Figaro

“ Count. (Angrily) It’s a little Serpent that glides [19] into every crevice—And he has been listening too to our discourse!
Page. Indeed, my Lord, I did all I could not to hear a word.
Count. (To Susan) There is no Figaro, no Husband for you, however.
Basil. Somebody is coming; get down.
Enter the COUNTESS, FIGARO, AGNES, and VASSALS, in their holiday cloaths. Figaro carrying the nuptial cap—The Count runs and plucks the Page from the great chair, just as they enter. ”

“ Figaro. “And as you have been kindly pleased to abolish that abominable right, which, as Lord of the Manor, you might have claimed, permit us, your Vassals, to celebrate your praise, in a rustic Chorus I have prepared for this occasion. The Virtues of so good a master should not remain unsung.
Count. “A Lover, a Poet, and a Musician!—These titles, Figaro, might perhaps merit our indulgence, if”—
Countess. ”

“ He frowned impatiently, and without looking up, replied:--
"Eh, mon Dieu, Monsieur!--when there is a dearth of news!"
"There need not, even so, be a dearth of wit. Figaro is as heavy to-day as a government leader in the Moniteur."
He shrugged his shoulders and moved slightly round, apparently to get a better light upon what he was reading, but in reality to turn still more away from me. The gesture of avoidance was so marked, that with the best will in the world, it would have been impossible for me to address him again. ”

“ When Figaro came into the room.
“Good day, Senorita.”
“Good day, Senor Figaro; I am dying of weariness.”
“Then look in the glass, and you’ll be charmed.”
“Charmed in a tomb, Figaro? This house is a tomb.”
“Dear, dear—hist!—he’s coming.”
Figaro slid to the other end of the room—Rosina whisked from it, and the barber was a most unconscious person—when Dr. Bartolo and Don Basilio—humbug and music-master (vide Figaro) , made their appearance. ”

“ Enter FIGARO, disguised in a red Rocquelaure; Doctor Bartholo, Don Guzman, Basil, Antonio. Figaro imagines at first Agnes to be Susan; and, as it is too dark to see, endeavours to follow the sound of her voice, having entered while she was speaking. Agnes enters the Pavilion on the left.
Figaro. I was mistaken, ’tis Agnes! (They all grope down the stage till they get round Figaro) What a clock is it?
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Antonio. Almost near the moon’s rising.
Basil. What a gloomy night.
Doctor. We look like so many Conspirators. ”

“ Figaro. “I even saw her laugh with Delight, while he read her Billet!——They think themselves secure, but perhaps they yet may be deceived.”——No, my very worthy Lord and Master, you have not got her yet.—What! Because you are a great Man, you fancy yourself a great Genius.—“Which way?—How came you to be the rich and mighty Count Almaviva? Why truly, you gave yourself the Trouble to be born! While the obscurity in which I have been cast demanded more Abilities to gain a mere Subsistence than are requisite to govern Empires. ”

“ What the family would have come to without him, is too painful a speculation to be entered upon unnecessarily. Figaro-ci, Figaro-là, and Figaro liking nothing better than his occupation. He bent his whole mind to it; I never could discover that, he had any other interest or employment in life; lounging around to Gramercy Square after breakfast, embellishing the library sofa with his listless length till lunch, while Josephine practised, or my aunt talked business with him. ”

“ Figaro. Join with me, my friends.
Omnes. My Lord.
Susan. Why should your Lordship refuse Eulogiums which you merit so well?
Count. Oh the Traitress. (Aside) Well, well,—I consent.
Figaro. Look at her, my Lord; never could a more beauteous Bride better prove the greatness of the sacrifice you have made.
Susan. Oh do not speak of my Beauty, but of his Lordship’s Virtues.
Count. My Virtues!—Yes, yes,—I see they understand each other. (Aside) Who can tell me where is Marcelina?
Agnes. I met her, my Lord, just now, in the close walk by the park wall, along with Doctor Bartholo. ”

“ FIGARO, a famous dramatic character first introduced on the stage by Beaumarchais in the Barbier de Séville, the Mariage de Figaro, and the Folle Journée. The name is said to be an old Spanish and Italian word for a wigmaker, connected with the verb cigarrar, to roll in paper. Many of the traits of the character are to be found in earlier comic types of the Roman and Italian stage, but as a whole the conception was marked by great originality; and Figaro soon, seized the popular imagination, and became the recognized representative of daring, clever and nonchalant roguery and intrigue. ”

“ Countess. You hear, my Lord!—Has not the simplicity of this Child’s confession, as artless as the one I have this moment made, sufficiently justified my Conduct? And do not circumstances prove, how injurious your Suspicions have been, and how well founded mine? (Count bows to the Countess.)
Antonio. You see, my Lord, what a giddy young thing it is.
Count. And very loving too.
Antonio. Her mother, as every body knows, was just such another.
Enter FIGARO.
Figaro. ”

“ She wore a very pleased expression of feature for two minutes after Figaro had departed. But then she justifiably pouted, for Dr. Bartolo came into the room, feeble in all his parts but his eyes, which were glancing about like sharp knives. Figaro. He was doubtful of Figaro. And he was sure of Rosina’s simplicity.
“What man knows woman’s art?
Faith—what man knows a part?”
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So he thought he would question her.
“Pray what brought the barber here so early—he spoke to you?”
“He always does! And chatted of a thousand things—the latest fashions from Paris—and—and other things.” ”

“ In that play the old régime was presented, not in the dark colours of satire, but under the sparkling light of frivolity, gaiety, and idleness—a vision of endless intrigue and vapid love-making among the antiquated remains of feudal privileges and social caste. In this fairyland one being alone has reality—Figaro, the restless, fiendishly clever, nondescript valet, sprung from no one knows where, destined to no one knows what, but gradually emerging a strange and sinister profile among the laughter and the flowers. ”

“ The Commander had in his service a retired Figaro, the wiliest monkey that ever walked in human form; in earlier days as clever as a devil, working his body like a galley-slave, alert as a thief, sly as a woman, but now fallen into the decadence of genius for want of practice since the new constitution of Parisian society, which has reformed even the valets of comedy. ”

“ Count. “But thou hast Abilities, and might rise to Preferment.
Figaro. “Preferred by my Abilities my Lord!——Your Lordship is pleased to laugh at me.”
Count. Yes, yes; Susan has betrayed me, and my Gentleman marries Marcelina. (Aside.)
Figaro. He has been angling for Gudgeons, and what has he caught? (Aside.)
Enter a SERVANT.
Servant. ”

“ It is impossible to be more humble, more audacious, more eager in view of obtaining a favour from the Court than were all our young lords to ensure themselves a place at the first representation of Figaro. More than one duchess considered herself too happy that day to find in the balconies, where ladies are seldom seen, a wretched stool side by side with Madame Duthé, Carline, and company. ”

“ Figaro is, if you will, the more perfect artistic entity of the two; Don Giovanni is looser, less consistent, on the surface even grossly illogical. But so, too, is human nature. And if all the world’s a stage, what more than a dramma giocoso is the experience of life? ”

“ Manent FIGARO and MARCELINA.
Figaro. How attentive he is to his Wife.
Marcelina. “It is necessary”—My dear Figaro, “I should undeceive thee respecting my former false accusations of Susan—Basil has always told me she obstinately refused to listen to the Count’s Overtures, and” I am both sorry and ashamed to have excited thy Jealousy.
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Figaro. Oh, be under no apprehensions, my dear Mother; Jealousy is the foolish Child of Pride, the Disease of a Madman—My Philosophy is invulnerable to its poisonous Arrows. (Figaro turns and sees Agnes just behind him, coming down the Stage) .—So! ”

“ Count. Stand out of the way, Rascal——Hollo!—Where are my People? Lights! Lights!
Courier. What’s my Lord afraid of? Is there not Mr. Figaro and I?
Enter Flambeaux, Don GUZMAN, Dr. BARTHOLO, ANTONIO, BASIL, and Servants.
Count. (To the Servants) Guard that Door and some of you seize this Fellow.
Figaro. You command, with absolute Authority, over all present, my Lord, except yourself.
Count. “The Villain’s impenetrable, cool Impudence is intolerable.
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Figaro. “We are not Soldiers, that we should kill one another without Malice: for my part, I like to know why I am angry.” ”

“ Figaro. I will take my excuse in my hand— (Going to lead out Susan) —Few offenders can plead so charming a one.
Countess. No, no; stop Susan: I want you—She [78] shall come presently. (Exit Figaro) .—Well, Susan, the time approaches, we must prepare for the Rendezvous.
Susan. “I must not go, Madam, Figaro is unwilling.
Countess. (Angry) . “Figaro!—Figaro is not so scrupulous when a Marriage-portion is in question—That’s a poor Pretence; you are sorry you have told the truth, and discovered the Intentions of the Count.—Go, go—I am not to be so deceived. (Going) . ”

“ Figaro. (To his Mother) Every thing is precious that appertains to a beloved object.—He picks up the very Pin, you see.
(All this while Susan and the Countess remark what is passing with laughter, and private looks and gestures.) ”

“ Like Figaro, who displayed more science and calculation in merely getting a living than statesmen had shown in governing Spain for a hundred years, he, la Peyrade, in order to install and maintain himself in the Thuillier household and marry the daughter of a clarionet and a smirched coquette, had spent more mind, more art, and—it should also be said, because in a corrupt society it is an element that must be reckoned—more dishonesty than was needed to advance him in some fine career. ”

“ Heavens! It is the Count!—I am ruined!—If he finds the Page here after receiving Figaro’s anonymous Letter I shall be for ever lost!—What imprudence!
Count. (Without) Why don’t you open the door?
Countess. Because——I’m alone.
Count. Alone! Who are you talking to then!
Countess. To you, to be sure—How could I be so thoughtless—This villainous Figaro.
Page. After the scene of the great chair this morning he will certainly murder me if he finds me here.
Countess. Run into my dressing-room and lock the door on the inside. (the Countess opens the door to the Count.)
Enter the COUNT.
Count. ”

“ Cried Figaro:—
“When thus a man doth rage and rave,
The thing to do ’s his head to shave.”
“I think I’d better go,” said the music-master, tremblingly.
“I think you had,” said Figaro.
Alas! Why, before he went, did he not tell Rosina of his giving her letter to the doctor. Alas! Why did this necessity escape the attention of the all-seeing Figaro? They both departed—the barber flippantly, the professor profoundly. And neither thought of the for{134}getfulness up to the time when they were both fixing a ladder against the locked up balcony. ”

“ It is the same Count Almaviva, now married to Rosina; Figaro, the cunning barber, has entered the Count's service and is about to marry Rosina's {238} maid, Susanna. We meet among the others old Doctor Bartolo and Basilio. Even in the management of the subject, and in the music we find some resemblance. "Figaro's wedding" has the same character of gaiety; no storms, very few clouds; there prevails throughout an atmosphere of sunshine and brightness. After Don Juan, Figaro was Mozart's darling, and it shines radiantly in the crown of his fame. ”

“ Don Guzman and the Counsellors are without.
Count. Let them wait.
Figaro. (Ironically) Aye, let them wait. (Exit Serv.)
Count. And dost thou expect to gain thy Cause?
Figaro. With the assistance of Justice and my Lord’s good wishes, who respects Youth too much himself to force others to wed with Age.
Count. A Judge knows no distinction of persons.
Figaro. “Well—Time, say the Italians, is a valiant Fellow, and tells Truth”—But what was it your Lordship was pleased to send for me for? ”

“ Especially cheery and amusingly ceremonious is Figaro if he happen to be a coloured man. His memory is prodigious. Men enter that he has not seen for months, and with whom he is perhaps only slightly acquainted ”

“ In white stockings!
(Countess and Susan discover their fears, and make signs to Figaro to assist them if possible.)
Count. Where is the Man? (Eagerly.)
Antonio. That’s what I want to know, my Lord!—I wish I could find him,—I am your Lordship’s Gardener; and, tho’ I say it, a better Gardener is not to be found in all Spain;—but if Chambermaids are permitted to toss men out of the window to save their own Reputation, what is to become of mine?—“It will wither with my flowers to be sure.”
Figaro. Oh fie! What sotting so soon in a morning?
Antonio. Why, can one begin one’s day’s work too early? ”

“ Figaro, who has been informed that Susanna and the Count are to meet in the garden, comes on the scene, and in revenge makes a passionate declaration of love to the supposed Countess, upon which the Count, who is growing more and more bewildered, orders lights and makes his supposed wife unveil. The real wife does the same. ”

“ But when Count Almaviva shortly comments, “Ah! c’est l’intrigue que tu définis!” the criticism is final, because it is completely just. Curious that a playwright should light up his Roman candle, and damp it down the next moment. Such speeches imperil the character of Figaro by making him so dominant a personality that there can be no fun in seeing him dupe his betters. Beaumarchais, I think, may have felt that objection, and attempted to restore the balance by having Figaro duped himself in the last act. ”