The plot involves a Spanish count , called simply The Count, although "Almaviva" appears as an additional name whether it is a first name or a surname is not clear , who has fallen in love at first sight with a girl called Rosine. To ensure that she really loves him and not just his money, the Count disguises himself as a poor college student named Lindor, and attempts to woo her. After being promised money, and afraid the Count will seek revenge on him if he refuses, Figaro devises a variety of ways for the Count and Rosine to meet and talk, first as Lindor, then as Alonzo, a fellow student of the same music master, Bazile. The story culminates in the marriage of the Count and Rosine. The Count, disguised as a poor university student, waits in hope of catching a glimpse of Rosine, whom he encountered in Madrid and has followed to Seville.
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Although Beaumarchais did not invent the type character of the scheming valet who has appeared in comedy as far back as Roman times , his Figaro, hero of both plays, became the highest expression of the type. The second play , which inspired W. The son of a watchmaker, he invented an escapement mechanism, and the question of its patent led to the first of many legal actions. Despite growing popularity as a dramatist, Beaumarchais was addicted to financial speculation. He bought arms for the American revolutionaries and brought out the first complete edition of the works of Voltaire.
Of his dramatic works, only his two classic comedies were to have lasting success. Because of his wealth, he was imprisoned during the French Revolution in , but, through the intervention of a former mistress, he was released.
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Le Barbier de Séville de Beaumarchais
Sie ist seit sieben Monaten mit Bartholo verheiratet, aber immer noch Jungfrau. Ohne je mit ihr gesprochen zu haben, reiste er ihr nach Sevilla nach. Dort erfuhr er, dass es sich um eine adlige Waise namens Rosine handle, die mit dem alten Arzt Bartholo verheiratet sei. Wegen Verabreichens von Pferde medizin an Menschen bzw. Andalusier kolorierter Stich, —
Le barbier de Séville (Beaumarchais)
Barbier de Séville, Acte II (2), scène 15, Beaumarchais, 1775, commentaire.