As a French Proverb states, “You often meet your fate on the road you take to avoid it.” Many plays and early works of art shed light on the concept of fate and foreshadowing. In most cases, these stories revolve around a tragedy where the fate of the protagonist leads to ultimate betrayal or even death. However, in the mid-1700’s in France, a new form of art arose. Greek tragedies were still very prominent, but newly founded plays were based on comedy and a mockery of the nobility. Fate in comedy was born and illustrated new meaning in numerous pieces of literature. In the French play, “The Barber of Seville,” written by Pierre Beaumarchais, the fate of Count Almaviva and Rosine does not lead to sorrow but rejoice and celebration. Instead of letting fate take the reigns of life, the Count comically decides to challenge destiny and woo Rosine, a young noble lady. His first attempt to cheat fate is dressing up as a poor university student to catch her attention and satisfy his growing infatuation. He refuses to let his social status as a grandee stand in the way of his heart’s desires. “I’m weary of the conquests that self-interest or habit or vanity present us in unending succession. How delightful it would be to be loved for oneself alone!” (Act I page 39).

As for Rosine, the stars are aligned for her to take Dr. Bartolo as her husband. However, her fate is soon altered as Figaro, the barber of Seville, steps into the picture and helps the Count win her over. Instead of following the footsteps of destiny, all three characters make choices, which influence the outcome of their lives. The Count, overcome by love and utter determination, will stop at nothing to persuade Rosine to neglect to marry Bartolo, while Figaro plays the role of the messenger between the star-crossed lovers. Act IV unravels as all the characters begin to reveal their true feelings and falsities. In order to intervene and make sure his plan remains intact, Bartolo tells Rosine a lie about her secret lover; saying the Count will have people come kidnap her. “This conspiracy was leading you into abyss from which there could have been no rescuing you…” (Act IV page 95). At first Rosine believes this fictitious story and reluctantly agrees to marry Bartolo, however the Count quickly intervenes, refusing to accept this undesirable fate. By revealing his true identity, the Count not only gains Rosine’s forgiveness but also, ultimately, her hand in marriage.