The Barber of Seville
the Barber of Seville or the useless Precaution is a Comédie in four acts of Beaumarchais, played for the first time at the Th3e4atre Fran1cais the February 23rd 1775, and largely inspired by the School of the women of Molière.
The count Almaviva, fallen in love with the Rosine young person who is orphan, is ready with all to tear off it in Bartholo, his old tutor, who has the project to marry it. While, disguised, it makes the guet, it falls at point named on its former servant Figaro, mocker but intermediary.
In 1778, Beaumarchais gives in scene its characters in the Marriage of Barber , who will be played only in 1784. Besides this part will inspire with Mozart the opera Nozze di Figaro in 1786, with Vienna.
It will still give its characters at the time of the guilty Mother , third episode of this trilogy.
In 1772, Beaumarchais present at the Italian actors a first Barber of Seville , comic opera, which is refused.
The final comedy will comprise 4 acts and a great share reserved for the song. The part is finally played in 1775. The first representation disappoints by its lengths but it is pruned in 3 days and the Barbier of Seville is finally a triumphal success.
Act IThe count Almaviva settles with Seville and finds Rosine there, orphan young girl with which it had fallen in love to Madrid and who lives under the severe supervision of old Doctor Bartholo, its greybeard. Almaviva watches for it every morning and fall by chance on its former Figaro servant, who, having traversed all Spain, settled as barber in Seville. Almaviva requires of the crafty one barber to help it in the conquest of Rosine. This one already noticed the man who watches for it and makes him slip a ticket by the window, that it collects. Bartholo, excessively jealous, is wary and accelerates the project of its marriage with Rosine. Gift Bazile, the Master of musical theory of Rosine, must arrange the weddings. But Rosine writes already a new letter with the count that it makes him give by the means of her servant: Barber.
Act IIThe count is introduced into the house disguised in drunk rider, Lindor and request to be lodged. He is put at the door, but he succeeds in all the same slipping a ticket with Rosine, that of which the doctor being wary realizes. The left count, it presses Rosine to show him the letter. She refuses and states to be as in a prison. Then at one time it exchanges the letter of the count with the letter which his/her cousin had sent to him the day before. Bartholo sees it and believes it.
Act IIIA little later the count presents himself again at Bartholo, this time disguised as a Master of Alonzo musical theory. He claims to be the substitute of Gift Bazile, which would be reached of a faintness. Bartholo believes it. Initially reticent, Rosine recognizes Lindor and accepts a lesson of song which is transformed into duet of love. Arrive Figaro to achieve his office of barber. He reverses the crockery in order to attract Bartholo outside, and puts the hand on the key of the jealousy. Lindor announces in Rosine that it had to deliver its letter to Bartholo to gain its confidence. When Don Bazile makes irruption in the house, it is surprised to be returned by the four people, who divide apparently all the secrecy of the Alonzo forgery. Nevertheless, Bartholo discovers the disguise of the count. Bartholo being unaware of started has to take the hand of Gift Bazile.
Act IVBartholo and Don Bazile agree on the marriage which will have to take place at midnight. But the notary is retained by a trick of Barber who pretends the marriage of a niece. Bartholo learns in Rosine that its Lindor beloved is in truth the count Almaviva, and it proves it by showing him the letter that Rosine wrote the morning to him even. Rosine is humiliated and promises her hand with Bartholo. In the night, however, Barber and the count go up in the apartment of Rosine and make enter the notary and Don Bazile. The marriage is just signed a few moments before Bartholo does not return to the house. gift bazile signed as a witness.
A satireVia Barber, the character by whom Beaumarchais transmits his messages in the part, the author makes a satire of the nobility. It defends also the condition of the servants.
Act I, scene 2 “ BARBER . I believed myself too happy to be forgotten, persuaded about it that large does enough good to us when it does not make us evil. ”
- Act I, scene 2 “ BARBER . With does the virtues which one requires in a servant, Your Excellence know much Masters who were worthy to be servants? ”
A comic partBeaumarchais uses all the processes of comic in order to making laugh its audience. Here are some:
the comic one of character: Bartholo, the old greybeard, jealous of whoever attracts itself the favors of Rosine.
the comic one of words:
- “ THE COUNT . I did not recognize, but here you is so large and so fat…”
- “ BARBER . What you want Monseigneur, it is misery. ”
- 1st counterpart of Bartholo: accumulation of insults towards Barber
- “ ROSINE : How your counterparts are honest! ”
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