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Pierre-Augustin Caron de BEAUMARCHAIS

La Folle Journée ou le Mariage de Figaro

Chez Ruault, Au Palais-Royal [Paris] 1785, in-8 (12,5x20,5cm), (4) lvj, 237pp., relié.

A true first edition with all the characteristics of first print: title on the back, list of the eleven booksellers and publisher's opinions on the verso of the false title, false title following the preface with, on the reverse, the distribution of the characters, approval and printing permits at the beginning in dates of 25 and 31 January 1785 in the names of Bret and Lenoir, at the end the two approvals are of 28 February 1784 by Coqueley de Chaussepierre and 21 March 1784 by Bret. At the bottom of the last page: In Paris, from the printing house of Ph. D. Pierres. This true original appeared without engravings, this copy was therefore truffé of the sequence of Malapeau and Saint Quentin of 5 figures, following generally found in later editions, especially that of Kehl.

Binding late nineteenth signed B. Poullain in half veal tobacco, pastiche of a binding of time. Back with ornate nerves. Brown veal title piece. Nerves fissures, headgear and bit. Good example, generally fresh with a few scattered bites, especially in margins of engravings.

The play had a laborious birth: Beaumarchais fought relentlessly for more than three years to obtain government authorization for publication. Written in 1778, it was read at the French Comedy in 1781, performed privately at the Chateau de Gennevilliers in 1783 and finally presented to the public at the Odeon theater on 27 April 1784.
Because of his virulent criticism of the archaic privileges of the bourgeoisie and more precisely of the aristocracy, the work is considered as a sign of the French Revolution.
The comedy piece with the frantic rhythm assumes the airs of molieresque bourgeois drama and met a great success with the public as evidenced by the numerous counterfeits published since its publication.
Ex libris G. Martinet.
Rare original including the 5 figures of Saint Quentin.

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