In many of Shakespeare's tragedies, the protagonists have what are known as "tragic flaws" which are personality traits or patterns of behavior that prevent the character from acting in their own best interest. But in the comedies, characters are more likely to learn from their mistakes and show some growth. In Much Ado About Nothing, for example, both Beatrice and Benedict become more serious and less cynical as a result of having to confront Hero's apparent betrayal. In As You Like It, Silvius and Phebe renew their commitment to one another because of Rosalind/Ganymede's wise advice on love. In The Tempest, Prospero moves from being possessive of Miranda to understanding she must explore the wider world, and agrees to release Ariel from servitude.