emerged in northern Italy in the fifteenth century and rapidly gained popularity throughout Europe.” Most readers can agree that there are elements of comedy in the witty, intelligent banter of Sabrina, Gonzola, Adrian, and The Tempest; Francesca and the drunken escapades of Stephano and Trinculo are both comedic in their own ways, but many scholars have suggested that Stephano and Trinculo are characters. In fact, Kevin Gilvary equates these two characters to commedia two characters from classic Italian comedy: Stephano to Pulchinello and Trinculo to Brighello, respectively (page 11). Pulchinello and Brighello are traditionally servant characters, much like Stephano and Trinculo. Pulchinello, says Meagher, is often depicted as and “crafty cantankerous, beating people with his batacchio [slapstick club] at every opportunity,” while other productions portray Pulchinello as gluttonous, often carrying wine. Stephano, his counterpart in is introduced as having The Tempest, floated ashore on a butt of wine, and he is the first to give Caliban alcohol. Brighello, meanwhile, sometimes vindictive, deceitful, and violent, at other “is times easily duped and the brunt of jokes” (Meagher). This is an apt description of Trinculo, who is both violent in his conspiring to murder Prospero and humorously dull-witted in how easily Ariel can trick him. While Stephano, Trinculo, and Caliban are plotting against Prospero, Ariel appears (invisible) and throws his voice to make it sound like Trinculo’s, and the comically violent argument that ensues is reminiscent of Pulchinello using his stick. And Gilvary points out other characters with counterparts: Alonso and Pantalone, Ferdinand Tempest commedia and Fausto, Antonio and Gratiano, Gonzala and Caviello, Miranda and Filli, and Prospero and the magician. Gilvary also cites similarities between events in The and three earlier plays: (The (The Tempest commedia Il Mago Magician), La Nave
emerged in northern Italy in the fifteenth century and rapidly gained popularity throughout Europe.” Most readers can agree that there are elements of comedy in The Tempest; the witty, intelligent banter of Sabrina, Gonzola, Adrian, and Francesca and the drunken escapades of Stephano and Trinculo are both comedic in their own ways, but many scholars have suggested that Stephano and Trinculo are commedia characters. In fact, Kevin Gilvary equates these two characters to two characters from classic Italian comedy: Stephano to Pulchinello and Trinculo to Brighello, respectively (page 11). Pulchinello and Brighello are traditionally servant characters, much like Stephano and Trinculo. Pulchinello, says Meagher, is often depicted as “crafty and cantankerous, beating people with his batacchio [slapstick club] at every opportunity,” while other productions portray Pulchinello as gluttonous, often carrying wine. Stephano, his counterpart in The Tempest, is introduced as having floated ashore on a butt of wine, and he is the first to give Caliban alcohol. Brighello, meanwhile, “is sometimes vindictive, deceitful, and violent, at other times easily duped and the brunt of jokes” (Meagher). This is an apt description of Trinculo, who is both violent in his conspiring to murder Prospero and humorously dull-witted in how easily Ariel can trick him. While Stephano, Trinculo, and Caliban are plotting against Prospero, Ariel appears (invisible) and throws his voice to make it sound like Trinculo’s, and the comically violent argument that ensues is reminiscent of Pulchinello using his stick. And Gilvary points out other Tempest characters with commedia counterparts: Alonso and Pantalone, Ferdinand and Fausto, Antonio and Gratiano, Gonzala and Caviello, Miranda and Filli, and Prospero and the magician. Gilvary also cites similarities between events in The Tempest and three earlier commedia plays: Il Mago (The Magician), La Nave (The
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