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.

The play, The Barber of Seville by Beaumarchais, had a very interesting plot that immediately caught my attention. I am a fan of the romance genre, so after reading the first page, I got a sense of the play being a romance genre. That being so, I could already predict that there would be an obstacle in Count Almaviva’s path to courting Rosine. While reading the play, there were certain parts I could predict and parts that I found surprising. The parts that were surprising had the same theme of fate.

Right when the play starts, the setting is described where Count Almaviva is pacing below Rosine’s lattice. This instantly reminded me of Shakespeare’s Romeo and Juliet because of the famous balcony scene. Although the beginning had hinted to me that this play would be of the romance genre, the Count’s monologue made it uncertain for me to officially label it with that. As the play moves on, Count Almaviva sings to Rosine telling her about himself and his infatuation of her, supporting my claim on the romantic genre. “My love for you is all I have to offer…” (p52) As the love between the Count and Rosine begins to bloom, with Bartholo as the thorn sticking to their side, the sense that this was a comedic opera began to fade and lose its standing. While I read the play, I did not find any part of it humorous. Maybe the way I read it had disintegrated the humor in the play. However, I do not believe that that would hold a strong influence on the play itself.

As love began to bloom between Count Almaviva and Rosine, and obstacles suddenly appearing to keep them apart, the reoccurring theme of fate appeared alongside the obstacles. This is because the obstacles test the fat between the Count and Rosine, bringing up the question of whether or not they will get married to each other. This is shown when Count Almaviva is trying to hand Rosine a letter in response to her letter in his disguise as a drunk soldier. “But why shouldn’t you show it to me?…”(p71) This is spoken by Bartholo, as he insists to see the letter he believed he saw the Count hand to Rosine, indicating his distrust towards Rosine. By insisting to see the letter, he not only distrusts Rosine, but is also trying to determine if Rosine is contacting a lover. If Rosine was to hand over the letter, she would immediately be caught and would have probably have to marry Bartholo immediately; that would be terrible! So, from that incident, the fate of Count Almaviva and Rosine were tested.

Fate is a theme that occurs in many plays and has different roles in each play. In Greek plays, fate was decided by the Gods and men could not change it. In some plays, fate is controlled by men. In The Barber of Seville, fate is controlled by men, as Count Almaviva and Figaro do their best to get Rosine to marry the Count.

As the play starts out, Rosine seems to be destined to marry Bartholo. However, Count Almaviva is determined to marry Rosine. After seeing her in Spain, Almaviva followed Rosine to Seville because his “happiness lies in Rosine’s affection” (39). Almaviva meets his friend Figaro on the street of Seville. Figaro is Bartholo’s barber so he has access to Bartholo’s home, where Rosine resides. Figaro creates a plan to smuggle the Count into the house disguised as a drunken soldier so that he can talk to Rosine.  When the Count is in the house, he hands Rosine a not instructing her to get into an argument with Bartholo. At a later time, the Count comes back disguised as a music teacher and Rosine argues with Bartholo. The Count bribes the real music teacher to play along with his scheme because the real music teacher arrived to give music lessons to Rosine at the same time as the Count. The music teacher later reveals to Bartholo that he was bribed so Bartholo tells Rosine a vicious lie about the Count. Rosine gets upset at the Count but when the Count sees her at a later time still disguised and reveals who he is, Rosine falls back in love with him. After much protest from Bartholo, he lets Rosine marry the Count.

It is evident throughout this play that men control fate. Figaro helped the Count in his pursuit of Rosine. There were several instances were it seemed that the Count’s plan would fail, yet the Count did not give up and kept making new plans to change Rosine’s fate.

One’s destiny has been a question for all of time.  In earlier civilizations, fate was seen as something predetermined by the gods.  The gods controlled everything and no matter how hard one tried to avoid his fixed path, the gods kept him on it.  However, in the French play “The Barber of Seville” by Pierre Beaumarchais  fate seems manmade.

Dr. Bartolo and Count Almaviva both want to marry Rosine with their own free will.  There is no divine intervention forcing them to do otherwise.  In fact, both take matters into their own hands.  Dr. Bartolo decides to hurry with the proceedings of the wedding and tries to keep Rosine out of contact with other men.  Count Almaviva dresses himself up and attempts to woo Rosine.  With all the secrets and skepticism, there is no help other than from the minds of men.

The only help the Count gets is from Figaro.  Figaro aids the Count in his quest, with the qualities and advantages he has.  He is able to help the Count get into Dr. Bartolo’s house and see Rosine.  Then Dr. Bartolo falls asleep during the music lessons due his own inability to stay awake.  The count takes advantage of the situation and kisses Rosine.

Towards the end, Dr. Bartolo doesn’t use any type of magic to seduce or entrap Rosine; he simply uses lies.  He lies because he is a man and because he is limited to him manly powers.  He can’t watch Rosine every moment, nor can he stop other men from seeing her.  What he can do though, is create doubts within her mind and trick her.

Since, his lies are lies and can’t be made true, Dr. Bartolo loses Rosine to Count Almaviva.  Neither man played with any type of divine advantage.  They had to do what was in their powers to try and win Rosine.  For that reason, destiny has begun to lose its edge as time progresses.  With time, comes the growth of individuality, which leads to the belief that we are the commanders of our own fate.

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.

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.