The Marriage of Figaro

By Pierre de Beaumarchais

Pierre-Augustin Caron de Beaumarchais (1732-1799) was an exceptional French writer of prose comedy during the eighteenth century. He is best known for his theatrical works of the three Figaro plays. Beaumarchais had an action-filled career as a watchmaker, musician, secret agent, businessman, diplomat and a financer of revolutions. His literary career was as turbulent as his personal life. After a series of lawsuits in Paris, the accounts of his trials made his reputation as a sarcastic, effective, and recognized writer. "The Marriage of Figaro" is the second in the Figaro Trilogy, preceded by "The Barber of Seville" and followed by "The Guilty Mother". It was originally a comic opera, or a mixture of spoken play with music. This play was considered a foreshadowing of the French Revolution in its offense of the rights of the aristocracy. It was first banned in Vienna due to its satire of the nobility, considered dangerous in the decade before the revolution. Thanks to the great success of its predecessor, it opened with enormous success, eventually becoming one of Mozart's most successful operatic works.

• Language: English
• Publisher: Digireads.com Publishing
• Release date: Jan 1, 2011
• ISBN: 9781420943573

Pierre de Beaumarchais

Pierre-Augustin Caron de Beaumarchais (* 24. Januar 1732 in Paris; † 18. Mai 1799 ebendort), ursprünglich Pierre-Augustin Caron, ab 1757 mit dem Zusatz de Beaumarchais, 1762 nobilitiert, war ein französischer Uomo universale der Aufklärungszeit. Im Verlauf seines abenteuerlichen Lebens betätigte er sich unter anderem als Uhrmacher, Hofbeamter, Musiker, Spekulant, Schriftsteller, Verleger, Geheimagent, Waffenhändler und Revolutionär.(Wikipedia)

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THE MARRIAGE OF FIGARO

A COMIC OPERA, IN THREE ACTS

BY PIERRE DE BEAUMARCHAIS

TRANSLATED BY HENRY R. BISHOP

A Digireads.com Book

Digireads.com Publishing

Print ISBN 13: 978-1-4209-4259-0

Ebook ISBN 13: 978-1-4209-4357-3

This edition copyright © 2012

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CONTENTS

ADVERTISEMENT.

THE CHARACTERS

ACT I.

SCENE I.

SCENE II.

ACT II.

SCENE I.

SCENE II.

ACT III.

SCENE I.

SCENE II.

SCENE III.

SCENE THE LAST.

ADVERTISEMENT.

Lord Bacon, in his Essay of Dispatch, has said, that "Prefaces, and passages, and excusations, and other speeches of reference to the person, are great wastes of time j and though they seem to proceed of modesty, they are bravery." And, as many others may be of that opinion, I refrain from offering an explanation of the reasons that impelled me to undertake, in this Opera, the responsibilities of an Author as well as those of Composer, &c. and will only state that one of the motives which induced me to hope for the ultimate success of the attempt, was, the desire I had to improve our National taste for Music, by, at every opportunity, establishing the works of the immortal Mozart on the English Stage.

I have not the smallest ambition for literary fame, either as an Author or a Translator; but, should any kind friend be inclined to attribute to me some portion of merit in bringing this Opera forward—and will take the trouble to look through "The Follies of a Day, Beaumarchais's Comedy, and the Italian Opera Le Nozze di Figaro" they will perceive the difficulties I have had to surmount, and be enabled, thereby only, to estimate the labor of the work, and to judge how much, or how little praise I deserve.

The obstacles, also, that arose in adapting the Music were innumerable! The reception, however, the Opera has met with, was at once gratifying and encouraging, has repaid every exertion, and forms a most important era in the Musical History of this country.

My warmest acknowledgments are due to the Proprietors for the liberality evinced in the production of this Opera—to Mr. Fawcett for his fostering protection of it, his admirable arrangement of the Stage-business and Scenic-department, and his powerful aid in the Music assigned to him—to Mrs. Dickons and Miss Stephens, for their unremitting attentions, and for the great exertion of their transcendant talents—to Mr. Liston for his valuable services, both as an Actor and a Singer—and to Mrs. Liston, Miss Beaumont, Mrs. Sterling, Mr. Jones, Mr. Durusett, and Mr. Isaacs, for their exertions in the parts allotted to them.

For the Poetry of the Opera I am indebted partly to a friend, whose Dramatic works have long since obtained, and continue to receive the applause of the Public, and partly to the kindness of a juvenile Author: both of whom merit my sincerest thanks, not only for the abilities they have displayed, but for the patience they have shown in the accomplishment of the task.

Henry R. Bishop

Fitzroy Street

March 20th, 1819.

THE CHARACTERS

Count Almaviva

Fiorello

Figaro [Valet to the Count]

Basil

Antonio [the Count's Gardener]

Sebastian

Cherubino [the Page]

Countess Almaviva

Susanna [betrothed to Figaro]

Barbarina [the Gardener's Daughter]

Marcellina

Vassals, Villagers, &c.

The Scene lies in the Castle of the Count Almaviva, three leagues distance from Seville.

The Dances composed by Mr. Noble.

THE MARRIAGE OF FIGARO.

ACT I.

SCENE I.

[A room, indifferently furnished, in the castle of the Count Almaviva.]

Figaro and Susanna discovered.

DUETTO.

FIGARO. [measuring the floor with a wand.]

Fourteen—sixteen—eighteen—twenty;

Right exactly—forty-three.

SUSANNA. [trying on a head-dress of the Countess' before a looking-glass.]

I declare it looks as well, now,

Just as tho' 'twere made for me.

[to Figaro] Turn this way—my cap!—admire it!

Not that I, indeed, require it—[affectedly.]

FIGARO. Well, I must, if you desire it;

But always set your cap at me.

BOTH. Ev'ry hour {he's/she's} more endearing,

Future hope of love so cheering;

Thus the marriage morn appearing,

O! how happy must {we/I} be.

SUSANNA. What have you been measuring so carefully, Figaro?

FIGARO. I was trying whether the handsome bed the Count intends to give us, will stand well here.

SUSANNA. In this room?

FIGARO. Certainly; the Count has generously appropriated it to our use.

SUSANNA. Indeed! then you may take all the gift to yourself.

FIGARO. But where's the reason of—

SUSANNA. The reason's here [pointing to her forehead], and there it shall remain.

FIGARO. I would rather it were here [making the same sign.] Why not tell me your reason, Susanna?

SUSANNA. Because—why, because—suppose I don't choose to give my reason?

FIGARO. I don't understand.—To object to this room, the most commodious in the whole castle.

SUSANNA.