All the world's a stage
"All the world's a stage" is the phrase that begins a monologue from William Shakespeare's As You Like It, spoken by the melancholy Jaques in Act II Scene VII. The speech compares the world to a stage and life to a play, and catalogues the seven stages of a man's life, sometimes referred to as the seven ages of man: infant, schoolboy, lover, soldier, justice, Pantalone and old age, facing imminent death. It is one of Shakespeare's most frequently quoted passages.
"All the world's a stage" monologue
All the world's a stage,
And all the men and women merely players.
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse's arms.
Then, the whining school-boy with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then, a soldier,
Full of strange oaths, and bearded like the pard,
Jealous in honour, sudden, and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then, the justice,
In fair round belly, with a good capon lined,
With eyes severe, and beard of formal cut,
Full of wise saws, and modern instances,
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
The seven ages
The man in the poem goes through these stages all expressed in a sardonic when not bitter tone:
- Infancy: In this stage he is a helpless baby and knows little.
- Whining schoolboy: It is in that stage of life that he begins to go to school. He is unwilling to leave the protected environment of his home as he is still not confident enough to exercise his own discretion.
- The lover: In this stage he is always sentimental, expressing his love in a silly and pointless manner. He makes himself ridiculous in trying to express his feelings.
- The soldier: He is very easily aroused and is hot-headed. He is always working towards making a reputation for himself, however short-lived it may be, even at the cost of foolish risks.
- The justice: In this stage he thinks he has acquired wisdom through the many experiences he has had in life, and is likely to impart it. He has reached a stage where he has gained prosperity and social status. He becomes vain and begins to enjoy the finer things of life.
- Old Age: He is a shell of his former self — physically and mentally. He begins to become the butt of others' jokes. He loses his firmness and assertiveness, and shrinks in stature and personality.
- Incapacity: Dependent on others for care and unable to interact with the world, he experiences "second innocence, and mere oblivion."
World as a stage
The comparison of the world to a stage and people to actors long predated Shakespeare. Richard Edwardes's play Damon and Pythias, written in the year Shakespeare was born, contains the lines, "Pythagoras said that this world was like a stage / Whereon many play their parts; the lookers-on, the sage". When it was founded in 1599 Shakespeare's own theatre, The Globe may have used the motto Totus mundus agit histrionem (All the world plays the actor), the Latin text of which is derived from a 12th-century treatise. Ultimately the words derive from quod fere totus mundus exerceat histrionem (because almost the whole world are actors) attributed to Petronius, a phrase which had wide circulation in England at the time.
In his own earlier work, The Merchant of Venice, Shakespeare also had one of his main characters, Antonio, comparing the world to a stage:
- "I hold the world but as the world, Gratiano;
- A stage where every man must play a part,
- And mine a sad one."
- (The Merchant of Venice, Act I, Scene I)
In his work The Praise of Folly, first printed in 1511, Renaissance humanist Erasmus asks, "For what else is the life of man but a kind of play in which men in various costumes perform until the director motions them offstage?"
Ages of man
Likewise the division of human life into a series of ages was a commonplace of art and literature, which Shakespeare would have expected his audiences to recognize. The number of ages varied: three and four being the most common among ancient writers such as Aristotle. The concept of seven ages derives from medieval philosophy, which constructed groups of seven, as in the seven deadly sins, for theological reasons. The seven ages model dates from the 12th century. King Henry V had a tapestry illustrating the seven ages of man.
According to T. W. Baldwin, Shakespeare's version of the concept of the ages man is based primarily upon Palingenius' book Zodiacus Vitae, a school text he would have studied at the Stratford Grammar School, which also enumerates stages of human life. He also takes elements from Ovid and other sources known to him.
- The Seven Ages of Man (painting series)
- Ages of Man
- Riddle of the Sphinx
- Six Ages of the World
- Solomon Grundy
- Shakespeare's Seven Ages of Man. By Neera Nayal. Van Voorst, 1848. (Also, L. Booth and S. Ayling, 1864 Version.)
- As You Like it (1967) ed Agnes Latham. London: Methuen
- Joseph Quincy Adams, Chief Pre-Shakespearean Dramas: A Selection of Plays Illustrating the History of the English Drama from Its Origin down to Shakespeare, Houghton Mifflin Company, Boston; New York, p.1924, p.579.
- Garber, Marjorie B. (2008). Profiling Shakespeare. Routledge. p. 292.
- Burrow, J. A. (1986). The Ages of Man: A Study In Medieval Writing and Thought. Oxford: Clarendon Press.
- PROME, 1423 October, item 31 entries 757-97 quoted in Ian Mortimer, 1415 - Henry V's Year of Glory, p.45 footnote 2.
- Baldwin, T. W. (1944). William Shakspere's Small Latine & Lesse Greek 1. Urbana, Ill: University of Illinois Press. pp. 652–673.