Fate in comedy differs from fate in tragedy such that the underlying theme is less obvious. In Antigone, we can almost predict what is going to happen next and see how fate plays a dark role in the tragedy. Fate is less obvious in The Barber of Seville because comedy is more spontaneous and unpredictable. As we can see in this opera, fate in comedies is always trying to help the “good guy”.

When Count Almaviva, posing as Lindoro, serenades Rosina from outside her window, we expect him to give up and walk away after she doesn’t pay him any attention. As fate has it, Figaro happens to comes along and give the Count valuable advice on gaining entry to Rosina’s house. Now disguised as a drunk soldier, the Count has access to Rosina and even manages to slip her a letter under Bartolo’s eye. Luckily, Rosina has another piece of paper handy and shows that to Bartolo instead. Again, we see how fate is in favor of the Count. Playing the part of Rosina’s substitute music teacher as his last disguise, the Count manages yet again to have fate in his favor. Bartolo discovers the Count’s secret but instead of it hurting the Count’s chances, it gives him an opportunity to win Rosina back. Now, the Count and Rosina are both in Rosina’s room, reconciling. Two men come into the room and luckily, it is not Bartolo but Basilio and the notary. At this point, it is clear who fate is vying for. Bartolo comes too late and Count Almaviva and Rosina are together.