But this is a long digression; I must back to my intriguing lovers, who have made good use of the lesson scene to repeat their protestations of affection and lay plots for attaining their happiness.  In this they are helped by Figaro, who comes to shave Dr. Bartolo in spite of his protests, and, contriving to get hold of the latter’s keys, “conveys” the one which opens the balcony lock, and thus makes possible a plan for a midnight elopement.  In the midst of the lesson the real Basilio comes to meet his appointment, and there is a moment of confusion for the plotters, out of which Figaro extricates them by persuading Basilio that he is sick of a raging fever, and must go instantly home, Almaviva adding a convincing argument in the shape of a generously lined purse.  Nevertheless, Basilio afterwards betrays the Count to Bartolo, who commands him to bring a notary to the house that very night so that he may sign the marriage contract with Rosina.  In the midst of a tempest Figaro and the Count let themselves into the house at midnight to carry off Rosina, but find her in a whimsy, her mind having been poisoned against her lover by Bartolo with the aid of the unfortunate letter.  Out of this dilemma Almaviva extricates himself by confessing his identity, and the pair are about to steal away when the discovery is made that the ladder to the balcony has been carried away.  As they are tiptoeing toward the window, the three sing a trio in which there is such obvious use of a melodic phrase which belongs to Haydn that every writer on “Il Barbiere” seems to have thought it his duty to point out an instance of “plagiarism” on the part of Rossini.  It is a trifling matter.  The trio begins thus:—­

[Musical excerpt—­“Ziti, ziti, piano, piano, non facciamo confusionne”]

which is a slightly varied form of four measures from Simon’s song in the first part of “The Seasons":—­

[Musical excerpt—­“With eagerness the husbandman his tilling work begins.”]

With these four measures the likeness begins and ends.  A venial offence, if it be an offence at all.  Composers were not held to so strict and scrupulous an accountability touching melodic meum and tuum a century ago as they are now; yet there was then a thousand-fold more melodic inventiveness.  Another case of “conveyance” by Rossini has also been pointed out; the air of the duenna in the third act beginning “Il vecchiotto cerca moglie” is said to be that of a song which Rossini heard a Russian lady sing in Rome.  I have searched much in Russian song literature and failed to find the alleged original.  To finish the story:  the notary summoned by Bartolo arrives on the scene, but is persuaded by Figaro to draw up an attestation of a marriage agreement between Count Almaviva and Rosina, and Bartolo, finding at the last that all his precautions have been in vain, comforted not a little by the gift of his ward’s dower, which the Count relinquishes, gives his blessing to the lovers.