The Marriage of Figaro (Characters)

Characters

Count Almaviva

The Count’s main interest in the play is fulfilling his amorous desires, and intrigue surrounds his efforts to seduce Suzanne. To this end, he promises her money if she will spend her first night as a married woman with him. Although he places a monetary figure on the situation and also holds the power to prevent Suzanne and Figaro’s marriage, the Count views his designs as merry and light-hearted; as Beaumarchais describes the character of the Count in the playscript, “In keeping with the morals of those days, the great regarded the conquest of women as a frolic.” While he actively pursues women, the Count becomes extremely angry when he suspects his wife of infidelity, thus demonstrating the double standards of his day.

The Count holds the ultimate authority on his estate, even deciding the outcome of Figaro and Marceline’s court case. He demands the respect of those who surround him but does not realize that his own actions, at times bordering on the ridiculous or petty, make this difficult. At the end of the play, however, he laughingly accepts that he has been outwitted.

Countess Almaviva

The Countess is the Count’s wife. She is torn between two conflicting feelings for her husband: anger and love. She seeks to regain his affections and, to this end, secretly hatches a plan with Suzanne. Unlike her husband, the Countess is a very human, likable figure. She is clever enough to devise the plot that ends in success for her, Suzanne, and Figaro. She is a good friend to Suzanne, despite the vast difference in their classes, doing what she can to bring about the maid’s marriage. Also, as further demonstration of her humanity, she cannot help but be drawn to Cherubino who shows her affection at the very time her husband has withdrawn his.

Antonio

Antonio is the castle’s tipsy gardener. He is also Suzanne’s uncle and guardian as well as Fanchette’s father. Antonio is prepared to oppose Suzanne’s marriage to Figaro. Antonio is the one who reports on the man who jumped into the flowerbed, causing Figaro to devise a story about what happened so the Count will not learn of Cherubino’s presence.

Dr. Bartholo

Bartholo is a doctor from Seville. He helps Marceline, his former mistress, attempt to win Figaro for her husband. After they discover that Figaro is their son, he marries Marceline.

Basil

Basil is the Count’s music master. He loses the Count’s favor when he delivers the note from Figaro that falsely accuses the Countess of infidelity. Basil dislikes Figaro greatly. Although he wanted to marry Marceline, he loses all interest in her once he discovers she is Figaro’s mother.

Don Guzman Bridlegoose

Bridlegoose is the judge of the district. However, in this role he is generally ineffective, failing to understand the cases that are put before him as well as the events that have taken place during the day.

Cherubino

Cherubino is a page in the Count’s household. A prepubescent youth, he is beginning to feel sexual stirrings, and he is infatuated with many of the females on the estate, including the Countess, Suzanne, Fanchette, and even Marceline. Dismissed from the household after the Count finds him in Fanchette’s bedroom, he becomes a part of Figaro’s plan; he is the one initially chosen to meet the Count, dressed as Suzanne.

Fanchette

Fanchette is the twelve-year-old daughter of Antonio. As befits her youth and inexperience, she is naive, not understanding the Count’s true desires toward her. She is also important to the plot, being the person who reveals to Figaro the rendezvous between the Count and “Suzanne.”

Figaro

Figaro is the Count’s faithful servant as well as his competition. The Count’s pursuit of Suzanne requires that Figaro conspire against his master. He must rely upon his wits to carry out a plan for keeping Suzanne out of the Count’s hands that still allows the couple to marry. Because the plot that he devises is complex and even backfires in key instances, the Count’s suspicions are raised, and Figaro is unable to make it work. Figaro further jeopardizes the situation by deliberately playing with the Count. In this respect, his belief that he is more resourceful and smarter than the Count, though borne out by the play, fails to serve him well, for he increases the Count’s wrath.

Suzanne and the Countess come up with their own plan for thwarting the Count but do not inform Figaro about it. His isolation contributes to a jealous rage that overtakes him when he believes Suzanne is unfaithful. His monologue in act 5 asserts his rights, despite a lack of parentage, fortune, or social rank.

Marceline

Marceline is the housekeeper of the castle. She has strong feelings for Figaro. Not realizing that it is maternal love, she conspires to marry him, even if it means forcing him to do so against his will. Upon finding out the truth, however, she embraces her long-lost son and helps him to find happiness with Suzanne. At the end of the play, she marries Bartholo.

Rosine

See Countess Almaviva

Suzanne

Suzanne is the maid to the Countess. “In her role... there is not a word that is not inspired by goodness and devotion to her duty,” writes Beaumarchais of her in his character descriptions. She is also intelligent, honorable, and full of wit. She has the good sense to tell the people she trusts the most — Figaro and the Countess — of the Count’s intentions toward her. As the object of the Count’s lust, Suzanne must be careful to protect herself without alienating the Count to such an extent that he will forbid her marriage. Suzanne and the Countess, her friend and confidante, conspire secretly against the Count. It is their plan that ends in success, bringing Suzanne her happy marriage.

Media Adaptations

• Mozart wrote a four-act opera, Le Nozze di Figaro, based on The Marriage of Figaro. It was first performed in 1786. Numerous recordings of it are available.