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Debate Between Touchstone and Corin

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Debate Between Touchstone and Corin
Duke senior describes how, at Arden, he could see 'tongues in trees", "sermons in stones" and had no enemy except the harshness of the elements of nature- "churlish chiding of the winter's wind". The pastoral existence was devoid of the "painted pomp" back at court which shows the carefree, pleasurable lifestyle that the duke was enjoying in Arden in contrast to the constant public haunt that he had to go through prior to his banishment. The words are romanticized and the mood is set for the rest of the play. Despite some natural perils, there was 'good in everything'. This tilts the argument in favor of pastoral existence. Shakespeare highlights the educational, edifying and enlightening nature of this foray into the woods.

The argument between Touchstone and corin is also crucial in this regard and although touchstone wins over and Corin chooses to back out, it is obvious that Touchstone's points of argument are merely farcical and domineering whereas Corin's simple but logical rationale leaves more of an impact. Even Corin's admission of defeat does not mean that courtly manners are superior in fact it only showcases Corin’s sensibility in acknowledging that both of these co-exist and there are some acceptable norms at court which may seen ridiculous in the forest while some forest customs could prove to be inappropriate for the city.

In the play, As You Like It, by William Shakespeare, there is an omnipresent theme of a pastoral life versus court life that permeates throughout the play and engulfs all the characters. This ubiquitous theme italicizes and exhibits the similarities and differences that court and pastoral life play on the characters that inhabit these surroundings and environment. Characters such as Duke Senior, Touchstone, and Corin play a major part in shedding light on the comparison of pastoral and court life, which help the readers more plainly discover the similarities and discrepancies of these two ways of life.
In Act Two, Duke

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