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The Barber of Seville the Marriage of Figaro

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The Barber of Seville the Marriage of Figaro BEAUMARCHAIS The Barber of Seville and The Marriage of Figaro Translated with an Introduction by JOHN WOOD PENGUIN BOOKS INTRODUCTION Beaumarchais in English As has been mentioned earlier, no time was lost in publishing translations or adaptations of the plays in English. Eugenie ap­ The Barber ofSeville peared in English as The School for Rakes, translated by Eliza­ beth Griffith, in 1769. Les Deux Amis ou le negociant de Lyons, OR translated by 'C.H.', was published as The Liverpool Merchant The Futile Precaution in 1 800 and was considered sufficientlyimportant to appear in Bell's compendium, The London Stage. Elizabeth Griffith's translation of The Barber was published in 1776 and there were several reissues before the end of the century, but it was not until 1905 that a second translation was published, that of Myrick (Dent, Temple Dramatists). A new edition appeared in 1949. Samuel French (New York) published a translation by Stewart Robb in 1939. The Marriage of Figaro appeared very promptly in Holcroft's adaptation - published in 1785. A second version translated or adapted by Bishop was published in 1809. There appears to have been no other translation pub­ lished in England. Biographies of Beaumarchais in English are few, and none does full justice to his character and career. Still less is there any critical appreciation of his plays. The best account of his life is given in Elizabeth Kite's Beaumarchais and the War of American Independence. Rivers's Figaro - the Lifeof Beaumarchais (London, 1922) is readable and useful. Another full-length acco.mt of Beaumarchais in English, presumably a trans­ lation though not so described, is Frischauer's Beau­ marchais - an Adventurer in a Century of Women (London, 1936). It is very much what its title would suggest. Recently Cynthia Cox's The Real Figaro has appeared (Longmans, 1962). It gives a clear and complete account of the main facts of Beaumarchais's life and career, but the thorough critical biography in Englishremains to be written. 1962. J.W, CHARACTERS ACT ONE in love with [COUNT A LMAVIVA alone, wearing a wide brown cloak, his COUNT ALMAVIVA, a Spanish grandee, Rosine hat brim turned down. He takes out his watch as he walks up and down.] FIGARO, barber of Seville COUNT ALMAVIVA: Not so late as I thought. It's still not of Bartholo quite her usual time forappearing at the lattice. No matter I RosINE, a young lady of noble birth, ward Better arrive too early than miss the one moment forseeing BARTH0 LO, physician and Rosine's guardian her. If any of my acquaintance at Court were to spy me now, Rosine a hundred leagues from Madrid and hanging about every BAZILE, organist and music master to morning under the windows of a woman I've never even L Bartholo, a dull WAKEFUL [L'EVEI LE], servant of spoken to ... they'd take me for a Spaniard of Isabella's sleepy boy time ....And why not? We all run afterhappiness, and mine servant of Bartholo lies in Rosine's affection.But fancy following a woman to YouTHFUL [LAJEUNESSE], an elderly Seville when Madrid and the Court offer such a variety of A notary easily won pleasures l That's just what I'm trying to get away from.I'm weary of the conquests that self-interest or An alcalde habit or vanity present us in unending succession. How de­ Alguazils and servants lightful it would be to be loved for oneself alone! If only I could feel certain that in this disguise ... Oh, the Devil take the fellow I What does he want coming just now? house beneath Rosine's SCENE: Seville,jirst o11tside Bartholo's [The COUNT withdraws as FIGABO enters, a guitar slung over window, and thereafter inside. his shoulder. He is humming cheerfulfy, pencil and paper in hand.] FIGARO [breaking into song]: Begone dull care That ever art Man's years and happin�s consuming. Come wine, good wine, That ever doth Man's heart illumine. 39 THE BARBER OF SEVILLE THE BARBER OF SEVILLE Ha, ha! When there's an accompaniment to it we shall see, far, eh? Not bad so you gentlemen who decide whether a play succeeds or not, ever doth That we'll see if I don't know what I'm talking about! [Noticing Man's heart illumine. the Count] I've seen that priest before somewhere. [Rises to Let wine and leisure his feet.] Dispute my heart. .. at home THE COUNT [aside]: I seem to know this fellow. No, no, there's no dispute. They are equally ' FIGARO [aside]: No. He's no priest. That proud and noble there. bearing ... Divide my heart and pleasure. friends who THE COUNT [aside]: That grotesque appearance ..• Can one say divide? Oh, Lord, yes I Our good like that. FIGARO: I'm not mistaken. It's Count Almaviva. write comic operas don't worry about details I THE COUNT: I do believe it's that rascal Figaro. that isn't worth saying - they sing nowadays Anything FIGARO: Himself. My Lordi Let wine and leisure THE COUNT: Miserable scoundrel! If you utter a single Divide my heart and pleasure .... and spark­ word ... I would like to finish up with something witty FIGARO: Yes, I recognize you - and the.familiar epithets you something that sounds really original.[He goes down ling ... always condescended to bestow upon me. on one knee and writes as he sings.] THE .COUNT: I shouldn't have recognizedyou. You are so fat I'll love the one and be happy with the other ... - an and sleek .... Oh dear! That's fl.at! It isn't ... I need more contrast FIGARO: Well, what do you expect, Sir - it's poverty. antithesis l THE COUNT: Poor fellow l But what are you doing in Seville? The one I'll serve, the other shall serve me Didn't I recommend you for a job in a government office? And so I'll be FIGARO: Yes, and I got it, My Lord, and very grateful I Serving and served in equal measure. was too. By Jovel That's got it! THE COUNT: Call me Lindor. Don't you see [indicates his dis­ The one I'll serve, the other shall serve me guise] that I want to conceal my identity? And so I'll be FIGARO: I'll be off, then. Serving and served in equal measure. THE COUNT: On the contrary. I'm waiting for something Well done, Figaro! here, and two people in conversation are less likely to pro­ [Singing as he writes:] voke notice than one walking up and down by himself. Let Let wine and leisure us appear to be gossiping. Well now, about the job? Divide my heart and pleasure. FIGARO: On the strength of Your Excellency's recommenda­ The one I'll serve - the other shall serve me tion the Minister promptly appointed me to a post as And so I'll be apprentice apothecary. Serving and served in equal measure THE COUNT: What! With an army doctor? Serving and served in equal measure. 41 40 THE BARBER OF SEVILLE THE BARBER OF SEVILLE FIGARO: No, with a horse doctor. I was sent to a stud farm FIGARO: Good Heavens, Your Excellency, aren't the poor in Andalusia. to be allowed any faults? THE COUNT [laughing]: An excellent beginning! rHE COUNT: Idle, dissolute ... FIGARO: It wasn't a bad job.I was in chargeof the drugs and FIGARO: On the basis of the virtues commonly required in a the dressings, so I was able to sell people the medicines servant does Your Excellency know many masters who intended for the horses. would pass muster as valets? THE couNT: And so kill offHis Majesty's subjects? rHE COUNT [laughing]: Not bad I So you decided to settle FIGARO: Well now - no remedy is infallible - but they did down here? sometimes cure Galicians, Catalans, and Auvergnats ... FIGARO: Not immediately ... THE COUNT: Then why did you give it up? rHE COUNT [interrupting]: Just a moment ...I thought FIGARO: Give it up? It gave me up! Someone reported me to there was someone ....Go on, tell me the rest. the powers that be.... FIGARO: Back in Madrid I decided to try my literary abilities 'Pale Envy, she whose clawlike hands ...' again. As the theatre seemed to offer a suitable field .. mean to say you write THE COUNT: Oh, steady on! Do you THE COUNT: Good Lordi poetry as well? I noticed you scribbling on your knee as [While FIGARO goes on talking, the COUNT keeps his ryes you were singing just now. on the lattice.] FIGARO: That was the very cause of my misfortune, Your FIGARO: I really can't understand why Excellency. When it came to the ears of the Minister that I I wasn't successful.I filled the pit with a most industrious was in the habit of turning out complimentary verses - and collection of people. They made good use of their very neat they were too, I may say - that I contributed hands and their clappers I I barred canes and gauntlets acrostics to the newspapers, and that there were other little - anything that didn't provide a loud enough applause I And ee trifles of mine going the rounds - in a word, when he I'm bound to say that the coff houses seemed to be well learned that I actually appeared in print, he took a very disposed towards me - but it was the critics who ... serious view of it and had me sacked out of hand on the THE COUNT: pretext that a love of letters was incompatible with ability Oh, the critics! Typical disappointed author! for business.
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