Rosina's maid,
the charming Susanna. This does not hinder him from being jealous of
his wife, who is here represented as a character both sweet and
passive. He suspects her of being overfond of her Page,
Cherubino.--From the by-standers, Doctor Bartolo and Marcellina, we
hear, that their old hearts have not yet ceased to glow at the touch of
youth and love; Bartolo would fain give his affections to Susanna,
while Marcellina pretends to have claims on Figaro.

These are the materials which are so dexterously woven into the
complicated plot and which furnish to many funny qui-pro-quos.

{239}

In the second act we find Cherubino the Page in the rooms of the
Countess, who, innocent and pure herself, sees in him only a child; but
this youth has a passionate heart and he loves his mistress ardently.
Mistress and maid have amused themselves with Cherubino, putting him
into women's dresses. The Count, rendered suspicious by a letter,
given to him by Basilio, bids his wife open her door. The women,
afraid of his jealousy, detain him a while, and only open the door,
when Cherubino has got safely through the window and away over the
flower-beds. The Count, entering full of wrath, finds only Susanna
with his wife. Ashamed of his suspicions, he asks her pardon and
swears never to be jealous again. All blame in the matter of the
letter is put on Figaro's shoulders, but this cunning fellow lies
boldly, and the Count cannot get the clue to the mystery. Figaro and
Susanna, profiting by the occasion, entreat the Count at last to
consent to their wedding, which he has always put off. At this moment
the gardener Antonio enters, complaining of the spoilt flower-beds.
Figaro taking all upon himself, owns that he sprang out of the window,
having had an interview with Susanna and fearing the Count's anger.
All deem themselves saved, when Antonio presents a document, which the
fugitive has lost. The Count, not quite convinced, asks Figaro to tell
him the contents; but the latter, never at a loss and discovering that
it is the Page's patent, says, that the document was given to him by
the Page, the seal {240} having been forgotten. The Count is about to
let him off, when Bartolo appears with Marcellina, who claims a
matrimonial engagement with Figaro. Her claim is favored by the Count,
who wishes to see Susanna unmarried. Out of this strait however they
are delivered by finding that Figaro is the son of the old couple, the
chi