The first play presented in The Figaro Trilogy goes by the name of The Barber of Seville in which Count Almaviva depends on Figaro, a person who is inferior to him in terms of social class to persuade Rosina who he loves with all his heart. Figaro comes up with a wonderful plan to win over Rosina, he also realizes the fact that it is just so dramatic how all social inequalities vanish when those belonging to the upper class need the assistance of a low class man. Right after getting married to Rosina, the Count places back all social boundaries, which leads us to The Marriage of Figaro in which we see the Count’s sagacity of privilege comes back right when he desires to achieve what Figaro has gained – Susanna.
Till the time that Beaumarchais wrote the last story of the trilogy, namely The Guilty Mother, the Revolution started being prevalent in his writings. His characters are brought in from the Eden of Spain all the way to the Terror of France, where the Count is found stopping everyone from calling him ‘Lordship.’ In this extremely troubled environment, the resentment of the Count causes harm to the entire household, as he tries to conceal himself behind his devious secretary. This is where Figaro finally gets to meet his rival in the form of a Machiavellian manservant. Both of them compete over the devotion the have towards their employer. Eventually, by the end of the story Figaro wins over his rival and saves the Count’s life once again and every other character gets a chance to reunite.
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