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Updated: August 1, 2024


He followed the progress of the action with rapt attention, and when Cherubino tried to prove his innocence by all sorts of plausible and improbable falsehoods, Hofer's brow became clouded. He averted his eyes from the stage, and turned to his neighbor. "Why," he said, loudly and indignantly, "that boy is as great a liar as though he were Bonaparte himself!"

That the Cherubino of Mozart's Nozze is quite different from Beaumarchais' Cherubin does not affect this question. He is a new creation, just because Mozart could not, or would not, conceive the character of the page in Beaumarchais' sprightly superficial spirit. He used the part to utter something unutterable except by music about the soul of the still adolescent lover.

Two days later the page appeared before her splendidly dressed; she observed and remarked upon his improved appearance, and amused herself in conning over all the parts of his dress, as she might have done with a new doll. All this familiarity doubled the poor young man's passion, but he stood before his mistress, nevertheless, abashed and trembling, like Cherubino before his fair godmother.

There he sat, quite regardless of the gaze which the audience fixed upon him, utterly unaware of the fact that he was the observed of all observers, and quite engrossed in looking at the stage, where proceeded the well-known scene between Cherubino, the count, and Figaro.

What will Cherubino be after three years? A Romeo, a Lovelace, a Lothario, a Juan? a disillusioned rake, a sentimentalist, an effete fop, a romantic lover? He may become any one of these, for he contains the possibilities of all. As yet, he is the dear glad angel of the May of love, the nightingale of orient emotion.

But before a work of art the critic can do little more than jump for joy. And that is all he need do if, like Cherubino, he is "good at jumping." The warmth and truth of Vasari's sentiment comes straight through all his nonsense. Because he really felt he can still arrest. Take an artist who has always been popular, and see what the ages have had to say about him.

Out of these cross-relations arise several humorous surprises. Besides these characters there are two others who have been disappointed in love, Bartolo, who has been rejected by Susanna, and Marcellina, whose affection for Figaro has not been requited. The Count seeks to get rid of Cherubino by ordering him off to the wars, but he is saved by Susanna, who disguises him in female attire.

It was diverting to see the airs he gave himself on the strength of his new military dignity, his gun, and uniform, and night duty on the shore. I could not help humming to myself Non più andrai; for Francesco was a sort of Tuscan Cherubino. We talked about picture galleries and libraries in Florence, and I had to hear his favourite passages from the Italian poets.

Then I chanced to meet my cousin, and to see my cousin's heart from very near; I have divined the inexhaustible treasures of passion, and, like Cherubino, I am the lover of all women, until the day comes when I find the woman to whom I may devote myself. As soon as I saw you, as soon as I came into the theatre this evening, I felt myself borne towards you as if by the current of a stream.

Cherubino has awkwardly overturned a chair in the chamber, and though the Countess explains that Susanna is within, she refuses to open the door, on the plea that her maid is making her toilet. The Count goes for tools to break open the door, taking the Countess with him.

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