The Marriage of Figaro Essay Questions

What are the central comedic elements of the play?

The central comedic aspects are physical in nature, and often involve dramatic irony. An example of this is the first act, when both Hannibal and the count are concerned about being caught alone in a bedroom with Susan and uses the large armchair for cover. Then, later, when Hannibal is dressed in Susan's clothes, he must first hide in the dressing room and then jump out the window in her clothes to escape the notice of the count. Additionally, there is a great deal of humor in the disguises that the countess and Susan assume at the end, and the fact that the count cannot even recognize his own wife. The humor of the play often involves dramatic irony, physically suspenseful and ridiculous situations, and mistaken identity.

What upsets the countess about her husband's affairs, besides the affairs themselves?

The countess is upset with the count not only because he is unfaithful, but also because she is held to such an egregious double standard. At several points in the play, she complains that while he is allowed to do whatever he wants, she must be completely faithful and pure at all times, lest her position in court gets compromised. Thus we see that the countess is not only upset about the affairs, but about the limitations placed upon her on as a woman.

The women in the play seem to be more powerful than the men despite a woman's place in society as a second-class citizen. How do the main female characters exhibit their strength?

Susan and the countess both manage to gain the upper hand in various scenarios in spite of their relatively limited power in courtly scenarios. Even though the countess has been completely neglected by her unfaithful husband and is held to a double standard, she is determined to figure out a way not only to humiliate him, but to show him the error of his ways. She devises a plot whereby she will catch the count being unfaithful and expose his sins to the entire court. Susan helps her to do so, and the two women end up bringing the count, who seems to be all-powerful within the court, to justice. In this way, they maneuver an arrangement in which they have power in spite of the limitations placed upon them as women in society.

How does the play address class?

Firstly, the play centers the experience of the lower-ranking characters. Figaro and Susan are the protagonists, and the count is the antagonist. In this way, the play stages a conflict that is created by the members of the aristocracy, rather than by the poorer characters. This gesture in itself aligns the audience with the lower-ranking characters, in a way that brings to mind class consciousness.

Additionally, Figaro is a figure who has critiques of the aristocracy and does not hesitate to voice them. When the count comments on him taking a long time to come and meet him, Figaro fires back with a comment about the fact that servants do not themselves have servants to help them get ready faster. Then, when he thinks that Susan is having an affair with the count, he delivers a long soliloquy about the fact that membership in the upper classes does not necessarily denote superior qualifications, virtue, or intelligence.

How does Figaro get out of marrying Marcelina?

In the middle of Figaro's trial about his unpaid debt to Marcelina, he reveals that he was kidnapped from his parents as a child. As he shows a mark on his arm, which is in the shape of a lobster, Marcelina recognizes him as her long lost son. In an instant, Marcelina goes from wanting to marry Figaro to realizing that he is her child. He is freed from the forced marriage by the fact that he cannot be expected to marry his own mother. Then, Susan arrives with the sum that he owes to Marcelina, and he is able to repay her after all.