The Marriage of Figaro by Pierre-Augustin Caron de Beaumarchais
"The Marriage of Figaro," a play by Pierre-Augustin Caron de Beaumarchais, is a comedic drama set in the late 18th century that delves into themes of love, class struggle, and the complexities of marriage. The story unfolds as Figaro, a clever barber, faces challenges leading up to his marriage with Suzanne, the maid of Count Almaviva, who is infatuated with her. The narrative is a blend of mistaken identities, romantic entanglements, and social commentary, showcasing Figaro's attempts to outwit the Count, who seeks to seduce Suzanne while navigating his own troubled marriage to the Countess.
As the plot thickens, Figaro must also contend with Marceline, who wishes to marry him due to a debt, and the young page Chérubin, whose romantic pursuits complicate matters further. The play highlights the wit and resourcefulness of its characters, particularly through Figaro's schemes to thwart the Count's advances and expose his folly. Ultimately, the story culminates in a resolution where true love prevails, marriages are celebrated, and social hierarchies are momentarily disrupted, reflecting the growing sentiments of Enlightenment thought. "The Marriage of Figaro" remains a significant work, not only for its humor but also for its critique of societal norms and the dynamics between different classes.
On this Page
The Marriage of Figaro by Pierre-Augustin Caron de Beaumarchais
First produced:La Folle Journée: Ou, Le Mariage de Figaro, 1784; first published, 1785 (English translation, 1784)
Type of work: Drama
Type of plot: Comedy
Time of plot: Eighteenth century
Locale: Spain
Principal characters
Figaro , a clever barber and the bridegroom-to-beCount Almaviva , his lordCountess Almaviva , wife of the countSuzanne , Figaro’s fiancé and maid to the countessMarceline , the housekeeperDr. Bartholo , the former guardian of the countessChérubin , a page
The Story:
Three years after Figaro, the clever barber, had helped Count Almaviva steal his beloved Rosine from her guardian, Dr. Bartholo, the count has become tired of his wife and has begun to pursue other attractive women, particularly Suzanne, his wife’s maid, who is betrothed to Figaro. Suzanne informs Figaro of the count’s interest, including his plan to send Figaro on a mission to England so that he can pursue Suzanne undisturbed. Figaro vows to prevent this.
Figaro also has trouble from another source. Marceline, the count’s housekeeper, has Figaro’s note for a sum of money she had lent him; if he does not repay the money he will have to marry her. Marceline wants to marry someone, and Figaro, despite the disparity in their ages, seems the likeliest prospect. Bartholo is helping her, mostly to revenge himself on Figaro for having outwitted him.
The count’s young page, Chérubin, is fascinated by all women, especially the countess. When the count learns of this infatuation, he banishes the page from the castle and orders him to join the count’s regiment. Figaro has other ideas. He plans to dress Chérubin in Suzanne’s clothing and send him to keep a rendezvous with the count. Figaro hopes that the count will feel so embarrassed and appear so ridiculous when the trick is exposed that he will stop pursuing Suzanne. Figaro also sends the count an anonymous letter hinting that the countess has a lover. When the count bursts into his wife’s chambers in search of this lover, he finds no one but Suzanne, for Chérubin, who had been there moments earlier, had jumped out of a window. After fabricating several stories to account for strange coincidences, Figaro is delighted when the count has to beg his wife’s forgiveness for his unfounded suspicions.
Figaro does not have the chance to send Chérubin to keep the tryst with the count because the countess and Suzanne are also plotting to foil the count’s plan. After the count tells Suzanne that he will not allow her to marry Figaro unless she meets him at a pavilion that night, she and the countess concoct a plan to defeat him.
Marceline takes her case against Figaro to court. Since he wants to place obstacles in the way of Figaro’s wedding, the count himself presides at the hearing; he rules that Figaro must either repay the money to Marceline or marry her immediately. The sentence has scarcely been pronounced, however, when Marceline discovers that Figaro is her long-lost illegitimate son by Bartholo. She says the relationship explains the love that had made her want to marry him. Marceline and Bartholo finally agree to marry, though Bartholo is unhappy that his worst enemy has turned out to be his son. During the dancing to celebrate Suzanne’s and Figaro’s wedding, Suzanne passes a note to the count to set up their rendezvous. Figaro sees it and is devastated.
That night in the garden, Suzanne and the countess, dressed in one another’s clothing, prepare to spring the trap on the count. Figaro, who does not know of the women’s plan, has hidden himself in a pavilion to observe Suzanne’s treachery; Bartholo and Marceline accompany him, and he broods at length about his topsy-turvy destiny and the general injustice of society. The countess, disguised as Suzanne, meets the count and permits him to woo her, accepting money and gifts from him. The count protests his love for her and compares her favorably with his wife. Enraged at Suzanne’s apparent duplicity, Figaro approaches the supposed countess (Suzanne in disguise) and begs her favor; when he recognizes his beloved’s voice, he decides to turn her trick around and began to woo her. Suzanne slaps him soundly for his apparent duplicity. Figaro is delighted to learn that Suzanne has not played him false and that the count is actually trying to seduce his own wife.
After much confusion, during which the count discovers that everyone has observed his folly, the situation is untangled. The countess fondly forgives her husband, and the count consents to the marriages of Suzanne and Figaro, Marceline and Bartholo, and Chérubin and the gardener’s daughter. Both the count and countess give a large dowry to Suzanne, and Figaro at last has parents, a fortune, and a beautiful wife. Everyone joins in rejoicing that wit and intelligence can even the social odds.
Bibliography
Brown, Gregory S. Literary Sociability and Literary Property in France, 1775-1793. Burlington, Vt.: Ashgate, 2006. A history of the Société des Auteurs Dramatiques, the first professional association for creative writers in Europe. The organization was founded by Beaumarchais in 1777, and its members were the playwrights most closely associated with the Comédie-Française. Brown traces the group’s conception, founding, eventual demise, and its efforts to acquire increased remuneration and societal prestige for its members.
Cox, Cynthia. The Real Figaro: The Extraordinary Career of Caron de Beaumarchais. London: Longmans, 1962. Focuses primarily on Beaumarchais’s many activities other than writing. In her discussion of his ventures into diplomacy, Cox notes Beaumarchais’s success as an intriguer and interprets the character of Figaro as a self-portrait. Includes illustrations and a good bibliography.
Grendel, Frédéric. Beaumarchais: The Man Who Was Figaro. Translated by Roger Greaves. London: MacDonald and Jane’s, 1977. Interprets Figaro as Beaumarchais’s alter ego and The Marriage of Figaro as the pinnacle of his career. Believes Beaumarchais was a reformer, not a revolutionary, and traces his chameleonlike adaptability to the fact that he was secretly a Protestant in Catholic France. Includes illustrations and a selected bibliography.
Howarth, William. D. Beaumarchais and the Theatre. New York: Routledge, 1995. A critical biography. After recounting the events of Beaumarchais’s life and career, Howarth places his work within the broader context of dramatic writing and the theater in the eighteenth century and within the culture of theatergoing in prerevolutionary France. Chapter 13 provides an analysis of The Marriage of Figaro, its critical reception, influence on contemporary drama, and the operatic adaption by Wolfgang Amadeus Mozart.
Lever, Maurice. Beaumarchais: A Biography. Translated by Susan Emanuel. New York: Farrar, Straus and Giroux, 2008. Instead of a strict chronological biography, Lever provides an entertaining and detailed account of the many fascinating episodes in Beaumarchais’s life. Describes his many occupations, including espionage, watchmaking, pamphleteering, and international trade, as well as his support of the American Revolution.
Ratermanis, J. B., and W. R. Irwin. The Comic Style of Beaumarchais. Seattle: University of Washington Press, 1961. Interesting scene-by-scene analysis of The Marriage of Figaro, analyzing what makes the comedy work on stage, especially in the context of the decline of comic dramatic writing in eighteenth century France. Uses theories of Henri Bergson and others on the nature of humor to interpret the works.
Sungolowsky, Joseph. Beaumarchais. New York: Twayne, 1974. Concise biographical treatment, with a useful chronology, notes, selected bibliography, and detailed analysis of all the plays.
Wood, John. Introduction to “The Barber of Seville” and “The Marriage of Figaro,” translated by John Wood. Baltimore: Penguin Books, 1964. Excellent concise discussion of the plays and their social context. The edition also includes Beaumarchais’s own notes on the characters and their costumes.