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Updated: June 27, 2025
But Marcellina affects to be annoyed and urges him to come to the point at once. Quite delicious is the manner in which Beethoven delineates Jaquino's timid hesitation: and when he goes to open the wicket, Marcellina expresses no sympathy for his sufferings, but ecstatically proclaims her love for Fidelio as the reason why she must needs say nay.
Fidelio's beauty and gentleness have worked havoc with the heart of Marcellina, the jailer's pretty daughter, who is disposed to cast off Jaquino, the turnkey, upon whose suit she had smiled till her love for Fidelio came between. Rocco looks with auspicious eye upon the prospect of having so industrious and thrifty a son-in-law as Fidelio promises to be to comfort his old age.
But Figaro refuses to abide by the decision. He is a gentleman by birth, as proved by the jewels and costly clothing found upon him when he was recovered from some robbers who stole him when a babe, and he must have the consent of his parents. He has diligently sought them and will prove his identity by a mark upon his arm. "A spatula on the right elbow?" anxiously inquires Marcellina. "Yes."
Figaro appears to tell that the Count is aiding Marcellina in her scheme and of the trick which he has devised to circumvent him. He had sent Basilio to his lordship with a letter warning him that the Countess had made an appointment to meet a lover at the ball to be given in the evening.
"But you will not want it," she remarked, handing the hilt to him, and softly eyeing the impression of her warm touch on the steel as it passed. "Carlo, thou son of Paolo! Countess Marcellina, wife of a true patriot! stand aside, both of you. It is between the Countess Alessandra and myself," so the man commenced, with his usual pomp of interjection.
Once more the secret is nearly out, but Figaro saves the situation by declaring that the page gave it to him to get the seal affixed. The Countess and Susanna are beginning to congratulate themselves on their escape, when another diversion is created by the entrance of Marcellina, the Countess's old duenna, and Bartolo, her ex-guardian.
Of her works Waite observes: "It would scarcely be expected that the heretical writings of a woman would be preserved amid such wholesale slaughter of the obnoxious works of the opposite sex. The writings of Marcellina have perished." Not only did women teach publicly, and write, but according to Bunsen they claimed the privilege of baptizing their own sex. The reason for this is evident.
Left alone, Marcellina sings her longing for Fidelio and pictures the domestic bliss which shall follow her union with him. Rocco and Jaquino enter, and close after them Leonore, wearied by the weight of some chains which she had carried to the smith for repairs.
Marcellina has received a promise in writing from Figaro that he will marry her if he fails to pay a sum of money which he owes her by a certain date, and she comes to claim her bridegroom. The Count is delighted at this new development, and promises Marcellina that she shall get her rights.
Figaro turns out to be the long-lost son of Marcellina and Bartolo, so the great impediment to his marriage is effectually removed, and by the happy plan of a disguise the Countess takes Susanna's place at the assignation, and receives the ardent declarations of her husband.
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