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Dangerous for: Nymphs (where they get chased), Animals (hunted deer)
-A2S1

Haven for: Nymphs (final escape from gods), Duke Sr., Animals (their home), Orlando (gets to do whatever he wants)
-"tongues in trees..." (A2S1)

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Shepherd talking to a silent willow tree, which he imagines as a woman. He argues that a woman's presence is central to pastorals, but also "listens" to the thoughts of the tree, which apparently argues that the memory of a woman is not the same.
"Seeing women only through the lens of a man"
Rosalind only being listened to when she is perceived as a man.
Orlando not only noting the silence of the tree, but even posting his own words on it.

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Corin + Touchstone
Duke Senior + Amiens

Country:  offers a place to explore and for one to exist in their "natural" state

Court: Forced to conform to rules, societal expectations

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Satyr with pipes and wind spirit
-Wind spirit argues for privacy
- Jacques
-Satyr speaks of fellowship
-music, dancing, gardens
- the purpose of gardens
silence and noise
creativity and company
-No music without company, but each instrument cultivated in privacy

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Country vs. Court: Two Sonic Death Monkeys examine pastoral content and determine the  legitimacy of each as used in the common setting. 

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Country vs. Court: Two Sonic Death Monkeys examine pastoral content and determine the  legitimacy of each as used in the common setting. 

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Big Idea using Socratic method of argument: The pastoral element of the setting being in the country was the correct choice based upon quality of life in nature versus a city.
The Opposing Argument:  The pastoral element of the setting being in the country was the incorrect choice based upon quality of life in the city versus the country.

From Phaedrus:   SOC. Very true, my good friend ; and I hope that you will He is B excuse me when you hear the reason, which is, that I am a ~'~~~'e lover of knowledge, and the men who dwell in the city are and of man my teachers, and not the trees or the country. (This is for cities over country)
From Country Life:  None then did envy neighbour's wealth
Nor plot to wrong his bed;
Happy in friendship and in health,
On roots, not beasts, they fed.

The golden age did entertain
No passion but of love;
The thoughts of ruling and of gain
Did ne'er their fancies move.

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The Translator - Touchstone, the Word Bender

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The Translator - Touchstone, the Word Bender

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During the second scene of the third act, Touchstone (the fool) acts as the translator of Rosalind’s words. Rosalind herself refers to the poetry and beauty she has found from the carved tree. Touchstone responds that “the tree yields bad fruit.” Rather than allowing her character to orally contemplate and work through the words’ meanings (which, in a sense, could go to a more  “pastoral” direction), he inserts his character and direction, insinuating some poison or negative connotation to what the country/nature has provided. It twists the tone overall and shifts what could have potentially served as a pastoral purpose.

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Artificial: the manufactured ponds of the Earl's estate argue for their superiority and/or how they deserve to be compared to genuine nature
Genuine: tree is snobbish (like the elites who manufactured the pond) and refuses to acknowledge. Can't always divert from misgivings to nature in only writing about country.

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"'Tis just the fashion; wherefore do you look
Upon that poor and broken bankrupt there?'
Thus most invectively he pierceth through
The body of country, city, court
Yea, and of this our life, swearing that we
Are mere usurpers, tyrants, and what's worse,
To fright the animals and to kill them up
In their assigned and native dwelling-place." 2.1.59-65

COUNTRY
they're happier freer, more safe in the country, free to express love and emotion which leads to more genuine writing that moves the plot along

COURT
it is a place of organization, more material joys like jewels that are mentioned, more entertainment like the fools

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Hymen
Corrin's speeches
Duke Senior  - flattery of court vs reality of the country

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AYLI- Meta-textually speaking, Shakespeare is using the formula of someone else's story, but adding his own creative spin to it.  Pastoral works in general use a natural framework, which some could argue is unoriginal, but which could also be argued to provide enough structure to allow for more creative freedom within the framework. Nature is the source of inspiration for many, but pastoral can be repetitive, always focusing on romance, singing, etc. An example of this can be seen with trees; they are a standard symbol in pastoral writing and frequently show up, but by using this as a framework, the writer is free to use them in more creative and less standards way.