœœ œœœ

.œJœ ‰ ‰

œ jœglad - ly,

œjœ

glad - ly,

‰œ

‰œ œ

œ jœœ Jœ


Eyes and No Eyes

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

78

∑

∑

œ Jœ

I a -

.œI

jœœœœ

œœœœœœ

Jœjœœœ œœ œœ

Jœ

∑

∑

œJœ

dore you,

jœ ‰ jœ#a -

‰ œ œ‰ œ

‰ œ œ#.œn

∑

∑

œJœ

so does

œ Jœdore

œ jœJœ ‰ ‰

jœ Jœœœ ‰

Jœ

∑

∑

œ ‰he,

œ œ œyou,

.œœœ œœ œœ

œ œ œ

CLOCHETTE

COLUMBINE



Jœn ‰ ‰so

jœ ‰ ‰so

jœn ‰ ‰Jœœ ‰ ‰

œ œ œ œZ

œ Jœlet me

œ jœlet me

Jœn ‰ ‰does

jœ ‰ ‰does

jœœœn ‰ ‰

œœ

œœ

œœ

œœ

.œbe—

.œbe—

.œhe.

.œhe.

jœœ œ œ œ œn

jœœ

œ œ œ œn

Jœ ‰ ‰

jœ ‰ ‰

Jœ ‰ ‰

jœ‰ ‰

Jœ œœ.

œœ.

œœ.

œœn

n.

Jœ œ. œ. œ. œn .

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

86

Rœ ≈ œ œ œ œWell, here’s a ve - ry

œ ≈ œ œ œ œWell, here’s a ve - ry

œ JœYes, we

œjœ

Yes, we

œœ J

œœœ

œœ

Jœœ

F

œ œ œ œ œpret - ty state of things,

œ œ œ œ œpret - ty state of things,

œ Jœlove you

œ jœlove you

œœœ Jœœœ

œœœ œ Jœœœ

≈ œ œ œ œ œUp - on my word I

≈ œ œ œ œ œUp - on my word I

œ Jœ

fond - ly—

œjœ

fond - ly—

œœœ Jœœœ

œœœ J

œœœ

œ œ œ œ œ œ

don’t know what to do,

œ œ œ œ œdon’t know what to do,

œJœ

mad - - - ly,

œ jœmad - - - ly,

œœœJœœœ

œœœ œ Jœœœ


Eyes and No Eyes

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

90

œ œ œ œ œ œEach day some fresh per -

œ œ œ œ œEach day some fresh per -

œ jœWe would

œ JœWe would

œœœjœœœ

œœœ œ Jœœ

œ œ œ œ œplex- ing wor - ry brings,

œ œ œ œ œplex- ing wor - ry brings,

œ Jœmar - - - ry

œ Jœmar - - - ry

œœœ Jœœœ

œœœ

Jœœ

œ œ œ œ œ œSuch ter - ri - bly bad

œ œ œ œ œSuch ter - ri - bly bad

œJœ

you most

œ jœyou most

œœœJœœœ

œœœœ J

œœœ

œ œ œ œ œluck I nev - er knew!

œ œ œ œ œluck I nev - er knew!

œ jœglad - - ly;

œ jœglad - - ly;

œœœJœœœ

œœœ J

œœ

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

94 jœ ‰ Jœ

Such bad

jœ ‰ jœSuch bad

Jœ ‰ jœI a -

jœ‰ jœ

I a -

œœ œœ œœœœœ

œœ œœ œœ œœ

Jœ ‰ Jœluck I

jœ ‰ jœluck I

jœ ‰ jœdore you,

jœn‰ jœ

dore you,

œœœœœœ

œœœ œœœ


Jœ ‰ Jœ

nev - er

jœ ‰ Jœnev - er

jœ ‰ Jœso does

jœ‰ jœ

so does

œœœ œœœ œœœœœœ

œœ œœ œœœœ

œ Jœ

knew,

œ jœknew,œ œ œ

he and

œ Jœ

he and

œœjœœœ œ

Jœ

œ Jœ

œ .œ ‰nev-er,

œ .œ ‰nev-er,

œ ‰so

œ ‰

so

œ œ œ# œ œ œœ œ ‰ ‰œœ œœ ‰ ‰

œ .œ ‰nev-er

œ .œ ‰nev-er

œ ‰does

œ ‰

does

œ œ œ œ œ œœ œ‰ ‰

œœ œœ ‰ ‰

.œ

knew!

.œknew!

œ œ œ

he. I a -

.œhe.

jœ œœœœœœ

œœœJœ

jœœœ œœ


Eyes and No Eyes

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

101

Jœ ‰ ‰

jœ ‰ ‰

œ œ œdore you and

jœ ‰ ‰

œœœœœœ

œœœœœœ

œ œ œ.œ


œ œ œ#Such ter - ri -

.œso,

œ œ œ#I a -

œJœœœ œ œ#

jœ œ œ#Jœ œ

œ œ œ œ œluck I nev - er knew,

œ jœ#bly bad

œ œ œand so does

œ jœdore you

œ jœœ Jœ#

œ œ œœ Jœ

œ œ œ œ œ œI nev - er knew, such

œ œn œluck I

œ œ œhe and

œ œ œand so does

.œœ œn œ

œ œ œœ œ œ

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

105


œ œ œnev - er knew,

œ œ œso does he,

œ œ œhe.

œ œ œœ Jœ

œ œ œœ œ œ


œ œ œ#Such ter - ri -

.œso

œ œ œ#I a -

œJœœœ

œ œ#jœ

œ œ œ#œ

Z


œ jœ#bly bad

œ œ œand so does

œ jœdore you

œ jœœ Jœ#

jœ œœ Jœ

œ œ œ œ œ

I nev - er knew,

œ œ œluck I

œ œ œ

he. I a -

œ œ œand so does

œ œ œœ œ œ

œ œ œœ œ œ


Eyes and No Eyes

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

109

œœ œ# œ œ

nev - er, nev - er knew,

œ œ œ#nev - er knew,

œ œ œ

dore you and

œ Jœnhe, and

œ œ# œ œœ œ œ#

œœ œœ

œœn

n

œn œ ‰ œ# œnev - er nev - er,

œ œ ‰ œ œnev - er nev - er,

.œ

so

.œso

jœnJœ

œœœœœœ#

#

Jœœ

œœ

œ œ ‰ œ œ

nev - er, nev - er

œ œ ‰ œ œnev - er, nev - er

Jœ ‰ Jœ

does

Jœ ‰ jœdoes

œœœœœœ

œœœ

.œ.œ

.œ

knew!

.œknew!

.œ

he.

.œhe.

Jœœœ œœœ

œœœœœœ

jœœ

œœ œœƒ

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

113 .œ

.œ

.œ

.œ

œœœœœœ

œœœœœœ

œœ# œœ œœn

Jœ ‰ ‰

jœ ‰ ‰

Jœ ‰ ‰

jœ ‰ ‰

œœœœœœ

œœœœœœ

œœn œœ œœ

∑

∑

∑

∑

œœœœœœ

œœœœœœ

œœ œœ œœ

∑

∑

∑

∑

..

.œœœ

..œœ.œ

U

u

∑

∑

∑

∑

Jœœœ ‰ ‰

jœœœ ‰ ‰


Eyes and No Eyes

49

Eyes and No Eyes

Dialogue between No. 4 and No. 4a

(At end of ensemble, ARLEQUIN and PIERROT exeunt into house.)

CLO. Well, when Uncle Cassandre returns and hears that the cloak’s lost, the village won’t holdhim.

COL. Oh yes it will, dear, I wish it wouldn’t. But what on earth shall we do?

CLO. I can’t think. (COLUMBINE cries.)Now don’t cry, let’s try and find a way out of the scrape. Do you believe in fairies?

COL. No. Do you?

CLO. No, but I’m going to. Now listen, Pierrot is a flirt.

COL. No doubt.

CLO. Arlequin is an awful flirt.

COL. Awful!

CLO. Nicolette is a terrific flirt.

COL. Absolutely terrific!

CLO. And Uncle Cassandre is rather worse than all three put together.

COL. Uncle Cassandre would flirt with his own shadow.

CLO. Now this is my plan, we’ll pretend that the cloak is a magic cloak, visible only to truelovers, and absolutely invisible to flirts of every degree.

COL. I understand. As they are flirts they won’t be surprised at not being able to see it.

CLO. Exactly. Here come Pierrot and Arlequin, let’s try it on them first; we’ll pretend to beadmiring it. We’ll suppose we’ve got the cloak, now hold it out — there, so.

Enter PIERROT and ARLEQUIN from house. COLUMBINE and CLOCHETTE pretend to beadmiring the cloak. PIERROT and ARLEQUIN, thinking themselves unobserved, watch theirproceedings with amazement.

CLO. Well, there now, it is extremely pretty.

COL. Most sweet, most enchanting! Feel its texture.

CLO. Oh, what a lovely quality! I should so like to try it on.

COL. Should you? Then you shall. There (putting it on) stop a bit— there, oh my, that is lovely!

PIER. (whispers to ARLEQUIN). What are they doing?

ARL. (whispers). Going mad. (PIERROT howls.)

5

10

15

20

25

50

Eyes and No Eyes


COL. Oh dear me, here are Pierrot and Arlequin who’ve been watching us all the time, and Ipromised Uncle nobody should see it. (Pretending to snatch it off.)

CLO. Oh my dear, you needn’t be alarmed. They couldn’t see it.

COL. Oh, of course, I forgot. They couldn’t see it.

CLO. Not if they stared at it for a month.

COL. And propped their eyelids open with bits of lucifer match.

CLO. And wore telescopes in them.

COL. And ear trumpets.

CLO. And smelling bottles.

COL. Because they are flirts.

CLO. Yes, because they trifle with young confiding hearts.

COL. And because this cloak, being a magic cloak, is visible only to true lovers.

CLO. Which you are not.

COL. And is invisible to flirts and popinjays.

CLO. Which you are. And that’s why you don’t see the cloak, and that’s why you never will seethe cloak, no, not if you live to be as old as Jerusalem. Neither of you! ugh!

PIER. Why, you don’t mean to say you really believe we are not true to you? Oh Arlequin!

ARL. Oh Pierrot! (They sob on each other’s shoulders.)

PIER. All our little jokelets about Nicolette taken in earnest!

ARL. All our little innocent attentions looked on as flirtations!

PIER. You, who are so true!

ARL. You, who are constancy itself. Oh Pierrot!

PIER. Oh Arlequin!

COL. Well, but did you see the cloak?

PIER. What cloak?

COL. There! He asks what cloak! He didn’t see it! He couldn’t see it.

30

35

40

45

50

55

51

Eyes and No Eyes


PIER. But I don’t know what cloak you’re referring to.

CLO. Why, the magic cloak we had in our hands when you came in, to be sure.

PIER. Oh, the magic cloak! Oh yes, we saw the magic cloak. But you didn’t say you meant themagic cloak.

COL. No, but did you really see it?

PIER. Did we really see it? Why of course we really saw it.

ARL. Do you think we are blind? We were admiring it as you spoke.

CLO. Oh Arlequin, I’m so sorry I doubted you.

COL. Pierrot, will you forgive me? For now I know you are true; if you hadn’t been true you’dnever have seen it.

PIER. Well, say no more about it, but produce it at once.

CLO. (pretending to produce it). There — isn’t it a love?

PIER. No, no, I don’t want to see that one, I want to see the invisible one.

CLO. This is the invisible one.

PIER. Well, but it can’t be invisible if I can see it. Why it’s as plain as Arlequin. Clochette,you’re trying to deceive me. (Hurt.)

ARL. Columbine, you’re practising on our inexperience. (Hurt.)

COL. No, indeed this is the one. Isn’t it a beauty?

ARL. (pretending to admire it). Well, it is a beauty, to be sure.

PIER. Oh my! what a duck.

ARL. Put it on.

COL. To be sure I will! (Pretends to put it on.)

PIER. Well I never did see anything like it. Stop a bit, you’ve got it wrinkled on the shoulder. (Pretends to smooth it.) There — that’s better.

COL. How do you like the colour?

ARL. Oh, it’s a beautiful colour.

PIER. H’m— well, yes,— no, to my taste it’s rather too — what shall I say?

60

65

70

75

80

52

Eyes and No Eyes


ARL. Well, that occurred to me. It is rather — just the least thing too—

CLO. AND Yes— what?COL.

ARL. Well, I should have thought red would have suited the old gentleman better.

PIER. Ah, now I should have thought yellow.

ARL. You are quite right; yellow would decidedly have been better.

CLO. Why that is good. Why, it is yellow! Ha, ha, ha!

COL. Ha, ha, ha!

ARL. Well, it’s a kind of yellow.

PIER. A kind of reddish yellow.

ARL. Now, what material do you call this? Silk, isn’t it?

COL. Silk! why it’s the richest cotton velvet.

PIER. Ho, ho! that is good. Silk! He don’t know silk from velvet. Why, you great donkey, anyonecan see that it’s the richest cotton velvet, trimmed with gold.

COL. Silver.

PIER. Eh?

COL. Silver.

ARL. Oh, he don’t know gold from silver. Oh, he is a muff. He could see it was velvet, but hecouldn’t see it was silver.

PIER. How is a poor, friendless, destitute orphan to know gold from silver? Born before I was oldenough to work for my bread; left to gain my living by my own native shrewdness; what chancehave I of ever seeing either? Now, if it had been trimmed with ha’pence I should have known it ata glance. I’m a judge of ha’pence. So this is really silver, is it? Dear me, I’ve often heard of silver.

COL. There now, you’ve looked at it quite long enough; don’t touch it or you’ll tarnish it.(Slapping his hands.) We must fold it up and put it back in the parcel. Uncle will be furious if hefinds we’ve opened it.

(Exeunt CLO. and COL.)

}85

90

95

100

105

53

Eyes and No Eyes


PIER. Arlequin, that’s a remarkably handsome cloak?

ARL. Beautiful! Very tasty indeed.

PIER. I’m glad I was able to see it.

ARL I’m glad I was able to see it.

PIER. I say, Arlequin—

ARL Well?

PIER. I shouldn’t have thought you and I were exactly what’s called true lovers.

ARL. No, but we must be or we couldn’t have seen the cloak.

PIER. We did see it, didn’t we?

ARL. Distinctly. I can see it now.

PIER. So can I, as plainly as when I had it in my hand.

ARL. I should have thought that if there were two people to whom the cloak would have beeninvisible, you and I would have been those two people.

PIER. Yes, we do carry on.

ARL. Awfully. But in confidence, did you really see it!

PIER. What a question! Of course I did.

ARL. No, but honour?

PIER. Well, when I say I saw it, I’ve no objection to admit I saw it indistinctly. Now after thatadmission, how did it appear to you?

ARL. Foggy. Outline confused.

PIER. Sketchy, eh?

ARL. Very. In fact I could barely distinguish it.

PIER. And to me it was hardly perceptible.

ARL. I scarcely saw it — in fact, I may say I didn’t see it.

PIER. So may I. I didn’t see it. We both didn’t see it. Shake hands. (Exeunt together during music.)

110

115

120

125

130

&

?

b

b

83

83

œjœœ.œ

œœ œ ‰

Tempo di Valse

p

œœjœœ.œ

œœœ ‰

œœœ Jœœœ

œœ œ ‰

œœœ Jœœœ

œœ œ ‰

œœœJœœ

œœ œ ‰

œœ Jœœœ

œœœ ‰

œœœ Jœœœ

œœœ ‰

œ œ œœ œ œ

œœœœ œœ

cresc.

&

?

b

b

9

œœ . œœ . œœ . œœœ.

œœ. œœ. œœ. œœ.

œœœ. œœœ

. œœœ. œœœ

.

œœn . œœ. œœ. œœ.

œœœ. œœœ

. œœœ. œœœ

.

œœ. œ

œ. œ

œ. œ

œ.

œœjœœ œ

Jœœ

œœ#

#Jœœ

œœœ.œœœ.

œœœ.‰

œœ. œ

œ. œ

œ.

‰f

œœœ.œœœ.

œœœ.‰

œœœ.œœœ.

œœœ.‰

f Jœœœ

œ œ œ œ

jœœœ ‰ ‰f

Jœœ

‰ ‰

Jœœœ ‰ ‰

Zf

54

Eyes and No Eyes

No. 4a. Exit Music for Pierrot and Arlequin

Enter CASSANDRE with whip.

CASS. (furious). Clochette! Columbine! Why aren’t you here to receive me? I’ve come back.Where’s my dinner? I’m hungry. Oh, when I do catch you two young women! Well, I’m home atlast. Home to discharge the most important duty of my career, for to-night I am to be formallybetrothed to Nicolette. Thirty years ago I saw her, and then I didn’t like her. People said she wasan acquired taste, and so she was. I am fond of acquired tastes, and I determined to learn to loveher. For thirty years I withdrew myself from my native village and set to work. In the first place,Nicolette was stout, so I began by trying to be fond of stout people, and I succeeded — the fatterthey were the more I loved them. Nicolette was a chatterbox, I fell in love with all the chatterboxesI could find. Nicolette was vain, I became the slave of all the conceited young women for milesaround. Nicolette was quick-tempered, there wasn’t a cross-grained vixen in the province whom Ididn’t adore. But by this time Nicolette had grown elderly, so it became necessary to cultivate ataste for oldest inhabitants, and I succeeded so well that a troop of lovesick grandmothers followedme wherever I went. Having taught myself to admire all those qualities for which Nicolette isremarkable, I returned to her, and directly I saw her I fainted in her arms. What took place duringthe interval of unconsciousness I don’t know, but it must have been something decisive, for when Irevived I found myself engaged to her — engaged to the purest, properest, and correctest old ladyin France. Oh, how correct is Nicolette!

Enter NICOLETTE.

NIC. And had it tum home to its little old lady, and was it a naughty, naughty old poppet to topaway so long?

CASS. (aside). What fascinating innocence. (Aloud.) Yes, it had tum home again, and it hadordered its little niece to buy it a boofy mantle to make its little love in, that it might be a pootypooty boy when it came to see its little pipsy wipsy.

5

10

15

20

55

Eyes and No Eyes

NIC. (doubtfully). I don’t understand what you mean by pipsy wipsy.

CASS. It’s a term of endearment.

NIC. I never heard the expression.

CASS. It’s Arabic.

NIC. Oh, if it’s Arabic I don’t mind.

CASS. (aside). How prudent and respectable she is. (Aloud.) Shall we resume?

NIC. Certainly, only pray be careful.

CASS. I will. And when will it make its little old gentleman the happiest old tootletum in theworld?

NIC. It shall name its own little day, it shall, and they shall be married in a boofy little churchand they shall be as happy as two tiny tiny little dicky birds.

CASS. Oh, it was a delightful little roguey poguey.

NIC. (severely). Roguey poguey? I am not familiar with that expression.

CASS. It’s a term of general application signifying respectful affection. It’s Scotch.

NIC. Oh. The Scotch are a moral people, and if it’s Scotch I’ve no doubt it’s correct.

CASS. She is indeed delightfully particular. Ah, Nicolette, how much more quickly time flieswith some people than it does with others. When I first knew you we were the same age, Iwas then eight and twenty. (Sighs.)

NIC. So was I. (Sighs.)

CASS. And now I’m fifty-eight. (Sighs.)

NIC. And I am eight and twenty still. (Sighs.)

CASS. Then notwithstanding the disparity of our years you don’t think I’m too old for you?

NIC. No, if you don’t think I’m too young for you.

CASS. Not a day, not a day. I think I could love you if you were younger still.

Dialogue between No. 4a and No. 5

25

30

35

40

45

&

&

?

b

b

b

86

86

86

‰

jœJœ

jœF

Allegretto assai∑

œ œ œ œ œ œ œ œœ ‰ œ œ ‰ œ

œ ‰œœ œœ ‰

œœ

∑

œ œ œ œ œ œ œ œœœ ‰ œ œ Jœ

œ ‰ œœ œœ Jœœ

∑


œœ ‰ œœ œœ ‰ œœ

Œ ‰ Œ jœWhen

jœ Jœœœ ‰ jœœœ œœœ

‰ œœœjœœœ ‰ ‰ Œ ‰

Z p

NICOLETTE

œjœ œ jœ

you were eight and

.œœ ‰ œœ œœ ‰ œœ

∑

&

&

?

b

b

b

NIC.

6

.œ œ ‰twen - ty,

œ ‰ œ œ ‰ œœ œ œ œ œ œ

.˙

œ œ œ œ JœbYou were ex - treme - ly

œ œ œb œ jœbœ ‰ œ œ œ œ

.˙

.œ Jœ ‰ jœwild, Of

œœ ‰ œœ œœœ‰ œœœ

œ œ œ œ œ œ

œ jœ œ jœwil - ful - ness you’d

œœœn‰ œœœ œœœ

‰ œœœ

.œ œ jœ

&

&

?

b

b

b

NIC.

10

œ jœ jœ ‰ jœ#plen - ty, A

œœœ‰ œœ œœœn

‰ œœœ#b

.˙

jœ œœ

jœgid-dy thought - less

œœœ‰ œœœ œœœ

‰ œœœn

.œ .œ

.œŒ jœ

child. All

œ

œ

Jœœ œœ œœ œœ

œ Jœœ œœ J

œœ

œ Jœ œ Jœlife seemed su - gar

œœjœœ œ œ œ#œ Jœ

œœJœœ#n

œœ J

œœ

.œJœ ‰ Jœ

can - dy, Hard-

.œ œ ‰œœ Jœœ œœ J

œœ..

œœ

œœ ‰

&

&

?

b

b

b

NIC.

15

œ Jœ œ Jœbake and balls of

œœœbjœœœ œœœ# jœœœ

.œ .œ

.œ jœ ‰ jœbran - dy, A

œœœ# jœœœ œœœjœœœ

.œ œ ‰

œ Jœ œ jœlit - tle jack - a -

œœœbjœœœ œœœ

jœœœ

.œ œ‰

.œ jœ‰ Jœ

dan - dy, And

œœœjœœœ œœœ

jœœ

.œ œ Jœœ

œ jœ œJœ

quite un-fit to

.œ œ jœn.˙

.œ .œbœ ‰ œ œ ‰ œ

56

Eyes and No Eyes

No. 5. Duet: “When you were eight and twenty”Cassandre and Nicolette

&

?

&

?

b

b

b

b

NIC.

CAS.

20

.œ Œ ‰mate.

Œ ‰ Œ Jœn

And

œ œ œ œ œ œn.˙

.œ .œ#œ ‰ œ œ ‰ œ

∑

œJœ œ Jœn

quite un - fit to

.œ .œn.˙

.œ .œb.˙

Œ ‰ Œ jœ’Twas.œ Jœ ‰ ‰

mate.

jœœ œb œ œ œ

Jœœ œ œ œ œ

jœ ‰ ‰ .œJœ

‰ ‰

molto rall.

œjœ œ Jœ

dol - ce far ni -

∑

‰ œ œ.œ

‰ œ œ

œ ‰ œ œ ‰ œ.œ Œ ‰

a tempo

.œ jœ ‰ ‰en - te,

∑

.œ œ œ œœ œ# œ Jœ ‰ ‰

œ œ œ jœ ‰ ‰.œ Jœ ‰ ‰

&

&

?

b

b

b

NIC.

25

œ œ œ œ jœWhen you were eight and

.œ .œœ œ œ œ

Jœ

Œ ‰ œ œ œ.œ

.œ

.œ jœ‰ ‰

twen - ty,jœ œ

.œ

.Œ ‰

Jœ ‰ ‰Œ ‰

jœ ‰ ‰Jœ ‰ ‰œ. œ. œ.

œ œ œ œ Jœ

When you were eight and

œœœ‰ œœœ œœœ# ‰ œœœ

.œ jœ ‰ ‰.œJœ

‰ ‰

.œ jœ ‰ ‰twen - ty,


‰ œœœ

.œjœ

‰ ‰.œ Jœ‰ ‰

&

?

&

?

b

b

b

b

NIC.

CAS.

29

œ œ œ œ jœWhen you were twen - ty -

∑

œœ‰ œœ œœ ‰ œœ

.œ ‰ œ ‰

.œ Jœ ‰ jœeight. ’Twas

Œ ‰ Œ Jœ

’Twas

œœ

jœœb œœjœœn

.œ Jœ# œJœ

œjœ œ Jœ

dol - ce far ni -

œ Jœœ Jœ

dol - ce far ni -

jœ ‰Jœœ

œœ ‰

œœ

jœœ œ ‰ œ œ

.œ.œ

.œ jœ ‰ ‰en - te,

.œ Jœ ‰ ‰en - te,

.œ œ œ œœ œ œJœ ‰ ‰

œ œ œ jœ ‰ ‰.œ Jœ‰ ‰

57No. 5. Duet: “When you were eight and twenty”

Eyes and No Eyes

&

?

&

?

b

b

b

b

NIC.

CAS.

Ÿ~~~~~~~

33

œ œ œ œ jœWhen you were eight and

œ œ œ œJœ

When I was eight and

œœ

œœ

œœ

œœ ‰ œ

œ.˙

‰ œ œ œ‰ œ

.œœ ‰ œ


.œJœb ‰ ‰

twen - ty,

.œ..

œœ œ œ œ

œ œ œ .œ#.œ .œb

œ# œ œ œ œ œWhen you were eight and

œ œn œ# œ œ œ

When I was eight and

œ# œ œ œœ œ.œ œ œ œ

.œ œ œ œœ œn œ# .œ


œ Jœ Jœ ‰ ‰twen - ty,

.œjœ ‰ ‰.œ

Jœ‰ ‰

œ œn œb jœ ‰ ‰.œ Jœ ‰ ‰

&

?

&

?

b

b

b

b

NIC.

CAS.

37

œ œ œ œ jœWhen you were twen - ty -

œ œ œ œJœ

When I was twen - ty -

..œœ..œœ

.

.œœ

.

.œœ

.œ jœ ‰ ‰eight.

.œ Jœ ‰ ‰eight.

jœœ œ œ œ œ œ œ jœJœ

jœœ œ œ

œ œ œ jœ

F

∑

∑


œ ‰œœ œœ ‰

œœ

∑

∑

œ œ œ œ œ œ œ œœœ ‰ œ œ Jœ

œ ‰ œœ œœ Jœœ

∑

∑


œœ ‰ œœ œœ ‰ œœ

?

&

?

b

b

b

CAS.

42

Œ ‰ Œ Jœ

But

jœ Jœœœ ‰ jœœœ œœœ

‰ œœœjœœœ ‰ ‰ Œ ‰

Z p

CASSANDRE œ Jœœ

Jœ

now I’m eight and

.œœ ‰ œœ œœ ‰ œœ

.œ œ ‰fif - ty,

œ ‰ œ œ ‰ œœ œ œ œ œ œ

.˙

œ œ œ œ Jœb

I’ve reached the prime of

œ œ œb œ jœbœ ‰ œ œ œ œ

.˙

.œ Jœ ‰ Jœ

life; I’m

œœ ‰ œœ œœœ‰ œœœ

œ œ œ œ œ œ

58 No. 5. Duet: “When you were eight and twenty”

Eyes and No Eyes

?

&

?

b

b

b

CAS.

47 œJœ œ

Jœso - ber now and

œœœn‰ œœœ œœœ

‰ œœœ

.œ œ jœ

œJœ Jœ ‰ Jœ#

thrift - y And

œœœ‰ œœ œœœn

‰ œœœ#b

.˙

Jœœ

œ Jœ

fit to take a


‰ œœœn

.œ .œ

.œ Œ Jœ

wife. My

œ

œ

Jœœ œœ œœ œœ

œ Jœœ œœ J

œœ

œ Jœ œ Jœ

boy - ish freaks are

œœjœœ œ œ œ#œ Jœ

œœJœœ#n

œœ J

œœ

?

&

?

b

b

b

CAS.

52 .œJœ ‰ Jœ

o - ver, No

.œ œ ‰œœ Jœœ œœ J

œœ..

œœ

œœ ‰

œ Jœ œ Jœ

long-er I’m a

œœœbjœœœ œœœ# jœœœ

.œ .œ

.œJœ ‰ Jœ

rov - er, I’m

œœœ# jœœœ œœœjœœœ

.œ œ ‰

œ Jœ œ Jœ

fit to be a

œœœbjœœœ œœœ

jœœœ

.œ œ‰

.œ jœ ‰ Jœ

lov - er, I’ve

œœœjœœœ œœœ

jœœ

.œ œ Jœœ

œJœ œ Jœn

come to man’s es -

.œ œ jœn.˙

.œ .œbœ ‰ œ œ ‰ œ

&

?

&

?

b

b

b

b

NIC.

CAS.

58

Œ ‰ Œ JœnYou’ve.œ

Œ ‰tate.

œ œ œ œ œ œn.˙

.œ .œ#œ ‰ œ œ ‰ œ

œ jœ œJœ

come to man’s es -

∑

.œ .œn.˙

.œ .œb.˙

.œ Jœ ‰ ‰tate.

Œ ‰ Œ jœI’m

jœœ œb œ œ œ

Jœœ œ œ œ œ

jœ ‰ ‰ .œJœ

‰ ‰molto rall.

∑

œ Jœœ Jœ

care - ful now and

‰ œ œ.œ

‰ œ œ

œ ‰ œ œ ‰ œ.œ Œ ‰

a tempo

∑

.œJœ ‰ ‰

thrift - y,

.œ œ œ œœ œ# œ Jœ ‰ ‰

œ œ œ jœ ‰ ‰.œ Jœ ‰ ‰

?

&

?

b

b

b

CAS.

63

œ œ œ œJœ

For I am eight and

.œ .œœ œ œ œ Jœ

Œ ‰ œ œ œ.œ

.œ

.œ jœ ‰ ‰fif - ty,

jœ œ.

œ.

Œ ‰Jœ ‰ ‰

Œ ‰

jœ ‰ ‰Jœ ‰ ‰œ. œ. œ.

œ œ œ œ Jœ

For I am eight and

œœœ‰ œœœ œœœ# ‰ œœœ

.œ jœ ‰ ‰.œJœ

‰ ‰

.œJœ ‰ ‰

fif - ty,


‰ œœœ

.œjœ

‰ ‰.œ Jœ‰ ‰

œ œ œ œJœ

For I am fif - ty -

œœ‰ œœ œœ ‰ œœ

.œ ‰ œ ‰

59No. 5. Duet: “When you were eight and twenty”

Eyes and No Eyes

&

?

&

?

b

b

b

b

NIC.

CAS.

68

Œ ‰ Œ jœHe’s.œ Jœ ‰ Jœ

eight. I’m

œœ

jœœb œœjœœn

.œ Jœ# œJœ

œjœ œ Jœ

care - ful now and

œ Jœœ Jœ

care - ful now and

jœ ‰Jœœ

œœ ‰

œœ

jœœ œ ‰ œ œ

.œ.œ

.œ jœ ‰ ‰thrift - y,

.œ Jœ ‰ ‰thrift - y,

.œ œ œ œœ œ œJœ ‰ ‰

œ œ œ jœ ‰ ‰.œ Jœ‰ ‰

œ œ œ œ jœFor he is eight and

œ œ œ œJœ

For I am eight and

œœ

œœ

œœ

œœ ‰ œ

œ.˙

‰ œ œ œ‰ œ

.œœ ‰ œ


.œJœb ‰ ‰

fif - ty,

.œ..

œœ œ œ œ

œ œ œ .œ#.œ .œb

&

?

&

?

b

b

b

b

NIC.

CAS.

Ÿ~~~~~~

73

œ# œ œ œ œ œFor he is eight and

œ œn œ# œ œ œ

For I am eight and

œ# œ œ œœ œ.œ œ œ œ

.œ œ œ œœ œn œ# .œ


œ Jœ Jœ ‰ ‰fif - ty,

.œjœ ‰ ‰.œ

Jœ‰ ‰

œ œn œb jœ ‰ ‰.œ Jœ ‰ ‰

œ œ œ œj

œœFor he is fif - ty -

œ œ œ œJœ

For I am fif - ty -

..œœ..œœ

.

.œœ

.

.œœ

.

.œœ

jœœ ‰ ‰

eight.

.œ Jœ ‰ ‰eight.

jœœœ œ œ œ œn

jœ

œ œ œ œ œn

∑

∑

Jœ ‰ ‰ Jœœœœ ‰ ‰

Jœ ‰ ‰Jœœ ‰ ‰

(They embrace.)

Z

∑

∑

Jœœœ ‰ ‰ Œ ‰

jœœœ ‰ ‰ Œ ‰

Z

60 No. 5. Duet: “When you were eight and twenty”

Eyes and No Eyes

Enter COLUMBINE.

COL. (starts). Oh, beg your pardon. I didn’t know you were doing anything like that.

CASS. Ahem! Allow me to present to you a new aunt.

(NICOLETTE curtseys, COLUMBINE also.)

COL. She don’t look new.

CASS. Cherish her, venerate her, for I love her. Columbine, respect that love, for it has takenthirty years to develop. My child, respect the labour of thirty years.

(COLUMBINE kisses her.)

5

61

Eyes and No Eyes


NIC. My darling little niece.

COL. My pretty little aunt.

NIC. (aside). Affected little coquette.

COL. (aside). Old frump.

CASS. And now, where’s the cloak, I’m dying to see it.

COL. Oh, but uncle—

CASS. What?

COL. I— that is—

CASS. That is what? That is what, I say? Now — now be careful. Don’t say anything happenedto it, I’m very delicate and easily excited, and if something was to give way—

NIC. Columbine, if anything snaps inside him, I shall hold you responsible. Now go on. (Listensto hear if anything snaps.)

COL Oh, but nothing happened, dear uncle, only — are you very fond of Nicolette.

CASS. Of course I am, I love her madly — ducky, ducky, ducky! (Flirting with her.)

COL. And are you very fond of uncle?

NIC. What an absurd question. Of course I am. Chucky, chucky, chucky! (Flirting with him.)

COL. Oh, I’m so glad.

NIC. What does the girl mean?

COL. I’m so glad you’re so fond of each other, because the cloak is a magic cloak and is visibleonly to true lovers who never flirt. You’re both sure to be able to see it.

NIC. Are we? (Aside.)

CASS. I doubt it very much. (Aside.)

COL. I bought it of a tall grim man with great flashing eyes and beautiful big teeth, and greathorns sticking out of his head; he had the very thing, so I asked the price, and as soon as Ibought it he disappeared in a whirlwind.

CASS. I see — before you paid for it.

COL. No, immediately after.

10

15

20

25

30

35

62

Eyes and No Eyes


CASS. (disappointed). Oh! And where is it?

COL. (aside). I haven’t the face to do it all alone. (Aloud.) Oh, Clochette’s got it, she’ll — she’ll behere directly.

CASS. Very good. Nicolette, come into the house and read the contract; the lawyer will be her directly, and then—

NIC. Ah, Cassandre!

CASS. Yes—

NIC. There are no fools like young ones.

(Exeunt into house.)

COL. There’s a pretty bunch of stories. Oh dear, oh dear, I hope I don’t look as wicked as I feel.

Enter CLOCHETTE with small basket.

CLO. Well, I’ve good news for you, I’ve found the cloak.

COL. What?

CLO. You left it behind, at Hubert’s, the blacksmith’s, and he’s sent it on and it’s here. (Openingbasket.)

COL. Oh, what a pity.

CLO. A pity!

COL Yes, I’ve told Uncle and Nicolette that it’s a magic cloak and visible only to true lovers. Nowwhen they find that they can really see it they’ll know I’ve been telling stories. And then he’ll beatme—

CLO. Oh never mind a beating, dear — bear it.

COL. Yes, but he’ll beat you too.

CLO. Oh my dear, we must hit upon another plan. Tell him you made a mistake, and that it’svisible to flirts and coquettes but invisible to true lovers; then when they see it, they’ll beconvinced of its supernatural character. Oh, here they are.

Enter CASSANDRE and NICOLETTE.

40

45

50

55

60

?

&

?

# # #

# # #

# # #

44

44

44

∑



Tempo commodo

f

∑

œ œ œ# œ œ œ œ œ


∑

wŒ œ œ# œ

œ œ œ‹ œ

Ó Œ œNow,

wœ œ œ# œ

œ# œ œ œ

CASSANDRE

?

&

?

# # #

# # #

# # #

CAS.

5

œ œ œ œ œ œ .œ œ

Co-lum-bine, the ma-gic cloak pro -

˙ ˙nw

w ˙p

˙ Œ œduce, This

jœ ‰Jœ

‰ œ. œ. œ.Œ

jœn ‰Jœ

‰ œ. œ. œ.Œ

Z

œ œ œ œ œ œn œ œ

mys-tic robe I’m dy - ing for to

˙ œ œ#˙ ˙˙n ˙#n

p

˙ Œ œnsee! Al -

˙ œn œœ ˙nœn˙

˙œœ œn

(aside)

?

&

?

# # #

# # #

# # #

86

86

86

CAS.

9 .œnJœb .œ

Jœnthough, a-las, it’s

Œœœnb

Œœœ

˙ ˙nœn Œ œn Œ

œ œn œn œ œ œve - ry lit - tle use, For

˙# ˙Œ œœn Œ œœnœœ Œ

œœ Œ

œ œn œ œ œ# œ œ œ#it will be in - vis - i - ble to

Œ˙ œ#Œ Œ œ# œ

wŒ Œ œ œn

˙ Jœ ‰œnU

me. For,

jœ œ œ œ jœ ‰ œœnU

Jœœ œ œ

Jœ‰

œ œnjœ ‰ œœœu˙ Jœ ‰

F

?

&

?

# # #

# # #

# # #

86

86

86

CAS.

13 œ œ œ œ Jœ

oh, I am such a

œœ ‰ œœ œœ œœ œœ

.

.˙˙

Allegretto

F

œ œ œ œ Jœ

ter-ri-ble rake, For

œœ ‰ œœ

œœ œœ œœ

.

.˙˙

œ œ œ œJœ

ev-e-ry girl my

œœ œœ œœœœ jœœ

œ œ œ œ jœ.˙

œ jœ œ Jœ

heart does ache; Of

œœ jœœjœœ

‰ Jœœ

œ jœjœ ‰ Jœ.œ Jœ

‰ &

œ œ œ œ Jœwick-ed old men I

.

.œœ#>

œ œ œ

.

.œœ> jœœ ‰ ‰ ?

63

Eyes and No Eyes

No. 6. Concerted Piece: “Now, Columbine, the magic cloak produce”Cassandre, Nicolette, Columbine, and Clochette

?

&

?

# # #

# # #

# # #

44

44

44

CAS.

18 œ Jœ œ Jœ

am the pink, I

..œœ#> jœ ‰ jœœœœ>

œ œ jœ ‰ jœœ

.œ Jœ ‰

Jœ ‰ Jœ œ œ ≈ Jœ

flirt, I o-gle, I

œœ œœ œœ‰ œœœ œœœ œœœ

‰

œœ

œœ

œœ

‰ œœ

œœ

œœ

‰

Jœ ‰ Jœ.œ

leer, I wink.

jœœœ‰

jœœ J

œœœ ‰ œ œ

jœœ

‰jœ

œjœ

œ‰ œ œ

∑


œ œ œ œ œ œ œ œf

Tempo I∑



&

&

?

# # #

# # #

# # #

NIC.

23

∑

wŒ œ œ# œ

œ œ œ‹ œ

Ó Œ œCome,

wœ œ œ# œ

œ# œ œ œ

NICOLETTE

œ œ œ œ œ œ œ œlet the cloak this in - stant* be dis -

˙ ˙nw

w ˙

˙ Œ œplayed, Its

jœ ‰Jœ

‰ œ. œ. œ.Œ

jœn ‰Jœ

‰ œ. œ. œ.Œ

Z

&

&

?

# # #

# # #

# # #

NIC.

27

œ œ œ œ œ œn œ œgor - geous beau - ties please at once un -

˙ ˙#

˙n ˙#np

˙ Jœ ‰ œfold. A -

jœœn ‰œ. œ.

Jœn .

‰ œœ

Jœœ ‰ œ. œ. J

œn .‰ œ

œnn

Z

(aside) œn ‰ Jœb œ ‰ jœnlas, a - las, I’m

jœœn œ œ œ ‰ œn œn œœJœb ‰ œ œ œ

jœœn

n ‰ Jœœnn

‰ jœn ‰ Jœœn

‰

&

&

?

# # #

# # #

# # #

86

86

86

NIC.

30

œ œn œn œ œ ‰ jœve - ry much a-fraid That

‰ œ œ œ ‰ œ œ œn‰ œJœn ‰ œn œ œ

jœ ‰ Jœœ ‰ Jœ ‰ J

œœ ‰

œ œn œ œ œ# œ œ œ#ma - gic cloak I nev-er can be -

Œ ˙# œœ#Œ œ œ# œw

˙ jœ ‰ œU

hold. For,

œœ œ œ jœ ‰ ŒU

œ œ œ œ jœ ‰ ŒU˙ Jœ ‰ Œ

œ œ œ œ Jœoh, I am such a

œœ ‰ œœ œœ œœ œœ

.

.˙˙

Allegretto

F

64 No. 6. Concerted Piece: “Now, Columbine, the magic cloak produce”

Eyes and No Eyes

*Editorial suggestion: original text was “instanter” instead of “this instant”.

&

&

?

# # #

# # #

# # #

NIC.

34

œ œ œ œjœ

wick-ed old maid, What -

œœ ‰ œœ

œœ œœ œœ

.

.˙˙

œ œ œ œ jœev-er its age, what -

œœ œœ œœœœ jœœ

œ œ œ œ jœ.˙

œ œ œ œjœ

ev-er its grade, On

œœ jœœjœœ

‰ Jœœ

œ jœjœ ‰ Jœ.œ Jœ

‰ &

œ œ œ œ jœev-e-ry heart at.

.œœ#>

œ œ œ

.

.œœ> jœœ ‰ ‰ ?

œ Jœ œjœ

once I seize, I

..œœ#> jœ ‰ jœœœœ>

œ œ jœ ‰ jœœ

.œ Jœ ‰

&

&

&

?

# # #

# # #

# # #

# # #

# # # #

# # # #

# # # #

# # # #

812

812

812

812

CLO.

NIC.

39

∑

œ œ ‰ jœ œ œ ‰ Jœgig-gle, I flut-ter, I

œœ œœ œœ‰ œœœ œœœ œœœ

‰

œœ

œœ

œœ

‰ œœ

œœ

œœ

‰

∑

Jœ ‰ jœ .œflirt, I tease.

œœœ

jœœ

œœœ Jœ

œœ

jœœ

jœœ

‰ ‰Z Z p

∑

∑

Jœœ ‰ Jœ J

œœn‰ Jœ

Jœœ ‰ ‰ J

œœ ‰ ‰

Œ ‰ Œ jœBut,

∑

..œœ Jœœ# ‰ ‰


CLOCHETTE

&

&

?

# # # #

# # # #

# # # #

812

812

812

CLO.

43

œ jœ œjœ œ ‰ œ ‰

Un - cle, I ad-mit with

Œ ‰ Œ ‰ œœ œ œ œ œ

œ ‰œœœ ‰ œ ‰

œœœ ‰

Jœ œ .œ Œ ‰ .œter-ror That

œm œ ‰œm œ

‰œm œ ‰ œm œ ‰

..˙ ..œœœ ‰ .œ .œ .œ

œ jœ œjœ .œ

.œ

I have made a se - rious

Œ ‰ .œ œœ.

œ.

œ.

œ.

œ.

.˙

œ ‰œœ ‰ œ ‰

œœ ‰

&

&

?

# # # #

# # # #

# # # #

CLO.

46

Jœ œ .œ Œ ‰ Œ Jœer - ror. I’ve

œœ

m œ ‰œm œ

‰œm œn ‰ œm œ ‰

œ ‰œœ ‰

œ‰

œœn ‰

œJœ œ Jœ œ jœ# œ jœ

made the ve - ry great - est of mis -

Œ ‰ ...œœœŒ ‰ ...œœœ#

.˙ .˙Ÿ

.˙ Œ ‰ .œntakes— I

Œ ‰ .œ .˙Œ Jœ

œJœ œ Jœ# ..œœnn

œ‰ œ ‰ .˙

65No. 6. Concerted Piece: “Now, Columbine, the magic cloak produce”

Eyes and No Eyes

&

&

?

# # # #

# # # #

# # # #

CLO.

49

.œ .œ œJœ

œ Jœsaid ’twas vis - i-ble to

Œ jœ

œ jœ œ œ jœ#Œ ‰

.œ œ

œ ‰ .œjœ .œ

.˙

.œ .œ .œ Jœ ‰ Jœlov - ers true— It’s

œ œ œ

‰ œ œ œ# œ œ jœ œ œ‰ œ .œ Jœ ‰ ‰ Œ ‰œ ‰ œ ‰Jœ

‰ ‰ Œ ‰

.œ œJœ œ Jœ

œ Jœ

on - ly vis - i - ble to

Jœ

œ œn

œœœ œ ‰ œ œ

œœ

œ œ.˙ .˙

&

&

?

# # # #

# # # #

# # # #

CLO.

52 .œ Jœ ‰ Jœ.˙

flirts and rakes,

‰ œ œ

œœ

œ œ ‰ œ œ

œœ

œ œœn œ œ œ œ œ .˙

∑

.

.œœ

œœ

Jœœ

œœ J

œœ

œœ J

œœ

œ œ œ œ œ œ œ œ œ œ œ œ.˙ .˙F

Œ ‰ Œ ‰ Œ ‰ Œ JœAnd.

.œœ

œœ

Jœœ

.

.œœ J

œœ ‰ ‰

œn œ œ œ œ œ œ œ œ œ œ œ.˙ .˙

&

&

?

# # # #

# # # #

# # # #

CLO.

55 œnJœn œn

Jœ œ jœn œjœ

there-fore won’t be vis - i - ble to

œœnn œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœn œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

.˙ Œ ‰ .œyou, And

œœ

œœ

œœ

œœ

œœ

œœ

œœn œœ œœ œœ œœ œœ

œœn œœ œœ œœ œœ œœ œœ## œœ œœ œœ œœ œœ

œ Jœ œ Jœ œ œ œ Œ jœthere-fore won’t be vis - i-ble to

Jœœ# ‰ ‰

.œ œ œ œœ ..œœ

Jœœ ‰ ‰ Œ ‰ Œ ‰ .œ

Z p

&

&

?

&

?

# # # #

# # # #

# # # #

# # # #

# # # #

CLO.

NIC.

CAS.

58

œ ‰ Œ ‰ Œ ‰ Œ ‰you.

Œ ‰ Œ ‰ .œ œ JœnWhy, what d’ye

Œ ‰ Œ ‰ .œ œ Jœ

Why, what d’ye

jœœœ

œ ‰ œœ ‰ œn

œn ‰ œ#œ#

jœ‰ ‰

...œœœn ...œœœ ...œœœ* Editorial suggestion; see p. 96.

NICOLETTE

CASSANDRE *

∑

.œ Œ jœ œ Jœ œjœ

mean, the truth come quick - ly

.œ Œ Jœn œJœ œ Jœ

mean, the truth come quick - ly

œ œ œ œ œ œn œ œ œ œ œ œJœ Jœ Jœ

Jœœœ ‰ ‰

Jœœ

n‰ ‰

Jœœœ ‰ ‰

Jœœœ ‰ ‰


Eyes and No Eyes

&

&

?

&

?

# # # #

# # # #

# # # #

# # # #

# # # #

44

44

44

44

44

COL.

NIC.

CAS.

60

Œ Jœ œ Jœ œn Jœ œn jœTo all true lov - ers it’s in -

œ ‰ Œ ‰ Œ ‰ Œ ‰tell!

œ ‰ Œ ‰ Œ ‰ Œ ‰tell!

jœœ

œ ‰ œœ ‰ œn

œn ‰ œ#œ#

..œœ ..œœ ..œœ ..œœ

COLUMBINE * œ œ œ Œ ‰ Œ ‰ Œ ‰vis - i -bell.

∑

∑

jœœœ# ‰ ‰ Œ ‰ œ œ œ .œ

Jœœn ‰ ‰ Œ ‰ Œ ‰ Œ ‰

Z f

∑

Œ ‰ Œ ‰ Œ ‰ œn JœThen, a -

Œ ‰ Œ ‰ Œ ‰ œ JœThen, a -

.œ# .œ .˙n

.˙ .œ .œ#

.˙n .œ .œ.œn .œ .˙

&

?

&

?

# # # #

# # # #

# # # #

# # # #

44

44

44

44

NIC.

CAS.

63

œ ‰ Jœ œ œ œlas, a - las, it can

œ ‰ Jœœn œ œ

las, a - las, it can

jœ jœœœœœ ‰ jœœ

œœœnJœjœJœ

‰ Œ˙n

Andante assai

œ œ œ jœ ‰nev - er be

œ œ œ Jœ ‰nev - er be

‰ œœœ ‰ œœœ ‰ œœœ œœœ œœ

œœ

œœ# ˙

œ œ œ œ œ œ œVis - i - ble un - to you or

œ œ œ œ œ œ œVis - i - ble un - to you or

œœ œœ œœ œœ œœ œœ œœ

œœ œœ œœ œœ œœ œ œŒ ‰ Jœ œ œ œ

˙ Jœ ‰ œme. For

˙ Jœ ‰ œ

me. For

œœœœ œœn œœ# œœ Œ

.œ jœn œ œ œ œ˙ œ Œ

&

?

&

?

# # # #

# # # #

# # # #

# # # #

86

86

86

86

NIC.

CAS.

67 œ œ œ# jœ .œI am a lov-er,

œ œ œJœ .œ

I am a lov-er,

‰ œ œ œ# ‰ jœ œ‰ .œ ‰ œ œ œ

wœ# œ œ œ* Assigned to Clochette in original vocal score; see p. 96.

‰ œ œ œ œ ‰ jœa lov-er true, It

‰ œœn œ œ

‰ Jœ

a lov-er true, It

‰ œ œ œ ‰ .œ‰ .œ ‰ œ œ# œ

wœ œn œ œ

œ œ œ œ‰ jœ

can - not be seen by

œ œ œ œ ‰ Jœcan - not be seen by

‰ œœ œœ œœjœœ

œœ œœ œœ

˙˙

˙˙

œ œ œ œ jœ ‰me or you.

œ œ œ œ Jœ ‰me or you.

‰ œœ œœ œœ œœjœœ

‰

˙ jœœ œ œ


Eyes and No Eyes

&

?

&

?

# # # #

# # # #

# # # #

# # # #

86

86

86

86

NIC.

CAS.

71

œ œ œ œ jœThis is as right as

∑

..œœ ...œœœ

œ jœ œ jœ.œn .œ

(aside)Con moto

œ jœ œ ‰right can be,

Œ ‰ Œ JœThis

œœ.œœ.

‰ œœ.œœ.

‰

œ jœ œ jœ.œ .œn

∑

œ œ œ œ Jœ

mag - i - cal cloak I’m

..œœ ...œœœ

œ jœ œ jœ.œn .œ

Œ ‰ Œ jœThis

œJœ œ ‰

sure to see.

œœ.œœ.

‰ œœ.œœ.

‰

œ jœ œ jœ.œ .œ

&

&

&

?

&

?

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

n# # #

n# # #

n# # #

n# # #

n# # #

n# # #

CLO.

COL.

NIC.

CAS.

75

∑

∑

œ œ œ œ jœmag - i - cal cloak I’m

∑

œœ#.

œœ.

‰ œœ.œœ.

‰

œ jœ œ jœ.œ‹ .œ

Œ ‰ ‰U ‰ JœnFor,

Œ ‰ ‰U ‰ JœnFor,

œ jœ JœU ‰ Jœn

sure to see. For,

Œ ‰ ‰U ‰ Jœn

For,

...œœœn

Jœœœ ‰U

Jœœœ

n

.

.œœ Jœœ ‰U jœœ

f

œ œ œ œ Jœoh, she is such a

œ œ œ œ Jœoh, he is such a


œ œ œ œ Jœ

oh, I am such a

œœœœœ

œœ

œœ>

Jœœ

œœ Jœœ

œ> jœ.œ

Scherzandoœ œ œ œ

jœwick - ed old maid, What -

œ œ œ œjœ

ter - ri - ble rake, For

œ œ œ œjœ

wick - ed old maid, What -

œ œ œ œ Jœ


œœ

œœ

œœ

œœ>

Jœœ

œœ Jœœ

œ> jœ.œ#


Eyes and No Eyes

&

&

&

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

CLO.

COL.

NIC.

CAS.

79

œ œ œ œ jœev - er its age, what -

œ œ œ œ jœev - e - ry girl his


œ œ œ œJœ

ev - e - ry girl my

œœ

œœ

œœ

œœ

Jœœ

œjœœ œ J

œœ

œ œ œ œjœ

ev - er its grade, On

œ jœ œjœ

heart does ache; Of

œ œ œ œjœ


œ jœ œ Jœ

heart does ache; Of

œœ

jœœ

œœ

jœ

‰ œœ œœ œœ.œ œ Jœ

.œ œ œ œ jœev - e - ry heart at

.œ# œ œ œ jœwick - ed old men he


.œ œ œ œ Jœwick - ed old men I

..œœ# œœ œœ œ œ œ œ œœ Jœ

..œœ œœ œœ œœ Jœœ

œ Jœ œjœ

once does seize, To

œ# jœ œ jœis the pink, To

œ jœ œ jœonce I seize, I

œ jœ œ Jœam the pink, I.

.œœ# œœ œœ Jœ ‰ jœœn

..œœ œœ œœ.œ œ œœ

Jœœ

&

&

&

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

CLO.

COL.

NIC.

CAS.

83

œ œ œ œ œ œgig-gle, to flut - ter, to

œn jœ œ œ œflirt, to o - gle, to

œ œ œ œ œ œgig-gle, I flut - ter, I

œ Jœ œ œ œflirt, I o - gle, I

œjœ œ#

jœ.œ .œ

.˙.˙

œ jœœ

Jœflirt and tease. For,

œjœ œ Jœ

leer and wink. For,

œ jœ œ Jœflirt, I tease, For,

œ Jœ œ Jœ

leer, I wink, For,

œœ jœœœœœ J

œœœ

œœ J

œœœœ jœœ

f

œ œ œ œ Jœoh, she is such a

œ œ œ œ Jœoh, he is such a


œ œ œ œ Jœ

oh, I am such aœœœ

œœ

œœ

œœ>

Jœœ

œœ Jœœ

œ> jœ.œ

œ œ œ œjœ


œ œ œ œjœ


œ œ œ œjœ


œ œ œ œ Jœ


œœ

œœ

œœ

œœ>

Jœœ

œœ Jœœ

œ> jœ.œ#


Eyes and No Eyes

&

&

&

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

CLO.

COL.

NIC.

CAS.

87


œ œ œ œ jœev - e - ry girl his


œ œ œ œJœ

ev - er - y girl my

œœ

œœ

œœ

œœ

Jœœ

œjœœ œ J

œœ

œ œ œ œjœ


œ jœ œjœ

heart does ache; Of

œ œ œ œjœ


œ jœ œ Jœ

heart does ache; Of

œœ

jœœ

œœ

jœ

‰ œœ œœ œœ.œ œ Jœ


.œ# œ œ œ jœwick - ed old men he



..œœ# œœ œœ œ œ œ œ œœ Jœ


œ Jœ œ Jœ

once does seize, On

œ# jœ œ jœis the pink, Of

œ jœ œ Jœonce I seize, On

œ jœ œ Jœam the pink, Of

..œœ# œœ œœ œœ œ œ œ œ


&

&

&

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

CLO.

COL.

NIC.

CAS.

91 .œ œ œ œ jœev - e - ry heart at

.œ œ œ œ jœwick - ed old men he



..œœ œœ œœ œœ œ œ œ œ


œ Jœ œ jœonce does seize, To

œ jœ œ jœis the pink, To

œ jœ œ jœonce I seize, I

œ Jœœ Jœ

am the pink, I

..œœ œœ œœ œœ œ œ œ œ


œ œ‰ Œ Jœ#

gig-gle, to

œn ‰ Œ Jœflirt, to

œ# œ ‰ Œ jœgig-gle, I

œ ‰ Œ Jœ

flirt, I

œ œ œ# œ œn œ

Jœœœœ#n œœœœ Œ J

œœœ

œ œ ‰ Œ Jœ

flu - ter, to

œ œ ‰ Œ Jœo - gle, to

œ œ ‰ Œ jœflut-ter, I

œ œ ‰ Œ Jœn

o - gle, I

œ œ œ œœ œ

Jœœœ œœœ Œ J

œœœn


Eyes and No Eyes

&

&

&

?

&

?

# # #

# # #

# # #

# # #

# # #

# # #

CLO.

COL.

NIC.

CAS.

95 .œn Œ Jœflirt, to

.œb Œ Jœleer, to

.œ#Œ jœ

flirt, I

.œ Œ Jœn

leer, I

œn œ œ œn œb œ

Jœœœb œœœ Œ J

œœœn

.œ Œ jœtease, To

.œ Œ jœwink, To

.œ Œ jœtease, I

.œ Œ Jœ

wink, I

œ œ œ œœ œ

Jœœœ œœœ Œ J

œœœ

œ œ ‰ Œ Jœn

gig-gle, to

œ ‰ Œ jœflirt, to

œ œ ‰ Œ Jœn

gig-gle, I

œ ‰ Œ Jœ#flirt, I

.œŸ

œŸ jœn

Ÿ.˙

œœœœœœ

œœœœœœ

œœœœœœ#

n

œ œ ‰ Œ Jœ

flut-ter, to

œ œ ‰ Œ jœ#o - gle, to

œ# œ ‰ Œ jœflut-ter, I

œ œ ‰ Œ Jœ

o - gle, I

.˙Ÿœ œ œ œ# œ œ

œœœ# œœœ œœœ œœœn œœœ œœœ

Jœ ‰ ‰ Jœ ‰ ‰flirt and

Jœ ‰ ‰ Jœ ‰ ‰leer and

jœ ‰ ‰ jœ ‰ ‰flirt, I

Jœ ‰ ‰ Jœ ‰ ‰leer, I

.˙Ÿ

œ# œJœ ‰ ‰ Jœ ‰ ‰

Jœœœ# ‰ ‰ J

œœœ ‰ ‰

Jœ ‰ ‰ Œ ‰tease.

jœ ‰ ‰ Œ ‰wink.

jœ‰ ‰ Œ ‰

tease.

jœ ‰ ‰ Œ ‰wink.

Jœœ ‰ ‰ J

œœ

‰ ‰

Jœœœ ‰ ‰ jœ

œ‰ ‰

fZ


Eyes and No Eyes

CLO. (opening basket). There, there it is. (Showing cloak which is in basket.)

CASS. (looking in). Where?

NIC. I don’t see any cloak.

COL. No, I told you you wouldn’t be able to see it.

CASS. Pooh, pooh! there’s no cloak here. (Aside.) Oh remorse, I see it plainly.

NIC. (aside). Agony! It’s as plain as a pikestaff.

CLO. But if you can’t see it, you can feel it.

CASS. I do, I feel it very much.

CLO. But I mean the cloak.

CASS. Oh, I beg your pardon.

(CASSANDRE and NICOLETTE put their hands into the basket.)

NIC. Dear me, there certainly is something here.

CASS. Well, that’s the most extraordinary thing I ever experienced. There certainly is a cloak,cotton velvet trimmed with rabbit-skin.

5

10

72

Eyes and No Eyes


NIC. Yes, and a very pretty cloak too.

CASS. (suspiciously). How do you know it’s pretty?

NIC. Why, if it’s cotton velvet trimmed with rabbit-skin, it must be pretty, mustn’t it? Oh,Cassandre, do you doubt your particular and correct Nicolette?

CASS. Never! I believe it’s as invisible to you as it is to me.

NIC. (aside). About.

CASS. But I should like to have just one peep at it.

NIC. Cassandre!

CASS. If I might be permitted to allow my thoughts to wander from you for one minute, only one—

NIC. Cassandre, if ever that cloak meets your eye, the consequence will be Death!

CASS. To you?

NIC. No — to you.

CASS. (aside). Then the sooner I go stone blind the better.

Enter PIERROT and ARLEQUIN staggering. They throw themselves on to a bank and weep.

NIC. Why bless the boys, what’s this?

ARL. It is remorse.

PIER. It is the voice of conscience. (To CASSANDRE) Listen, old man, we love your nieces — butwe are unworthy of them. We found that out half an hour ago.

CASS. I found it out half a year ago.

PIER. On making the discovery we resolved to reform. For half an hour each of us has stood in acorner. Old man, we went into the corners reckless and light-hearted and triflers; we came out ofthose corners the repentant wrecks you see before you.

ARL. Old man, we have been thoughtless butterflies — we are now sober and highly respectableworms. We have winked much, but we will never wink again.

PIER. We have winked our last wink, we have squeezed our last squeeze, we have soft-nothingedour last soft-nothing.

CASS. If I could be sure that you are reformed characters—

PIER. Old man, we are indeed.

ARL. Old man—

15

20

25

30

35

40

73

Eyes and No Eyes


CASS (furious). Do not call me old man. I won’t take your word for your reformation, I must havesome proof. Call again in ten years.

ARL. Oh, Pierrot, this will break my heart.

PIER. Arlequin! (Sobs on his breast.)

Enter COLUMBINE and CLOCHETTE. [See note on p. 96.]

CASS. Stay, I have a plan. (Takes mantle.) Can you see this mantle?

PIER. (overjoyed). I can. Ha, ha, ha! (Hysterically.)

ARL. So can I. Ha, ha, ha!

CASS. I thought so.

PIER. It is made of the richest cotton velvet.

ARL. Trimmed with the rarest rabbit.

PIER. Its color — is yellow.

ARL. And it is trimmed with silver.

CASS. Scoundrels! Know that this mantle which you see so plainly is visible only to those that arefaithless.

ARL. I beg your pardon — faithful.

NIC. Oh no — faithless.

PIER. Faithful.

CASS. Faith—

ARL. (loudly). Ful!

NIC. Less, I say.

PIER. Ful, I say.

CASS. Less.

ARL. Ful!

NIC. Clochette, Columbine — what is the truth of this?

CASS. We are both agreed that it is faith — on that point we are unanimous. The only question is,is it ful or is it less.

45

50

55

60

65

70

74

Eyes and No Eyes


PIER.and I say ful.ARL.

NIC.and I say less.CASS.

PIER. The less you say the better.

NIC. What? (Angrily.)

PIER. Nothing.

COL. Well, uncle, in a kind of way you’re both right. and It’s visible to true lovers under thirty,CLO. and invisible to true lovers over thirty.

CASS. But— Nicolette saw it, and she is ever so much under thirty. Oh, cockatrice!(To NICOLETTE.)

NIC. (kneeling). Cassandre, listen to the confession of a guilty girl. I did indeed see it, but — Ihave deceived you as to my age. I was thirty the day before yesterday. (Weeps.)

CASS. Quite thirty?

NIC. Quite.

CASS. Well, you don’t look it.

NIC. My own.

CASS. My love! Now to make the children happy. (To ARL. and PIER.) Here are my nieces.Which of them do you love?

PIER. (With CLO.) We don’t know — we leave that to you. Only — we should like one apiece.

(ARLEQUIN is with COLUMBINE.)

CASS. You shall have one apiece. The simple halfpenny shall decide. Heads, Arlequin hasColumbine; tails, Pierrot has Columbine. (He tosses.) Heads! Clochette, go to Arlequin;Columbine, go to Pierrot.

ARL. But—

CASS. Will you do as I tell you?

(PIERROT has had his arm round COLUMBINE and ARLEQUIN has had his arm aroundCLOCHETTE. They exchange lovers unwillingly.)

}

}

}75

80

85

90

105

&

&

&

V

V

?

&

?

b

b

b

b

b

b

b

b

44

44

44

44

44

44

44

44

CLOCHETTE

COLUMBINE

NICOLETTE

PIERROT

ARLEQUIN

CASSANDRE

∑

∑

∑

∑

∑

∑

œ œ# œ œ# œ œ# œ œ œ œ# œ# œn3 3 33

œ œ# œ œ# œ œ# œ œ œ œ# œ# œn33

33

f

Agitato ∑

∑

∑

∑

∑

∑

jœ œ œ# œ œb œn œ œ#

Jœ œœ

œœ#

# œœ

œœb

b œœn

n œœ

œœ#

#

œ œ œ œ ‰ Jœ .œ# > œA-go-ny and fell des-

œ œ œ œ ‰ Jœ .œ# > œA-go-ny and fell des-

œ œ œ œ ‰ jœ# .œ> œA-go-ny and fell des-

Œ œ# œ œ ‰ Jœ.œ> œ

A-go-ny and fell des-

Œ œ œ œ ‰ Jœ .œ> œA-go-ny and fell des-

Œ œn œ œ ‰ Jœ .œ> œ


œ œ œ œœ# œ œœ œœ ‰ Jœœœ# ...

œœœ## œœœ

œœ

œœ

œœ œ

œnn œ

œœœ ‰ J

œœ ...œœœ œœœ

75

Eyes and No Eyes

No. 7. Finale: “Agony and fell despair!”Ensemble

&

&

&

V

V

?

&

?

b

b

b

b

b

b

b

b

812

812

812

812

812

812

812

812

CLO.

COL.

NIC.

P.

A.

CAS.

4 ˙ œ Jœ ‰U

pair!

˙ œ Jœ ‰U

pair!

œn œb œ jœ# ‰U

pair!

˙ œ Jœ ‰U

pair!

˙ œ Jœ ‰U

pair!

˙# œ Jœn ‰U

pair!

Jœœœn œ œ œ œ œ œ œ œ

jœ ‰3 3 3

œb œJœ# ‰

˙ jœJœœœ# ‰ œ

œ#œœ J

œœn

n ‰

U

U

œ œn œ# œ œ œ œThis will end I know not


Œ œ œ# œn œ œ œThis will end I know not

œ# œ œ œ œn œ# œThis will end I know not

œ# œ œ œ œ œ œThis will end I know not

Œ œn œ# œ œ œœ

This will end I know not

œ œn œ# jœ ‰Jœœœ ‰

Œ œ œ# Jœn

œ# œ œ jœ‰ jœ

œ‰Œ œN œ# Jœ

Z

.œ Jœ ‰ ‰ Œ ‰ Œ ‰where!

.œ jœ ‰ ‰ Œ ‰ Œ ‰where!





jœœ ‰ ‰ .œ Œ ‰ .œ‰ œ œ œ œ œ ‰ œ œ œ œ œ

.

.œœ

Œ jœ ..

œœ

Œ jœ

p

76 No. 7. Finale: “Agony and fell despair!”

Eyes and No Eyes

V

&

?

b

b

b

P.

7

.œ jœ ‰ jœ œ# Jœ œJœ

I be-lieved un - til to -

Œ ‰ .œ Œ ‰ .œ‰ œ œ œ œ œ ‰ œ œ œ œ œ

.

.˙# ..˙#

PIERROT .œ Jœ ‰ ‰ .œ# Jœ ‰ Jœ

day Both pos -

‰ œ œ œ œ œ ‰ œ# œ œ# œ œb.˙ .˙#

.˙n .˙.œ .œ# .œn .œn

.œ .œn .œ .œsessed this heart of

œn œ œ ‰ œn œ ‰ œ œ ‰ œ œ#.œ ‰ œ ‰ œ ‰ œ

.œ .œ .œ .œ.wb

V

&

?

b

b

b

P.

10

.œ# œ ‰ .œ .œ#mine Nei - ther

‰ œn œ# ‰ œ œ ‰ œ# œ ‰ œ œ.˙# .˙

Œ ‰ .˙ .œ.wn

.œ jœ ‰ jœ .œ .œless and nei - ther

.˙ .œ .œ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ# œ

.œ# .œn .œ .œ.˙ .œ.œ

.˙ Œ ‰ Œ ‰more.

œ œ œ œ œ œ œ œ œ œ œ œœœ ‰ Œ ‰ Ó .œ

‰ Œ ‰ Ó .

V

&

?

b

b

b

P.

13 .œ Jœ ‰ Jœ .œ Jœ ‰ JœNow that I have

.wŒ ‰ Œ ‰ œ Jœn œ Jœ

œ œ œ œœ‰ œ œ œ œœ

‰

œJœn .œ Œ ‰ .œ

Co - lum-bine I’ve

.˙ œ jœ œ ‰œJœn .œ .œ œ ‰

œ# œœ œœ

‰œ

œ œ# œœ‰

.œ Jœ ‰ Jœn œ Jœ œ jœfound (a- lack and well - a -

Œ ‰ ..œœŒ ‰ ..œœ

‰ œ. œ

.Œ ‰ ‰ œ

.œ.

Œ ‰.œ Œ ‰ .œ Œ ‰

V

&

?

b

b

b

P.

16

.œ .œ# Œ jœ œ#jœ

day) It is Clo -

Œ ‰ ..œœ# œœjœ

œœœ##

jœœn‰ œn œ

œ Jœ œ jœ œn œ œ œ œœ

.œ œ jœ œn jœ œ#jœ

chette, Clo-chette that I a -

‰ œœ œjœœ ‰ ‰ ‰ œœn

œnjœœ ‰ ‰

.

..œœœ

jœœœ ‰ ‰ ...œœœ

jœœœ‰ ‰

77No. 7. Finale: “Agony and fell despair!”

Eyes and No Eyes

&

&

&

V

V

?

&

?

b

b

b

b

b

b

b

b

44

44

44

44

44

44

44

44

CLO.

COL.

NIC.

P.

A.

CAS.

18

Œ ‰ Œ ‰ Œ Jœn œ JœIt is Clo -

Œ ‰ Œ ‰ Œ jœ œ jœIt is Clo -


.˙ Jœ ‰ ‰ Œ ‰dore.


Œ ‰ Œ ‰ Œ Jœ œ jœnIt is Clo -

‰ œ œ ‰ œ œ jœ

‰ jœœœn œœœjœœœ‰ œ œ

‰œ

œœ

‰ œ Jœ Jœ ‰ jœœ

œœ

jœœn

n

NICOLETTE

ARLEQUIN

CASSANDRE

COLUMBINE

CLOCHETTE

PIERROT

.˙ Jœ ‰ ‰ œn Jœchette he a -

.˙ jœ ‰ ‰ œ# jœchette he a -

.˙ jœ ‰ ‰ œ jœchette he a -

Œ jœ œn Jœ Jœ ‰ ‰ œ JœIt is Clo-chette I a -

.˙ jœ ‰ ‰ œ jœchette he a -

.˙ jœ ‰ ‰ œ Jœchette he a -

œœœ Jœœ

œœn

nJœœ

œœ ‰ œœœ# J

œœœ

œœ

Jœœn Jœ

œ‰ œ

œjœ

œ

.œ Œ ‰ Œ ‰ Œ ‰dores.



.œ Œ ‰ Œ ‰ Œ ‰dore.



Jœœœ œ œ œ œ# œ œ> œn > œ> œ# >

4

jœœ

œœ œ

œ œœ

œœ#

# œœ

œœ> œ

œnn > œ

œ> œ

œ## >

4


Eyes and No Eyes

&

&

&

V

V

?

&

?

b

b

b

b

b

b

b

b

44

44

44

44

44

44

44

44

CLO.

COL.

NIC.

P.

A.

CAS.

21œ œ œ œ ‰ Jœ .œ# > œA - go - ny and fell des -

œ œ œ œ ‰ Jœ .œ# > œA - go - ny and fell des -

œ œ œ œ ‰ jœ# .œ> œA - go - ny and fell des -


A - go - ny fell des -

Œ œ œ œ ‰ Jœ .œ> œA - go - ny and fell des -


A - go - ny and fell des -


œœœ## œœœ

œœ

œœ

œœ œ

œnn œ

œœœ ‰ J

œœ ...œœœ œœœf

˙ œ Jœ ‰U

pair!

˙ œ Jœ ‰U

pair!


pair!

˙ œ Jœ ‰U

pair!

˙ œ Jœ ‰U

pair!

˙# œ Jœn ‰U

pair!


jœ ‰3 3 3

œb œJœ# ‰


œ#œœ J

œœn

n ‰

U

U


Eyes and No Eyes

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

23

œ œ œ œ œ œ œThis will end I know not

Œ œ œb œ œ œ# œnThis will end I know not


Œ œ œ œ# œ œ œThis will end I know not

œ œ œ œ œ œ œŒ œ œb œ œœ# œœn

Œ œ œ œ# œ œ

CLOCHETTE

COLUMBINE

PIERROT

ARLEQUIN

π

˙ Ówhere.

˙ Ówhere.

˙ Ówhere.

˙ Œ .œ œwhere. I be -

jœ œœœœœœ

œœœjœœœ

Jœ

jœ ‰ œ œ œp

∑

∑

∑

˙ ‰ Jœ .œ œlieved un- til to -

‰ œœœ#œœœ œœœ

jœœœ

œ# œ œn œw

∑

∑

∑

˙ Jœ ‰ œ œday On them

‰ œœ œœ œœjœœœ œ œ œ

˙ ˙w

V

&

?

b

b

b

43

43

43

A.

27

.œjœ œ œ

both my heart was


˙ ˙˙ ˙

˙ jœ ‰ œ œset. Nei- ther

œ œ œ œjœœ œœ œœ œœ

jœœww

.œJœ œ œ#

less and nei - ther

‰œ

œœ#

œœ

œ

‰ ‰ jœœ

œ

#

œ Œ œ

œ jœ ‰ œ œmore, Nei-ther

‰ œœœœœœ œœœ œ œœ

œ œ˙ œ

cresc.

V

&

?

b

b

b

A.

31

.œ jœ œ œless and nei-ther

œœ œœ œœ œœœnŸ

œ œ œ œ

Œ œ œ œ œ˙ œ

œ jœ‰ Œ

more.

œ jœ ‰œœ.

œœ.œ Jœ‰

œ œœ œœ## œœ Œœ Œ

Œp

œ œ .œ JœNow that I pos -

œœœb .œœœ.

œœ œœ#˙

Œ ‰ œ. œ. œ.

.œ œ œ ‰ jœsess Clo-chette I’ve

‰ œœœ‰ œœœ

‰ œœœb

œ œ œ


Eyes and No Eyes

V

&

?

b

b

b

A.

35

.œ Jœ œ œfound (a - lack and

‰ jœœœ œœœ# œœœ‰ jœœœ#

˙ œnŸ

œ œ œ Jœ ‰well - a - day)

œ œœ# ˙˙ œ œn

œ œ œœœ

œœ

œœ

œ œ .œ jœCol - um-bine I

œœœ œœœ ...œœœjœœ

.

.œœ

œ œ œ.œ

.œ œ œ jœ ‰do a-dore,

.œ œ œ jœ ‰œœ œœ œœ œœ œœ œœ

œ# œ œ œ œ œœ Jœ ‰ Œ

&

&

&

V

V

?

&

?

b

b

b

b

b

b

b

b

44

44

44

44

44

44

44

44

CLO.

COL.

NIC.

P.

A.

CAS.

39 .œ œ œ œ .œœ#

Col - um-bine he does a -

.œn œ œ œ .œ œCol - um-bine he does a -

.œ# œ œ œ .œ œCol - um-bine he does a -

.œ œ œ œ .œ œ

Col - um-bine he does a -

.œn œ œ œ .œ œCol - um-bine I do a -

.œ œ œ œ .œ œCol - um-bine he does a -

œ œ œœ.˙#

.˙n œ œ œ

CLOCHETTE

COLUMBINE

NICOLETTE

PIERROT

ARLEQUIN

CASSANDRE

œ Œ Ódore.

œ Œ Ódore.

œ Œ Ódore.

œ Œ Ódore.

œ# Œ Ódore.

œ Œ Ódore.

jœ œ>

œ#>

œ>

œ>

œn>

œ>

œ#>

Jœ

jœ#Jœ

œœ> œ

œ## > œ

œ> œ

œ> œ

œnn > œ

œ> œ

œ## >

œ œ œ œ ‰ Jœ .œ# > œA-go - ny and fell des-

œ œ œ œ ‰ Jœ .œ# > œA-go - ny and fell des-

œ œ œ œ ‰ jœ# .œ> œA-go - ny and fell des-



Œ œ œ œ ‰ Jœ .œ> œA-go-ny and fell des-




œœœ## œœœ

œœ

œœ

œœ œ

œnn œ

œœœ ‰ J

œœ ...œœœ œœœf


Eyes and No Eyes

&

&

&

V

V

?

&

?

b

b

b

b

b

b

b

b

812

812

812

812

812

812

812

812

CLO.

COL.

NIC.

P.

A.

CAS.

42 ˙ œ Jœ ‰U

pair!

˙ œ Jœ ‰U

pair!


pair!

˙ œ Jœ ‰U

pair!

˙ œ Jœ ‰U

pair!

˙# œ Jœn ‰U

pair!


jœ ‰3 3 3

œb œJœ# ‰


œ#œœ J

œœn

n ‰

U

U

œ œn œ# œ œ œ œ



Œ œ œ# œn œ œ œThis will end I know not

œ# œ œ œ œn œ# œThis will end I know not

œ# œ œ œ œ œ œThis will end I know not

Œ œn œ# œ œ œœ


œ œn œ# jœ ‰Jœœœ ‰

Œ œ œ Jœn

œ# œ œ jœ‰ jœ

œ‰Œ œn œ# Jœ

Z

..œœ Jœœ ‰ ‰ Œ ‰ Œ ‰

where!

..œœ Jœœ ‰ ‰ Œ ‰ Œ ‰

where!





jœœ ‰ ‰ .œ Œ ‰ .œ‰ œ œ œ œ œ ‰ œ œ œ œ œ

.

.œœ

Œ jœ ..

œœ

Œ jœ


Eyes and No Eyes

&

&

?

b

b

b

CLO.

45

.œ jœ ‰ jœ œ# Jœ œJœ

I be-lieved un - til to -

Œ ‰ .œ Œ ‰ .œ‰ œ œ œ œ œ ‰ œ œ œ œ œ

.

.˙# ..˙#

CLOCHETTE .œ Jœ ‰ ‰ .œ# Jœ ‰ Jœday Both a -

‰ œ œ œ œ œ ‰ œ# œ œ# œ œb.˙ .˙#

.˙n .˙.œ .œ# .œn .œn

.œ .œn .œ .œlike in love did

œn œ œ ‰ œn œ ‰ œ œ ‰ œ œ#.œ ‰ œ ‰ œ ‰ œ

.œ .œ .œ .œ.wb

&

&

?

b

b

b

CLO.

48

œ# œ ‰ .œ .œ# ‰shine, Nei - ther

‰ œn œ# ‰ œ œ ‰ œ# œ ‰ œ œ.˙# .˙

Œ ‰ .˙ .œ.wn

.œ jœ ‰ jœ .œ .œless and nei - ther

.˙ .œ .œ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ# œ

.œ# .œn .œ .œ.˙ .œ.œ

.˙ Œ ‰ Œ ‰more.

œ œ œ œ œn œ œ œ œ œ œ œœ

œ ‰ Œ ‰ Ó .œ

‰ Œ ‰ Ó .

&

&

?

b

b

b

CLO.

51 .œ Jœ ‰ Jœ .œ œ JœNow that Ar - le -

.wŒ ‰ Œ ‰ œ Jœn œ Jœ

œ œ œ œœ‰ œ œ œ œœ

‰

œJœn .œ Œ ‰ .œ

quin is mine I’ve

.˙ œ jœ œ ‰œJœn .œ .œ œ ‰

œ# œœ œœ

‰œ

œ œ# œœ‰

.œ Jœ ‰ Jœn œ Jœ œ jœfound (a - lack and well - a -

Œ ‰ ..œœŒ ‰ ..œœ

‰ œ. œ

.Œ ‰ ‰ œ

.œ.

Œ ‰.œ Œ ‰ .œ Œ ‰

&

&

?

b

b

b

CLO.

54

.œ .œ# Œ jœ œ#jœ#

day) It is Pier -

Œ ‰ ..œœ# œœjœ

œœœ##

jœœn‰ œn œ

œ Jœ œ jœ œn œ œ œ œœ

.œ œ jœ œn jœ œ#jœ

rot, Pier - rot that I a -

‰ œœnœ

jœœn ‰ ‰ ‰ œœnœn

jœœ ‰ ‰

.

..œœœ

jœœœ ‰ ‰ ...œœœ

jœœœ‰ ‰


Eyes and No Eyes

&

&

&

V

V

?

&

?

b

b

b

b

b

b

b

b

44

44

44

44

44

44

44

44

CLO.

COL.

NIC.

P.

A.

CAS.

56

.˙ Jœ ‰ Jœn œ Jœdore, It is Pier -

Œ ‰ Œ ‰ Œ jœ œ jœIt is Pier -


∑


Œ ‰ Œ ‰ Œ Jœ œ jœnIt is Pier -

‰ œ œ ‰ œ œ jœ

‰ jœœœn œœœjœœœ‰ œ œ

‰œ

œœ

‰ œ Jœ Jœ ‰ jœœ

œœ

jœœn

n

CLOCHETTE

COLUMBINE

NICOLETTE

PIERROT

ARLEQUIN

CASSANDRE

.˙ Jœ ‰ ‰ œn Jœrot I a -

.˙ jœ ‰ ‰ œ# jœrot she a -

.˙ jœ ‰ ‰ œ jœrot she a -

Œ jœ œn Jœ Jœ ‰ ‰ œ JœIt is Pier-rot she a -

.˙ jœ ‰ ‰ œ jœrot she a -

.˙ jœ ‰ ‰ œ Jœrot she a -

œœœ Jœœ

œœn

nJœœ

œœ ‰ œœœ# J

œœœ

œœ

Jœœn Jœ

œ‰ œ

œjœ

œ

.œ Œ ‰ Œ ‰ Œ ‰dore.






Jœœœ œ œ œ œ# œ œ> œn > œ> œ# >

4

jœœ

œœ œ

œ œœ

œœ#

# œœ

œœ> œ

œnn > œ

œ> œ

œ## >

4


Eyes and No Eyes

&

&

&

V

V

?

&

?

b

b

b

b

b

b

b

b

44

44

44

44

44

44

44

44

CLO.

COL.

NIC.

P.

A.

CAS.

59œ œ œ œ ‰ Jœ .œ# > œA - go - ny and fell des -

œ œ œ œ ‰ Jœ .œ# > œA - go - ny and fell des -

œ œ œ œ ‰ jœ# .œ> œA - go - ny and fell des -


A - go - ny and fell des -

Œ œ œ œ ‰ Jœ .œ> œA - go - ny and fell des -

Œ œn œ œ ‰ Jœ .œ> œA - go - ny and fell des -


œœœ## œœœ

œœ

œœ

œœ œ

œnn œ

œœœ ‰ J

œœ ...œœœ œœœ

f

˙ œ Jœ ‰U

pair!

˙ œ Jœ ‰U

pair!


pair!

˙ œ Jœ ‰U

pair!

˙ œ Jœ ‰U

pair!

˙# œ Jœn ‰U

pair!


jœ ‰3 3 3

œb œJœ# ‰


œ#œœ J

œœn

n ‰

U

U


Eyes and No Eyes

&

&

V

V

&

?

b

b

b

b

b

b

CLO.

COL.

P.

A.

61


Œ œ œb œ œ œ# œnThis will end I know not


Œ œ œ œ# œ œ œThis will end I know not

œ œ œ œ œ œ œŒ œ œb œ œœ# œœn

Œ œ œ œ# œ œ

CLOCHETTE

COLUMBINE

PIERROT

ARLEQUIN

π

˙ Ówhere.

˙ Œ .œ œwhere. I be -

˙ Ówhere.

˙ Ówhere.

jœ œœœœœœ

œœœjœœœ

Jœ

jœ ‰ œ œ œp

∑

˙ ‰ Jœ .œ œlieved un- til to -

∑

∑

‰ œœœ#œœœ œœœ

jœœœ

œ# œ œn œw

∑

˙ Jœ ‰ œ œday That I

∑

∑


˙ ˙w

&

&

?

b

b

b

43

43

43

COL.

65

.œjœ .œ Jœ

loved them both so -


˙ ˙˙ ˙

˙ Œ œ œso! Nei - ther

œ œ œ œjœœ œœ œœ œœ

jœœww

.œJœ œ œ#

less and nei - ther

‰œ

œœ#

œœ

œ

‰ ‰ jœœ

œ

#

œ Œ œ

œ jœ ‰ œ œmore, Nei-ther

‰ œœœœœœ

n œœœ œ œœ

œ œ˙ œ

cresc.

&

&

?

b

b

b

COL.

69

.œ jœ œ œless and nei-ther

œœ œœ œœ œœœnŸ

œ œ œ œ

Œ œ œ œ œ˙ œ

œ jœ‰ Œ

more.

œ jœ ‰œœ.

œœ.œ Jœ‰

œ œœ œœ## œœ Œœ Œ

Œp

œ œ .œ Jœ

Now that I have

œœœb .œœœ.

œœ œœ#˙

Œ ‰ œ. œ. œ.

.œ œ œ ‰ jœgot Pier-rot I’ve

‰ œœœ‰ œœœ

‰ œœœb

œ œ œ


Eyes and No Eyes

&

&

?

b

b

b

COL.

73

.œ Jœ œ œfound (a - lack and

‰ jœœœ œœœ# œœœ‰ jœœœ#

˙ œnŸ

œ œ œ Jœ ‰well - a - day)

œ œœ# ˙b˙ œ œn

œ œ œœœ

œœ

œœ

œ œ .œ jœAr - le-quin I

œœœ œœœ ...œœœjœœ

.

.œœ

œ œ œ.œ

.œ œ œ jœ ‰do a-dore.

.œ œ œ jœ ‰œœ œœ œœ œœ œœ œœ

œ# œ œ œ œ œœ Jœ ‰ Œ

&

&

&

V

V

?

&

?

b

b

b

b

b

b

b

b

n# #

n# #

n# #

n# #

n# #

n# #

n# #

n# #

42

42

42

42

42

42

42

42

CLO.

COL.

NIC.

P.

A.

CAS.

77 .œ œ œ œ .œœ#

Ar-le-quin she does a -

.œn œ œ œ .œ œAr-le-quin I do a -

.œ# œ œ œ .œ œAr-le-quin she does a -

.œ œ œ œ .œ œ

Ar-le-quin she does a -

.œn œ œ œ .œ œAr-le-quin she does a -

.œ œ œ œ .œ œAr-le-quin she does a -

œ œ œœ.˙#

.˙n œ œ œ

CLOCHETTE

COLUMBINE

NICOLETTE

PIERROT

ARLEQUIN

CASSANDRE

.˙dore.

.˙dore.

.˙dore.

.˙

dore.

.˙#dore.

.˙dore.

œ œ œn œ œœ

œ

.œ#

.œœœ œœ œœ

∑

∑

∑

∑

∑

∑

œ œ œn œ œœ

œ

...œœœn œœœ œœœ œœœ

(CASSANDRE and NICOLETTE come forward lovingly.)

∑

∑

∑

∑

∑

∑

œœ

œœ

œœœœ# œœ œœ#

œ œ œ#

∑

∑

∑

∑

∑

∑

.˙ ..˙#

..˙

∑

∑

∑

∑

∑

∑

jœ ‰ Œ ŒJœœ

‰ Œ Œ

jœœ ‰ Œ Œ


Eyes and No Eyes

&

?

&

?

# #

# #

# #

# #

42

42

42

42

NIC.

CAS.

83

.œ œ œ œHap - py, hap - py

.œ œ œ œ

Hap - py, hap - py


œœœœœœ

CASSANDRE

NICOLETTE

(Allegretto)

œ œ œshall we be,

œ œ œ

shall we be,


œœœœœœ

œœœ>

.œ œ œ œYou and I and

.œ œ œ œ

You and I and

..œœ œœ œœ œœœ œ

œœ

œœ

œ œ œhe and she;

œ œ œ

he and she;

œœœ œœœœ>

œœ œœ œœ>

œ œ .œ œHap-py we and

œ œ .œ œ

Hap-py we and

œ œ œ œœœ œœ

œœœ

œœœ

œœ œ

hap - py they,

œœ œ

hap - py they,

œœœ œœ œœ

œœœ œœ

&

&

&

V

V

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

CLO.

COL.

NIC.

P.

A.

CAS.

89

∑

∑

œ œ œ œ .œ œSing a mer - ry roun - de -

∑

∑

œ œ œ œ .œ œ

Sing a mer - ry roun - de -

œ œ œ œ .œ œ. .œ Rœ

œ œ .œ œ. .œ Rœ

NICOLETTE

CASSANDRE

∑

∑

œ jœ ‰lay.

∑

∑

œ Jœ ‰lay.

œ œ œ œ jœ ‰œ Jœ‰

œ œ#jœ ‰œ œ Jœ ‰

CLOCHETTE

COLUMBINE

PIERROT

ARLEQUIN

œ œn œ œ .œ œbSing a mer - ry roun - de -

œ œ œ œ .œ œSing a mer - ry roun - de -

∑

œ œ œ œ .œ œ#Sing a mer - ry roun - de -

œ œn œ œ .œ œSing a mer - ry roun - de -

∑

œ .jœrœ

œ œn œ œ .jœ rœœ#œœ

œœ.

œœ.

œœ.

œœ.

œœ.

œœ.

very dismally

very dismally

very dismally

very dismally

rall.

rall.

rall.

rall.

rall.

œ jœ ‰lay.

œ jœ‰

lay.

∑

œ jœ ‰lay.

œ jœ ‰lay.

∑

jœœœ

œœ

œœ

œœ

œœ

jœœ

Jœœ

œœ

œœ

œœ

œ œ

a tempo

a tempo

a tempo

a tempo

a tempo


Eyes and No Eyes

&

?

&

?

# #

# #

# #

# #

NIC.

CAS.

93

.œ œ œ œDance and sing and

.œ œ œ œ

Dance and sing and


œœœœœœ

œ œ œ œ ‰flirt and quar-rel,



œœœœœœ

œœœ>

.œ œ œ œMake it up and

.œ œ œ œ

Make it up and


œœœœœœ

œ œ œ œ ‰draw a mo-ral;œ œ œ œ

‰draw a mo-ral;


œœœœœœ

œœœ>

œ œ œ œSeal it with our

œ œ œ œ

Seal it with our

œ œ œ œœœ œœ

œœœ

œœœ

&

?

&

?

# #

# #

# #

# #

83

83

83

83

NIC.

CAS.

98œ

œ œ œ ‰lips of cor-al,œ

œ œ œ ‰lips of cor-al,

œœœ œœ œœ

œ#œœ# œœ

œ œ œ œ .œ œSing a mer-ry roun - de -

œ œ œ œ .œ œ

Sing a mer-ry roun - de -

œ œ œ œ .œ œœ œ .œ œœ œœ ..œœ# œ

œ

œ Œlay!

œ Œlay!

œ œ œ œœœ

œœ

œœ

œœ

3 3

œœœ

œ œ œ œ œ œ œ3

3

N. & CAS. retire up

∑

∑

œ œ œ.œ

œœœ œœ

leggiero

∑

∑

œ œ œJœ

œ

œœœ œœ

∑

∑

œ# œ œœ œ œ

œ

œœ œœ

∑

∑œ œ œ œ œ œJœ

‰ ‰

Jœœœ ‰ ‰

&

&

?

# #

# #

# #

CLO.

105

œ œ œIf I wed

.œn ‰ œœœ ‰ œ

CLOCHETTE

œ œ œAr - le-quin—

.œ‰ œœœ ‰ œ

œ# œ œmy thoughts will

.œ# ‰ œœ

œ ‰ œ

œ ‰range!

œ ‰œœ œœ

‰

œ œ# œ œ œ œ

&

&

?

# #

# #

# #

COL.

109

‰ œ œ œ# œWhile they’re not

‰œ œ œ# œ

‰ œœ.œn

COLUMBINE œ œ œ œlook-ing at us,œ œ œ œ

‰ œœ.œ

‰ œ œ#let us

œ jœ#œ œ# œn

œ œ œ#œ#

Jœ

.œchange!

œ œ œ œnœJœ

œ jœœœ

œrall. e dim.


Eyes and No Eyes

&

?

# #

# #

42

42

113 œ œ œ œœJœn

œ jœœœ œ

(CLOCHETTE goes to PIERROT, COLUMBINE to ARLEQUIN.)

œ œ# œ œœ Jœn

œ jœ#œœ

œ

œ œ œjœb

Jœ ‰ Jœjœn ‰jœ

Jœ‰

Jœ

œ œ œjœ#

Jœ ‰ Jœjœ ‰ jœJœ

‰Jœ

.œn .œ

.œ .œ

jœ ‰ ‰Jœ

‰ ‰

jœ ‰ ‰

Jœ‰ ‰

π

&

&

&

V

V

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

42

42

42

42

42

42

42

42

CLO.

COL.

NIC.

P.

A.

CAS.

119


.œ œ œ œHap -Hap - py,py, hap -hap - pypy

.œ œ œ œHap-Hap - py,py, hap-hap - pypy




.œ œ œ œœœ œ œ

Œ œœœœœœœœ˙

˙

AllegrettoCLOCHETTE

CASSANDRE

ƒ

COLUMBINE

NICOLETTE

PIERROT

ARLEQUIN

œ œ œ

shall we be,

œ œ œ

shallshall wewe be,be,

œ œ œshallshall wewe be,be,




œ œ œœ œ œ


˙


.œ œ œ œYouYou andand II andand

.œ œ œ œYouYou andand II andand




.œ œ œ œ.œ œ œ œ


˙

œ œ œhe and she;

œ œ œhehe andand she;she;

œ œ œhehe andand she;she;

œ œ œhe and she;

œ œ œhe and she;

œ œ œhe and she;

œ œ œœœ œ œ


˙

œ œ .œ œHap-py we and

œ œ œ œHap-Hap-pypy wewe andand

œ œ œ œHap-Hap-pypy wewe andand

œ œ œ œHap-py we and



œœ

œœ

œœ

œœ

œœ

œœœ œœ

œœœ

œœ œ

hap-py they,

œ œ œhap-hap-pypy they,they,

œ œ œhap-hap-pypy they,they,

œ œ œhap-py they,

œ œ œhap-py they,

œ# œ œ

hap-py they,

œœ œ

œœœ

œ#œœœ# œœœ


Eyes and No Eyes

&

&

&

V

V

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

CLO.

COL.

NIC.

P.

A.

CAS.

125

œ œ œ œ .œ œSing a mer- ry roun - de -

œ œ œ œ .œ œSingSing aa mer-mer- ryry roun -roun - de -de -

œ œ œ œ .œ œSingSing aa mer-mer- ryry roun-roun - de -de -


œ œ œ œ .œ# œSing a mer- ry roun - de -


œœ œœ œœ œœ..œœ œœ

œ œ œœ œœ ..œœ# œœœ

.œ ‰lay.

.œ ‰lay.lay.

.œ ‰lay.lay.

.œ ‰lay.

.œ ‰lay.

.œ ‰lay.

jœœ œ œ œœ œœ œœ œœJœ

Jœœœ

œœn

n œœ

œœ

œ œ .œ œ

Dance and sing and

œ œ .œ œDanceDance andand singsing andand


œ œ .œ œDance and sing and

œ œ .œ œDance and sing and

œ œ .œ œ

Dance and sing and

œœœœœœ ...œœœ œœœ

œœ

œœ


œ œ œ œ ‰flirtflirt andand quar-quar-rel,rel,





œœœ œœ œœ ..œœ

œœ

œœ œœ ..œœ

œ œ .œ œ

Make it up and

œ œ .œ œMakeMake itit upup andand


œ œ .œ œMake it up and

œ œ .œ œMake it up and

œ œ .œ œ

Make it up and


œœ

œœ


Eyes and No Eyes

&

&

&

V

V

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

CLO.

COL.

NIC.

P.

A.

CAS.

130 œ œ œ œ ‰draw a mo-ral;

œ œ œ œ ‰drawdraw aa mo-mo-ral;ral;




œ œ œ œ ‰draw a mo-ral;


jœœ J

œœœœœœ ...œœœ

œ œ#Seal it

œ œnSealSeal itit

œ œSealSeal itit

œ œ#SealSeal itit

œ œSealSeal itit

œ œSeal it

œ>

œ#≈ œ œ œn

≈ œ œ œ

jœœœ J

œœ

œ œ œ œ œ œ ‰with our lips of cor - al,

œ œ œ œ œ œ ‰withwith ourour lipslips ofof cor -cor - al,al,




œ œ œ œ œ œ ‰with our lips of cor - al,

œœ œœœœ

œœ œœ ..œœ

œœ œœ œœ œœ œœ ..œœ

.œ œ œœ

Sing a mer - ry

.œ œ œ œ

SingSing aa mer -mer - ryry

.œ œ œ œSingSing aa mer -mer - ryry

.œ œ œ œ

SingSing aa mer -mer - ryry

.œ œ œ œSingSing aa mer -mer - ryry

.œ œ œ œ

Sing a mer - ry

...œœœ œœœ

œœœ œœœ



Eyes and No Eyes

&

&

&

V

V

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

CLO.

COL.

NIC.

P.

A.

CAS.

134 œ œ .œroun-de-lay!

œ œ .œroun-roun-de-de-lay!lay!

œ œ .œroun-roun-de -de-lay!lay!

œ œ .œ

roun-roun-de-de-lay!lay!

œ œ .œroun-roun-de -de-lay!lay!

œ œ .œroun-de-lay!

œœœœœœ œœœ Œ

œœœœœœ

œœœ œœ

œœ

œœ

œœ

œ œ .œ œ

Dance and sing and





œ œ .œ œ

Dance and sing and


œœ

œœ








jœœ J

œœ œœ ..œœ

œ œ .œ œ

Make it up and





œ œ .œ œ

Make it up and


œœ

œœ

œ œ œ œ ‰draw a mor-al;

œ œ œ œ ‰drawdraw aa mor-mor-al;al;




œ œ œ œ ‰draw a mor-al;


jœœ J

œœœœœœ ...œœœ


Eyes and No Eyes

&

&

&

V

V

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

CLO.

COL.

NIC.

P.

A.

CAS.

139œ œ

Seal it

œ œSealSeal itit

œ œSealSeal itit

œ œ#SealSeal itit

œ œSealSeal itit

œ œSeal it

‰œœœ ‰

œœœ

jœ˙ ˙

œ ‰ Jœwith our

œ ‰ Jœwith our

œ ‰ jœwith our

œ ‰ Jœ

withwith ourour

œ ‰ Jœwith our

œ ‰ Jœ

with our

‰œœœ

œœœœœœ

jœ˙ ˙

œ œlips of

œ œlips of

œ œlips of

œ œ#

lipslips ofof

œ œlips of

œ œ#

lips of

‰œœœ ‰

œœœ

œ œ œ# œ

Jœ œ ‰cor-al,

Jœ œ ‰cor-al,

Jœ œ ‰cor-al,

Jœ# œ ‰cor-cor-al,al,

Jœ œ ‰cor-al,

Jœ œ ‰cor-al,

œœœ

œœœœœœ

œœ

˙ ˙

œ œN œ

Sing a

œ œ œSing a

œ œ œ#Sing a

œ œ# œ

SingSing aa

œ œ œSing a

œ œ œ

Sing a

œœœœœ# œ œ

œœ

œœ

œrall.

rall.

rall.

rall.

rall.

rall.

rall.

œ œ œ œ

mer - ry

œ œmer - ry

œ œ œmer - ry

œ œ œ

mer -mer - ry

Jœ.œ

mer-ry

œ œmer - ry

œ œ œœ œœœœ œ

œ œ œœ œ

œ .œ œroun - de -



œN .œ œ

roun -roun - de -de -



Jœœœœ ‰

Jœœœœ ≈ R

œœœ

Jœœ ‰

Jœœ ≈

rœœ

˙lay!

˙lay!

˙lay!

˙

lay!lay!

˙lay!

˙lay!

Jœœœ œŸ œ

≈ JœŸ

jœœ

œŸ œ ≈ JœŸ


Eyes and No Eyes

&

&

&

V

V

?

&

?

# #

# #

# #

# #

# #

# #

# #

# #

CLO.

COL.

NIC.

P.

A.

CAS.

147

Œ œ œSing a

Œ œ œSing a

Œ œ œSing a

Œ œ œSingSing aa

Œ œ œSing a

Œ œ œ

Sing a

œœ œœ œœ œœ

œœœ œœ

œœ

a tempoƒ

a tempo

a tempo

a tempo

a tempo

a tempo

a tempo

œ œmer - ry

œ œmer - ry

œ œmer - ry

œ œmer -mer - ryry

œ œmer - ry

œ œ

mer - ry

œœ œœœœ

œœœ œœ

œœ

.œ œ œ

roun - de- lay!

.œ œ œroun - de- lay!


.œ œ œ

roun -roun - de-de- lay!lay!



œ œ œ œœ œ œ œ

œœœ œœ

œœ

˙

˙

˙

˙

˙

˙


œœœœœœ

∑

∑

∑

∑

∑

∑


œœœœœœ

∑

∑

∑

∑

∑

∑


œœœ œœœ

&

?

# #

# #

153œ œ œ œ

œ œ œ œ

œœœ œœ

œœ


œœœ œœ

œœ


œœœ œœ

œœ

œœœ œ Jœœœ ‰

œœœ jœœœ

‰

U

u

Ï


Eyes and No Eyes

96

Eyes and No Eyes

p. 10: This brief introduction, akin to what Sullivan typically writes for his opening numbers,provides an alternative to the composer’s full introduction in the event that the work needs tobe shortened for inclusion in a double or triple bill. The music is taken from the introduction(bars 162 to 170, transposed down a fifth) and the finale (excerpted from bars 77 to 118).

No. 2, m. 5: The natural sign on the G on beat 4 in the right hand was missing in the originalvocal score (OVS).

No. 2, mm. 81-82: OVS omits the line “And shave off all my hair.” I have added these two bars,based on the music in bars 57 and 58, as a plausible setting of the missing text.

No. 2, m. 88: I have added the Allegretto indication on the assumption that the Adagio onlyapplies to the instrumental music played between the notes in the vocal part.

No. 3, m. 98: OVS shows only an eighth note for “earth”; I have changed it to a quarter notebased on the printed rests.

No. 3, mm. 59 & 63: OVS omits the poco rall. and a tempo in these bars, found in bars 17 and 21.

No. 4, m. 46: The flat sign on the G on beat 2 in the left hand was missing in OVS.

No. 4, m. 86: The text for Pierrot and Arlequin has been corrected to “Yes” from “Oh” in OVS(based on the Stedman libretto).

No. 6, m. 15: OVS has a slur on the first two notes; I have emended this to be consistent with bar37. One could, of course, choose to make bar 37 the same as bar 15.

No. 6, mm. 58-60: Gilbert’s libretto assigns this line to both Nicolette and Cassandre, but onlythe music for Nicolette appears in OVS. While acknowledging that composers are generallyfree to adjust part assignments from the libretto, I thought this particular line might be moreeffective sung by both Nicolette and Cassandre. Purists can ignore Cassandre’s part in these bars.

No. 6, m. 60: OVS assigns this line to Clochette, but Gilbert’s libretto assigns it to Columbine. Inthis case I felt Gilbert’s intention clearly should override what may well have been an error on thepart of either the composer or the engraver.

No. 6, line 48, p. 73: This stage direction is present in all versions of the libretto but is eitherspurious or was preceded somewhere by a missing exit direction for Clochette and Columbine.

No. 7, mm. 23 & 61: The natural sign on Columbine’s last note in both bars was missing in OVS.

No. 7, m. 33: The trill is not present in OVS; I have added it based on the otherwise identical musicin measure 69.

No. 7, m. 74: The natural sign on the final eighth note F in the right hand was missing in OVS.

No. 7, m. 77: OVS has D for the final 16th in Pierrot’s part, while bar 39 has F. I have made themconsistent (both F).

No. 7, m. 83: I have added the Allegretto on the assumption that this section will be same tempoas the music beginning in bar 119.

Editorial Notes

· 2018. 3. 28. · 3 Contents Characters Foreword 3 4 Eyes and No Eyes 1. 2. 3. 4. 4a. 5. 6. 7....

Documents

Transcript of · 2018. 3. 28. · 3 Contents Characters Foreword 3 4 Eyes and No Eyes 1. 2. 3. 4. 4a. 5. 6. 7....