Abstract: The scene of acknowledgement in the Mariage de Figaro (III, 16) has incited contradictory interpretations. First, this study recalls the implications of the sequence centred on acknowledgement in relation to the principal plotlines in the play. Next, the scene is compared with the discourse of the era on acknowledgement. Based on these different observations, we can affirm that Beaumarchais privileges the parodic dimension without abandoning sentimental or moving situations.
