Social Classes

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When The Marriage of Figaro debuted in France, it immediately raised concerns about Beaumarchais's critique of the entrenched social class system. This system, dating back to the Middle Ages, often elevated aristocrats to positions of power in government and the military, regardless of their abilities. It also severely limited social mobility. Figaro's manipulation of his master serves as a direct challenge to aristocratic power. His actions boldly suggest that such authority is based solely on birthright rather than merit, and that his own desires outweigh the Count's. Figaro and the Count compete for Suzanne, with Figaro—the more deserving candidate—ultimately winning. Throughout the play, Figaro expresses his contempt for the aristocracy, seizing every opportunity to criticize the upper class. He particularly points out their lack of intelligence and dubious morals.

Figaro's monologue delivers the harshest critique of the aristocratic class. In this speech, he underscores the arbitrary nature of power distribution. "What have you done to earn so many advantages?" he asks pointedly. He then presents the only truthful response: "You took the trouble to be born, nothing more. Apart from that, you're a rather common type." Figaro further argues that servants like himself must depend on their intelligence, cunning, and skills just to get by, demonstrating that they possess superior natural abilities.

Fidelity and Adultery

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The play's intrigue centers on the Count's adulterous interest in Suzanne. Discontented with his marriage, the Count targets Figaro's fiancée as the object of his desire. The fact that Suzanne is engaged to his loyal servant does not discourage him at all, illustrating how noblemen like him often viewed relationships with their subordinates. This seasoned womanizer also chases after other young, attractive women on his estate, in addition to Suzanne.

Despite his own infidelities, the Count becomes furious when he suspects his wife of being unfaithful. He expels Cherubino from the estate after the page admits his love for the Countess. The Count assumes that his wife's refusal to open the closet door indicates a man is hiding inside. When he sees Suzanne dressed in his wife's clothing, seemingly falling for Figaro’s seduction, he storms out to confront the servant. He refuses to forgive his "wife" and does not recognize his own hypocrisy, even though his wife pardons him.

Figaro also questions his beloved’s loyalty. Although he once assured Marceline that he would forgive Suzanne for anything, even infidelity, he becomes enraged when he believes she is entertaining the Count’s advances. His jealousy drives him to the elm grove to see the events unfold for himself. In this moment, he reflects the Count in his quick assumption of his lover’s disloyalty.

Women and Gender Roles

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The way men treat women in the play underscores the societal views on gender roles during Beaumarchais's time. Women faced significant inequality and were often dependent on their husbands or guardians. For example, Suzanne cannot marry Figaro without her uncle Antonio's approval, and the Count threatens to lock the Countess in her room "for a long time!" as punishment.

Interestingly, while the Count engages in extramarital affairs without consequence, his wife is "never" forgiven for similar behavior. The Count's treatment of his wife, along with Figaro's reaction to Suzanne when he suspects her of unfaithfulness, demonstrates that women were regarded as possessions of their partners. From this viewpoint, a woman's "value" diminishes with infidelity. Figaro even contemplates "dropping one wife and wedding another" based on weak evidence. These threats highlight that a woman's worth, entirely based on her fidelity and virtue, reflects on the man who claims her.

However, the plan devised by the Countess and Suzanne shows women attempting to challenge these restrictive gender roles. The Countess explicitly instructs Suzanne not to inform Figaro about their scheme. Notably, all the main participants in the plot are women. Figaro's attempt to outsmart the Count fails, but the Countess's plan succeeds; she and Suzanne independently create and execute a strategy to protect the maid's virtue and reignite the Count's affection for the Countess.

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