Fate means that there are events that are beyond a person’s control. In the case of the Barber of Seville, The Count, with the help of Figaro, captures fate by the reins and guides his own destiny. In a comedy like the Barber of Seville, fate plays subtle roles, disguised by the hilariously absurd situations in the plot. Fate advances the plot through unforeseeable/convenient situations and introduces absurdities into the play that enhance the comedic aspects.

Fate is practically inserted through various parts of the play in order to advance the story. It appears early when The Count met Figaro outside Bartholo’s home. It is purely through fate and/or coincidence that they met, but their meeting allows the story to progress. Other instances of fate include the weather on the night of the marriage, which helped The Count acquire his woman. On the other hand, the characters were also able to control their own fates, so they controlled their own outcomes. The prime example is The Count’s decision to remove the ladder, which allowed him to marry Rosine directly in Bartholo’s house.

The more important role of fate in comedy is the absurdity that fate brings into the play. When Bazile fatefully enters the room when Rosine is getting her “lessons,” a crazy situation erupts where there is a comedic exchange between the character, and where Bazile is left clueless. The fact that Bazile comes at such a time shows how fate is used in this play, as an opportunity for insanity to occur, producing laughter from the readers and the audience. Another example is at the beginning, Rosine asks for information by song from The Count; if Figaro did not have a guitar at the moment, then the light and humorous lyrics may have never left The Count’s lips.

Comedic plays use fate similarly to tragedies: to advance the plot. However, the main difference between the two is that tragedies use fate to highlight themes, while comedies use fate to enhance the humor.