Count. Why, you are deaf, you say. Bar. Yes, when I don't chuse to hear, but now I do. -I am so beset with knaves,-but I beg your pardon, again and again! Count. Sir, I am satisfied. Bar. Well, you have got the letter, you say? Count. Yes, but you say she can overhear us. Bar. No, no, not if you speak low: but I'll be sure that she is safe. [Goes, softly to Rosina's door. Count. So I have brought myself into a fine scrape, by my scheme to gain his confidence! If I don't shew. him the letter, I go back no better than I came! but, if I do, and by that means gain an interview with Rosina, I could apprize her of my motive, and it would be a master stroke of intrigue. Bar. [Returns on tiptoe.] All's safe! all's snug! Now let me see the letter. Count. There, sir. [Giving it. [Reads.] Bar. 'Tis her hand, sure enough! -"Tortured and imprisoned by an ugly old monster. Oh! the perfidious slut!—the jade-the Count. Now return me the letter again. Count. You keep it-Oh, if you please-But I had a plan, with the help of that letter, to make her renounce Count Almaviva. Bar. How, how, my good Alonzo? Count. Why, I did intend to show her the letter, tell her that Lindor had betrayed her, boasting of her favours, given her letter to Count Almaviva Bar. I see,-I perceive!—a lie! a piece of scandal! the very thing Basil proposed! I see now you are a pupil of his!--But how shall I introduce you to her? Had I not better say, (as Basil is ill) that you are come in his stead, to give her a lesson of music? Count. Excuse me, Dr. Bartolo-the suspicious tendency of your disposition, induces me now to decline any interview with your ward. Bar. Pho, pho! I can have no suspicion of you now, my dear friend!-Pray, oblige me. See her, and tell her the contents of this letter, and what use the Count made of it. [In a whisper.] I can tell you, there is something in your appearance that she wont dislike. Count Do you think so? Bar. I'm sure so-I thought so the moment I saw you. I'll go and fetch her to take her lesson. Count. Do so; but not a word of the letter. Bar. Not a syllable !-for me to mention it to her, would ruin the plot. Count. It would indeed. Mum! Bar. Snug!-I'm no fool. [Exit R. Count. Perhaps we shall be able to make you one, old gentleman! the letter was a lucky thought. She comes! how my heart beats with joy! Enter BARTOLO and ROSINA, R. reluctantly, and with her back to the COUNT. Ros. (R.) But, sir, I am not in spirits to take a lesson, and I hate a strange music-master. Bar. (R.) But you wont't hate Signor Alonzo. Do take your lesson, if only out of civility. Basil being ill, this worthy man has come to attend you, and it would be rude to send him away without his errand. Ros. Well, who is the fright?-[Turns round and sereams at seeing him.]—Ah! Bar. What's the matter, child? Ros. Heavens, sir! Bar. Are you taken ill, Rosina? Ros. No-not ill, sir,-but-[BART. catches her by the arm.] Count. In turning about Ros. My foot slipped under me. Count. Yes, I perceived it, madam. Ros. Oh, sir, when I turn'd round, it went quite to my heart! [Looking at ALMAVIVA.] Bar. Sit down, sit down, child!-Alonzo, take hold of her a moment!-[He gives her to ALMAVIVA, und goes to the back of the Stage for a chair.] Count. [Whispers in a hurried manner.] I have a thousand things to say to you. Ros. He'll not leave us a moment. Count. Figaro will be here presently to assist us. Bar. [Bringing a chair.] Come, sit down, my dear.[Aside to COUNT.] Was ever any thing so provoking? Now, I'm sure I shall not be able to prevail on her to take her lesson. Well, Rosina, you shan't be plagued now with music; to-morrow will do. Good day, Alonzo. Ros. No,-stay, young gentleman; my foot is much better-a little music will compose my spirits. Count. [Aside to BART.] Let her have her waydon't oppose her. Bar. Well, my rose-bud, if you chuse it, Signor Alonzo shall stay,-and I'll stay and attend you, while you take your lesson. Ros. No-you hate music, sir,- -we shall do much better without you. Bar. But your voice always enchants me, Rosina, and I won't lose a note of it. Ros. [Aside.] Provoking! Count, The Doctor is quite right, madam; pray let me have the honour of giving my lesson in his pre sence. Bur. Aye, aye; let us have the piano forte moved this way. [He goes up the Stage with his back towards them, and pulls the instrument down-while he is doing this, they both speak.] Count. What's to be done? I can't sing a note, and know no more of music than of Chinese, Ros. Strum a few chords, it will answer the purpose quite as well. Count. Admirable! [Kisses her hand, and then runs up officiously to assist BARTOLO.]-Let me help you, sir. [They bring the instrument down, and ALMAVIVA places three chairs.] Count. Taking up several pieces of music.] Which is your favourite study, madam? Bar. [Sitting at the end of the piano.] The song in the key A. she prefers -hand it to me, and I'll shew you a passage in it, which I think very chromatic, and objectionable. Count. Oh, yes, sir—the song in A. certainly. [He turns them all over, not knowing which it is, ROSINA pulls the corner of one, which ALMAVIVA hands over to the Doctor.] Bart. Aye now, look here. [While BARTOLO is looking at the song, the COUNT and ROSINA sit at the instrument, laugh, and make significant gestures at each other, which BARTOLO partly sees, and begins to be a little suspicious.-COUNT looks remarkably sanctified.] I say, look here! I think these intricacies are barbarous—but it is the modern style of music-very fa shionable, but very tiresome! it always makes me drowsy. Ros. But the sentiment of the ballad is beautiful! The idea is spring! which is considered the youth of nature, emancipating itself from the cold embrace of winter! Pity and sensibility combine to effect the feelings-love and gratitude follow-and the sensations are those the slave tastes, when blessed with a glimpse of charming liberty! Bar. [To COUNT.] How romantic! Count. Do you perceive the illusion? SONG.-ROSINA. An old man would be wooing For ever laugh'd and sung "An old man, an old man will never do for me, "For May and December can never agree.” She sung till he was dozing A youth, by fortune blest, An old man, &c. Then kneeling, trembling, creeping, An old man, &c. [During the song, BARTOLO falls asleep, and snores -ALMAVIVA kisses her hand-BARTOLO half awakes, she resumes her singing, which lulls him again; at the end of the song he awakes.] Bravo! bravo! Signora! a charming voice and excellent taste. Bar. Well, its very odd, but your fine pieces always put me to sleep! Give me one of your old-fashioned tunes we used to sing formerly.-Music in my time was quite another thing. Ros. Oh, guardy, I've heard you sing by the hour together, when Basil has been with you Bar. Basil, girl, could never be persuaded to sing as I've heard the old school-Listen! SONG-BARTOLO. With a bewitcing mein, ah Oh, come to me, Rosina! [Speaks.] It is Justina in the song, but I make it Rosina, in compliment to my ward. With that bewitching mein, ah ! Then thus in grace we'll twine, ah, [Sings.] FIGARO enters L. U. E. during the song-peeping and imitating BARTOLO. Bar. Ah, rascal! I'm in high good humour, or I should cane you heartily! what, are you come again to dose, bleed, and lay up all my family, for another pretence to make me a long bill? Fig. [Coming down L.] I did all for the best, sir. Bar. All for the best, Mr. Innocence; what did you do with the sweetmeats? Fig. (L.) The sweetmeats! Bar. Aye, the sweetmeats in the sheet of paper? [FIGARO looks confusedly at ROSINA. Now, Miss, not a word, or you are guilty! [Turns to FIGARO.] The sweetmeats in the sheet of paper?Who did you give them to? [ROSINA talks with her fingers.] Fig. My niece. Bar. Aye, and who gave them to you? Bar. Ah! I don't know what to say to you, Mr. Barber What brought you here now? Have you any letter I prevent the delivery of? Fig. Lord, sir, how you talk! Is it not your day to be shaved? I came on purpose for that. Bar. Well, I'm not at leisure now! Come again by and bye. Fig. That's impossible, sir; I have too much busi ness to call twice on any customer! I'm not a peuny |