The Barber of Seville

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 Barber of Seville" (1775) was originally a comic opera, or a mixture of spoken play with music. The story was based on an ill-fated alliance between Beaumarchais' sister and José Clavijo, a Spanish writer. In addition, Beaumarchais raises a cry for the condemnation of the prevailing social system through his main character, Figaro. The work was prohibited in 1773 for indecency then received with great success two years later.

• Language: English
• Publisher: Digireads.com Publishing
• Release date: Jan 1, 2011
• ISBN: 9781420943566

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 BARBER OF SEVILLE

BY PIERRE BEAUMARCHAIS

A Digireads.com Book

Digireads.com Publishing

Print ISBN 13: 978-1-4209-4258-3

Ebook ISBN 13: 978-1-4209-4356-6

This edition copyright © 2012

Please visit www.digireads.com

CONTENTS

DRAMATIS PERSONÆ

THE BARBER OF SEVILLE.

ACT I.

SCENE I.

SCENE II.

SCENE III.

ACT II.

SCENE I.

ACT III.

SCENE I.

SCENE II.

DRAMATIS PERSONÆ

COUNT ALMAVIVA

DOCTOR

BARTOLO

FIGARO

BASIL

ROSINA

MARCELLINA

&c. &c. &c.

THE BARBER OF SEVILLE.

ACT I.

SCENE I.

[Seville—Doctor Bartolo's house L.—Figaro's shop, R, over his door is written, Barber, Surgeon, Dentist, &c.—The shop is shut.—Time: Day-break, and the light increasing through the scene.]

[Enter from the L. U. E. Fiorello with a letter in his hand; he comes cautiously down the Stage and examines Figaro's shop.]

[Enter Serenaders, L. U. E.]

SERENADE.

FIORELLO. Piano! Pianissimo! in tender sound

Let Love's light airs now float around!

SERENADERS. Piano! pianissimo! Love's music sound!

FIORELLO. All wrapt in silence—no soul is near,

No wand'ring footstep falls on the ear.

CHORUS. Many thanks, sir, for this favor,

Better master, nor a braver,

Never did we sing a stave for.

Ever, sir, command our throats!

We will ever sing and pray for

One who gives us gold for notes.

FIORELLO. Silence, silence, cease your bawling,

Nor like cats, with caterwauling,

Wake the neighbors—stop your squalling,

Rascals, or I'll dust your coats!

[Fiorello sends the Serenaders away.]

BARTOLO. [calls within, L.] Rosina! Rosina!

ROSINA. [to Fiorello.] 'Tis my guardian's voice! hide under the window!

BARTOLO. [entering the Balcony.] Rosina, my love, what, at your matins so early?

ROSINA. Yes, sir! the beauty of the morning tempted me out; the birds caroll'd their songs of freedom, why not I mine of captivity?

BARTOLO. Well, well, so long as you do sing, no matter for what; and, as you are in a singing mood, will you favor me with the song you sung so well last night?

ROSINA. [looking over some Music.] I would with great pleasure, sir, but unluckily I have left it in my own room; if you will do me the favor to fetch it, I will sing with cheerfulness.

BARTOLO. Good girl! good girl! how kind and complying! I'll fetch it back in an instant. [Exit from Balcony.]

ROSINA. Now, then, to make the most of that instant!

[Takes pencil and writes on a Song.]

FIORELLO. [From under the Balcony.] Signora! Signora! shall I run and fetch my master?

ROSINA. No, no; bear this song to him, I shall have done it in an instant.

BARTOLO. [speaks without.] The song aint in your room! I've search'd for it high and low.

ROSINA. [embarrassed.] Oh! dear sir, I'm sorry you've had the trouble; I've got it, here it is—

[Holds it out, drops it, and screams. Enter Bartolo at Balcony.]

Ah! it has fallen into the street; Oh, my dear sir, run down and get it! I would not lose it for the world.

BARTOLO. Oh! Jade! Jade! you dropt it on purpose! I perceived it! In with you!—I'll fetch it; but I'll fasten the balcony first. In, in, I say!

[They retire, end Bartolo fastens the blind.]

FIORELLO. [takes up the Sony.] Now, then, with the wings of Mercury to delight my master.

FIGARO. [peeping from his door.] Hold! don't forget to whom you are indebted for all this; and tell the Count to come to me with speed—away, away!

[Exit Fiorello, L. U. E.—Figaro returns into his house. Enter

Reviews for The Barber of Seville

[bookomaniac-1 · Rating: 2 out of 5 stars]

Flauw, geen grote, originele intrige; geen psychologische uitdiepingFigaro is de intrigant, altijd ingenieus en opgewektRosine komt niet geloofwaardig overAlmaviva: caricatuurBartholo is de waardige tegenspeler van Figaro, verpersoonlijkt het reactionaireTechniek: voortdurende wisselingen in de actie (altijd spanning), dynamiek door korte dialoogwisselingen.

[jvioland_1 · Rating: 3 out of 5 stars]

Interesting. The source from which the operas were based. A must for opera fans. I'm one.

[lisamorr · Rating: 4 out of 5 stars]

It is noted in the book that these plays are noteworthy because of their fame as operas. And in fact, I couldn't keep a couple of things out of mind - someone singing, "I am the barber of Seville", and someone else singing, "Figaro, Figaro, Figaro". The two stories feature Figaro, the Barber of Seville, who in the first play helps a count marry Rosine, and in the second play, Figaro now works for the count and is planning on getting married. The plays were amusing, full of intrigue with characters crossing, double-crossing and triple-crossing each other. Well done!

[the7ken7petersen · Rating: 4 out of 5 stars]

Whilst it is fascinating to read 'the Barber' and 'Marriage' in their original theatrical form, I suspect that Beaumarchais owes a debt of gratitude to Rossini and, particularly, to Mozart for his continued fame.Beaumarchais may, as this book suggests, have had a significant effect upon eighteenth century theatre but I remain unconvinced that modern bottoms would endure these over long and over staged plays. Non the less, we must be grateful that the story of Figaro was available to Mozart.