already published, and his attempt to produce a new one with. Varesco, were equally unsuccessful. The accepted form of opera buffa, relying for effect solely on broadly comic situations and caricature, did not satisfy Mozart's conditions of dramatic reality in the development of an interesting plot and a consistent delineation of character. Both conditions were amply fulfilled by Beaumarchais. "Le Nozze di Figaro" is well known to be in a certain sort a continuation of the "Barbiere di Seviglia." {LE NOZZE DI FIGARO.} (74) The majority of the characters appear in both pieces, events belonging to the plot of "Figaro" are grounded on the previous play, and it is necessary for a proper appreciation of the motives and characterisation to bear the connection of the two in mind:-- Count Almaviva having, with Figaro's help, gained the hand of Rosina, the charming ward of Doctor Bartolo, takes Figaro and Marcellina, Rosina's duenna, into his service, and retires to his castle, attended also by Basilio, the music-master. He soon wearies of his wife's society, and seeks distraction in the company of Susanna, the Countess's maid and Figaro's affianced bride. Basilio is again made to act the part of a go-between. The piece begins on the day appointed for Figaro's wedding. Figaro, having learnt the Count's designs from Susanna, determines to outwit his master, and to prevent the success of his scheme for delaying the wedding. In this scheme the Count is offered assistance by Marcellina, who is in love with Figaro, and possesses his written undertaking to marry her should he fail in repaying her by a certain day a sum of money she has lent him. Her dread of losing all chance of Figaro, by his union with Susanna, induces her to call Bartolo to her assistance, and the latter is the more ready to do what he can, both that he may revenge himself on Figaro, and free himself from Marcellina's claims upon him. It appears that years ago she bore him a son, who was kidnapped as a child. While this danger is hanging over the heads of the lovers, Susanna is sought in her room by the page Cherubino, a heedless and beautiful youth, just budding into manhood. The Count has surprised him with Fanchette, daughter of his gardener Antonio, with whom he is himself flirting, and has discharged him from his service; he begs Susanna to intercede for him with the Countess, his godmother, for whom he entertains an ardent passion. As they converse, they hear the Count approaching, and Cherubino hides behind a large arm-chair; the Count has come to offer Susanna a dowry if she will consent to meet him the same evening; she, however, vigorously repulses him. Basilio enters: the Count hides behind the same arm-chair, and Cherubino slips round to the front, and covers himself with a cloak which lies upon the chair. Basilio reiterates to Susanna the Count's proposals, and, on her continued refusal, makes malicious allusions to