The book for this musical is a heavily fictionalized and romanticized story about François Villon, taken from a popular novel and play, If I Were King (1901), by Justin McCarthy. In fact, about the only thing historical is the character of François Villon and his engagement in criminal activities. That he is presented as a swashbuckling type who would eventually put his skills to positive use fits a well-established stereotype in the nineteenth and early twentieth century stage and film repertoires (think Zorro, Captain Blood, Robin Hood [as played by Errol Flynn], and many others).
Briefly and very roughly, Louis XI condemns Villon to death; the latter raises the Paris rabble to defeat the besieging Burgundians; Villon is condemned anyway; Katherine de Vaucey offers to die instead; the King pardons -- and exiles -- them both. (The Wikipedia article has a good synopsis.)
Number 4 is a comic drinking song -- or one might say, a drinking march: note the "Marziale" annotation for the refrain, whose opening melody is shown here:
The second half of the refrain is a steady ascending approach to the cadence. The first motive offers a "flagon" (below) then expanding repetitions of the motive move upward -- the steps taken are shown at the right in the first system -- until we reach Ab5 and A5 (second system) and "an ocean of wine."
"Tomorrow" (n12) is a romantic duet for Katherine and Villon. Villon sings the verse and refrain, then Katherine sings the verse (to new words), and finally he repeats the refrain while she adds a descant part -- see the opening of this last below. Note the persistently rising figure in the descant, while the main melody hovers about ^3 (as C5).
In the cadence, a complicated set of figures emerges out of this pairing. In the main melody, C5 -- see circled note almost at the end of Villon's part -- substitutes for ^2 in an abstract third-line we would trace back to the focal note C5 at the beginning. When ^3 substitutes for ^2 over the dominant seventh chord, the V13 effect is created -- one can trace its use back at least to 1840. At the same time, the melody moves much more concretely up from ^5 -- see boxed notes in Villon's part. The double arrows show the complications: Katherine picks up ^5 an octave higher (Eb5) and doubles the chromatic progression and the tonic-note ending (boxed notes), but she uses the common substitution of ^5 for ^7 in the rising line. The progression, however, is literally given in the accompaniment, as Eb4-E4-F4-G4-Ab4 (see the sequence of arrows in the accompaniment).
