In The Marriage of Figaro, the palace of Count Almalviva, with its inhabitants and each of their roles, replicates the social hierarchy in which it is placed. In other words, the social inequality between a gardener like Antonio and the Count is a small representation of the social and political inequality of eighteenth century Europe. But, although the inhabitants of the palace of Count Almalviva are unequal in their social standard they are equal in the control they have over their passions; they are equal in their ability to be human. The passion of love interferes with the societal role of the Count and his human equality prevails. The Count becomes equal to his inferiors when his infidelity is revealed to them because it affirms his human
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The Count is of a higher social value, but when he becomes vulnerable to the manipulation of his inferiors the imbalance of political structure and passion is clear. Similarly, the Count’s inferiors are more thrilled by their equality when they manipulate him. Suzie, the Countess, and Figaro try to pull one over on the Count during the ordeal of Cherubin hiding in the Countess’s closet, and the Count is on edge as he defends his authority. The Count becomes agitated as the others try to get away with their scheme saying “[opening the scroll again and crumpling it up angrily]: All right! It’s evident I’m to know nothing!” and further on when Marceline encourages his to use his authority he says “[aside]: Here’s my chance of revenge!” (Beaumarchais. 152). In the heat of passion from the others due to love for Cherubin, and the passion of the Count’s jealousy, which is due to his political love for his wife and social love for Suzanne. Passion allows the Count to feel frustration due to feeling inferior and the others, all inferior to him, take a stance of superiority. While the Count is unable to fill his societal role the other characters are tampering with their own. Passion allows the politics of the situation to go up in the
The Count is of a higher social value, but when he becomes vulnerable to the manipulation of his inferiors the imbalance of political structure and passion is clear. Similarly, the Count’s inferiors are more thrilled by their equality when they manipulate him. Suzie, the Countess, and Figaro try to pull one over on the Count during the ordeal of Cherubin hiding in the Countess’s closet, and the Count is on edge as he defends his authority. The Count becomes agitated as the others try to get away with their scheme saying “[opening the scroll again and crumpling it up angrily]: All right! It’s evident I’m to know nothing!” and further on when Marceline encourages his to use his authority he says “[aside]: Here’s my chance of revenge!” (Beaumarchais. 152). In the heat of passion from the others due to love for Cherubin, and the passion of the Count’s jealousy, which is due to his political love for his wife and social love for Suzanne. Passion allows the Count to feel frustration due to feeling inferior and the others, all inferior to him, take a stance of superiority. While the Count is unable to fill his societal role the other characters are tampering with their own. Passion allows the politics of the situation to go up in the