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The Count called to Susanna to come out; his wife commanded her to stay in. But Susanna was listening from the door opposite to these strange proceedings, and, of course, came not, nor the frightened page. At last the Count went out, to get a crowbar, with which to open the door of the cabinet, the Countess accompanying him.

He securely fastened the middle door after their exit. Now Susanna quickly released the page, got him his coat, made him jump out of the window which opened upon the garden, and then went herself into the chamber just quitted by Cherubino. When the Count and Countess returned, and the Count had wrung from his wife the confession that the page was there, half undressed, the sudden appearance of Susanna in the door of the apartment took both completely by surprise.

The Countess granted it in good grace. Figaro came in, to accompany Susanna to the wedding. A little while after him, as his unlucky stars would have it, Antonio, the gardener, half intoxicated, carrying a couple of broken flower-pots, made his appearance in the room.

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He insisted he must see his master. At this moment Marcellina, duly accompanied by her counsel, appeared and lodged a complaint with the Count against Figaro for breach of promise. Almaviva, inwardly rejoicing at the turn affairs took, and thinking to profit by it, evinced great interest in the case. Accordingly the festivals took then course.

In the meanwhile Susanna, upon the advice of the Countess, and without the knowledge of her betrothed, carried on the intrigue originally plotted by Figaro. She sought an interview with the Count, and expressed her willingness to conform to his wishes. Afterwards she wrote a note to him—dictated by the Countess—appointing time and place of a meeting. When evening came round, the two ladies—the Countess dressed as Susanna, and Susanna as the Countess—repaired to the spot appointed in the letter, a secluded part of the park with a pavilion on either side. Figaro lay already in waiting, of which the ladies were well aware.

Susanna then withdrew into the shade of the thicket, leaving her mistress alone waiting for the Count. Mistaking the Countess for Susanna, he dallied with her, kissing her much against her will, till at last the Count interfered, when the boy ran into the pavilion to the left, where Barbarina was already waiting for him.

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The Countess now received graciously the passionate words of her husband, intended for Susanna. Figaro, who was duped as much as the Count, then made a noise, and the Count sent the supposed Susanna into the pavilion on the right, expecting to join her ere long. Susanna managed to meet Figaro.

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But the cunning barber soon looked through her disguise, and then took an active part in the joke, by addressing her as the Countess, in passionate language. This was well done; for the Count overheard him, and seized him by the collar. Susanna ran into the pavilion on the left. The Count then, without releasing his hold on Figaro, called his servants and guests, who came in large numbers with lights and torches, and bade them to be witnesses of his dishonor.

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After disposing of Cherubino and Barbarina, who were also in the left hand pavilion, he dragged out the supposed Countess, who fell down on her knees before him, imploring his forgiveness. But the Count acted the enraged husband in good earnest. Suddenly the real Countess appeared from the pavilion on the right. The Count must be supposed to be forever healed from his jealousy, and become more faithfully attached than ever before to his Rosina. Entrano Bartolo e Marcellina, con un contratto in mano, sequiti da Susanna, che ascolta al fondo.

Senza riserva, tutto a me palesate. Enter Bartolo and Marcellina, with a Contract in her hand, followed by Susanna, who listens at the back. But why have you awaited the day fixed for the marriage ere you mention this matter? I have broken a marriage much more advanced than this is; for slander often, if well aimed, can work wonders.

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Know, this contract is not all—basta! Ma Susanna si avanza.

E quella buona perla lo vorebbe sposar. E poi—. But Susanna is coming.

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Really, madam, you grow worse than ever. Entra Cherubino. O caro! Io non tel rendero che colla vita! Eh, via! Leggila alla Padrona—leggila tu, medesma—leggila a Barbarina, a Marcellina—leggila ad ogni donna del palazzo. Enter Cherubino.

His lordship found me alone this morning with our Barbarina, and dismissed me his service. You will see me no more? You breathe no longer your sighs for her in secret? Dear ribbon! Oh, be contented. In recompense, my dearest, I will give you this song of my composing. Read it unto the Countess—read it yourself, Susanna—read it to every damsel in the palace. Entra il Conte Almaviva.

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Signor, io chiedo scusa. Due parole. Parla, parla, mia cara! Oh me, infelice! Susanna lo copre colla vesta, che ha recata. Entra Basilio. Oh cielo! E quella canzonetta! E per voi, per Madama? A proposito, figlia, instruitelo meglio. Enter Count Almaviva. Surely, surely, my charmer!

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Then speak them, my dearest! Pray leave me to myself; favor I ask not, nor have I claims upon you. Ah me, unhappy! No, no, Susanna. I wish to make you happy. You well know how I love you; surely. Basilio of this has told you. Susanna then throws the dress over the latter. Enter Basilio. Indeed, sir!

There you are wrong; it follows not in logic that he who loves the wife is foe to the husband. And how his lordship loves you! Away, thou odious pander to the vice of another, for I despise you; preach your morals and logic to people like yourself. Yes, Cherubino—cherubim of goodness—who was observed this morning slily lurking in the passage to this room. You know my friendship—I would never reveal it. Apropos of the Page, now; he is much too incautious. Often at table his looks betray his passion—understand, for the Countess. Nay, what injustice! I but say as others; nor do I add a syllable to what is talked on all sides.

Entra Figaro. Partite tosto, Addio. Io vo parlarti pria che tu parti.