In this play fate plays a different role than in tragedies. In tragedies fate is normally the villain and does anything to prevent our protagonist from happiness. But in comedies they are more of an ally helping the protagonist achieve happiness. This is due mainly to the genre of the plays. In tragedies the characters are not supposed to attain happiness but instead are left to suffer or die. In the “Barber of Seville”, fate plays the role of an ally. First, when Figaro, the barber of Seville is miraculously at Seville, because he had just happened to give up his previous occupation so that he can be a poet. The fact that he is in debt to the Count of Almaviva is another proof that fate is helping the protagonist, Count Almaviva. Figaro helping his old master, is one thing but the fact that he is in a perfect position to help his master is another. Fate is a supporter of Count Almaviva and fate displays his support by sending him Figaro right when he needs him. Another example of fate playing the role of a supporter is how at the end of the play, everything works out perfectly for Count Almaviva. In the last act, Bartolo has tricked Rosina into believing that the Count has sent some lackey to seduce her. She refuses to marry the Count after she finds out and even tells Bartolo their plans for escape. But, Bartolo leaves and the Count walks in and then as if it was never there the conflict is resolved. Then, if that wasn’t enough the notary walks in to the room right after the confusion between Rosina and the Count. Then the notary marries the Count and Rosina, and they most likely live happily ever after. But, with the help of fate who wouldn’t have a happy ending.

Fate plays a crucial role in the play Antigone as well as other plays by Sophocles. Fate is something that will not change to anyone’s wishes. Fate is predestined and will occur even if you try to resist it. Like the story of her grandfather Laius. Who tried to kill his son, so he wouldn’t kill him but he couldn’t escape fate and Oedipus killed Laius.

In Antigone, there is no escaping fate her whole life was predestined to be cursed. When the story begins she has already suffered the shame of her father, and then goes on to lose both her brothers. When Antigone goes against Creon’s order that Polynices will not be buried and will be left to rot she is going against Creon and the Gods. She knows that the consequences will be death and still she chooses to do it because it is her fate to rebel and die.  The prophecies in the play also display that fate is inescapable and it is omniscient. When the old blind prophet comes in and tells Creon that his son will die but no stranger shall kill him. Creon doesn’t believe it but fate yet again succeeds and Haemon kills himself, Creon’s son. Everything that occurs in the text has all been predestined by fate. From Antigone’s birth to Haemon falling in love with her have all been predestined and there is no escaping it. The characters in the play should embrace fate and accept it because it seems that there is no escape. When it seems like she has escaped from a tragic death, and Creon’s is coming to free her but she has already died. Although making choices and decisions seem to be of free will it is really just fate allowing you to think that you have a choice in life. But, the truth is that fate is omniscient and omnipotent.

In the Namesake by Jhumpa lahiri names are very important. Jhumpa lahiri uses names constantly to invoke remembrance in the readers and characters themselves. Jonathan Foer also uses names to invoke remembrance and play an important role in the novel.

In the Namesake gogol’s very name is a remembrance to the author Gogol but also to the memory of the night that his father was saved by Gogol. When Gogol finally discovers his namesake he is shocked and starts to regret changing his name and his identity. Another way in which Lahiri uses names is when Moshumi is sorting letters and all of a sudden she sees a familiar name that was a past crush. This name invokes in her memories of the past when she was just a young high school girl. These memories consist of her bus ride to D.C. as well as her first date. This remembrance causes her to call him up and start an affair that leads to a divorce between Gogol and herself.

Jonathan Foer also uses names to invoke remembrance but he uses them in a different way in the story. Jonathan Foer uses the fact that the grandfather can’t say Anna’s name as the reason why he can’t speak. This is because the memories of the death of his son, and Anna cause him to remember the dreadful night of the Dresden bombings.

Both Lahiri and Foer use names to invoke remembrance. Although not in similar ways both understand the power of the name, which invokes memories of not only the person but also how the individual felt during that time period.