How we cite our quotes: (Act.Scene.Line). Line numbers correspond to the 2008 Norton edition.
Quote #7
STEFANO
Trinculo, keep a good tongue in your head.
If you prove a mutineer, the next tree. The poor
monster's my subject, and he shall not suffer
indignity. (3.2.38-41)
Stefano's leadership is a parody of the real court. Though he is rooted in the spirit of the pastoral (bawdy, drunk, and quick to fight), Stefano puts on the airs of the court and reveals how silly these formalities are against such a backdrop (while also casting some doubt as to how serious they are in any context).
Quote #8
PROSPERO
Behold, sir king,
The wrongèd Duke of Milan, Prospero.
For more assurance that a living prince
Does now speak to thee, I embrace thy body,
[He embraces Alonso.]
And to thee and thy company I bid
A hearty welcome. (5.1.117-122)
The visitors to the island didn't recognize Prospero at first, so he changes into courtly garb, but he also changes his mannerisms from the mystical to the courtly. He doesn't have anything to bid them welcome to but his cell, highlighting the absurdity of these misplaced gestures.
Quote #9
GONZALO
Was Milan thrust from Milan, that his issue
Should become kings of Naples? O, rejoice
Beyond a common joy, and set it down
With gold on lasting pillars: in one voyage
Did Claribel her husband find at Tunis,
And Ferdinand, her brother, found a wife
Where he himself was lost; Prospero his dukedom
In a poor isle and all of us ourselves
When no man was his own. (5.1.246-254)
Will the changes that have occurred outside of the court still hold once everyone has reached the court again? Why did a courtly problem need to be solved in a pastoral setting?