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 schoolboy, 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 honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with 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 his mom
~William Shakespeare
SCENE VII. The forest
A table set out. Enter DUKE SENIOR, AMIENS, and Lords like outlaws
DUKE SENIOR
I think he be transform'd into a beast;
For I can no where find him like a man.
FIRST LORD
My lord, he is but even now gone hence:
Here was he merry, hearing of a song.
DUKE SENIOR
If he, compact of jars, grow musical,
We shall have shortly discord in the spheres.
Go, seek him: tell him I would speak with him.
Enter JAQUES
FIRST LORD
He saves my labour by his own approach.
DUKE SENIOR
Why, how now, monsieur! what a life is this
That your poor friends must woo your company?
What, you look merrily!
JAQUES
A fool, a fool! I met a fool i' the forest,
A motley fool; a miserable world!
As I do live by food, I met a fool
Who laid him down and bask'd him in the sun,
And rail'd on Lady Fortune in good terms,
In good set terms and yet a motley fool.
'Good morrow, fool,' quoth I. 'No, sir,' quoth he,
'Call me not fool till heaven hath sent me fortune:'
And then he drew a dial from his poke,
And, looking on it with lack-lustre eye,
Says very wisely, 'It is ten o'clock:
Thus we may see,' quoth he, 'how the world wags:
'Tis but an hour ago since it was nine,
And after one hour more 'twill be eleven;
And so, from hour to hour, we ripe and ripe,
And then, from hour to hour, we rot and rot;
And thereby hangs a tale.' When I did hear
The motley fool thus moral on the time,
My lungs began to crow like chanticleer,
That fools should be so deep-contemplative,
And I did laugh sans intermission
An hour by his dial. O noble fool!
A worthy fool! Motley's the only wear.
DUKE SENIOR
What fool is this?
JAQUES
O worthy fool! One that hath been a courtier,
And says, if ladies be but young and fair,
They have the gift to know it: and in his brain,
Which is as dry as the remainder biscuit
After a voyage, he hath strange places cramm'd
With observation, the which he vents
In mangled forms. O that I were a fool!
I am ambitious for a motley coat.
DUKE SENIOR
Thou shalt have one.
JAQUES
It is my only suit;
Provided that you weed your better judgments
Of all opinion that grows rank in them
That I am wise. I must have liberty
Withal, as large a charter as the wind,
To blow on whom I please; for so fools have;
And they that are most galled with my folly,
They most must laugh. And why, sir, must they so?
The 'why' is plain as way to parish church:
He that a fool doth very wisely hit
Doth very foolishly, although he smart,
Not to seem senseless of the bob: if not,
The wise man's folly is anatomized
Even by the squandering glances of the fool.
Invest me in my motley; give me leave
To speak my mind, and I will through and through
Cleanse the foul body of the infected world,
If they will patiently receive my medicine.
DUKE SENIOR
Fie on thee! I can tell what thou wouldst do.
JAQUES
What, for a counter, would I do but good?
DUKE SENIOR
Most mischievous foul sin, in chiding sin:
For thou thyself hast been a libertine,
As sensual as the brutish sting itself;
And all the embossed sores and headed evils,
That thou with licence of free foot hast caught,
Wouldst thou disgorge into the general world.
JAQUES
Why, who cries out on pride,
That can therein tax any private party?
Doth it not flow as hugely as the sea,
Till that the weary very means do ebb?
What woman in the city do I name,
When that I say the city-woman bears
The cost of princes on unworthy shoulders?
Who can come in and say that I mean her,
When such a one as she such is her neighbour?
Or what is he of basest function
That says his bravery is not of my cost,
Thinking that I mean him, but therein suits
His folly to the mettle of my speech?
There then; how then? what then? Let me see wherein
My tongue hath wrong'd him: if it do him right,
Then he hath wrong'd himself; if he be free,
Why then my taxing like a wild-goose flies,
Unclaim'd of any man. But who comes here?
Enter ORLANDO, with his sword drawn
ORLANDO
Forbear, and eat no more.
JAQUES
Why, I have eat none yet.
ORLANDO
Nor shalt not, till necessity be served.
JAQUES
Of what kind should this cock come of?
DUKE SENIOR
Art thou thus bolden'd, man, by thy distress,
Or else a rude despiser of good manners,
That in civility thou seem'st so empty?
ORLANDO
You touch'd my vein at first: the thorny point
Of bare distress hath ta'en from me the show
Of smooth civility: yet am I inland bred
And know some nurture. But forbear, I say:
He dies that touches any of this fruit
Till I and my affairs are answered.
JAQUES
An you will not be answered with reason, I must die.
DUKE SENIOR
What would you have? Your gentleness shall force
More than your force move us to gentleness.
ORLANDO
I almost die for food; and let me have it.
DUKE SENIOR
Sit down and feed, and welcome to our table.
ORLANDO
Speak you so gently? Pardon me, I pray you:
I thought that all things had been savage here;
And therefore put I on the countenance
Of stern commandment. But whate'er you are
That in this desert inaccessible,
Under the shade of melancholy boughs,
Lose and neglect the creeping hours of time
If ever you have look'd on better days,
If ever been where bells have knoll'd to church,
If ever sat at any good man's feast,
If ever from your eyelids wiped a tear
And know what 'tis to pity and be pitied,
Let gentleness my strong enforcement be:
In the which hope I blush, and hide my sword.
DUKE SENIOR
True is it that we have seen better days,
And have with holy bell been knoll'd to church
And sat at good men's feasts and wiped our eyes
Of drops that sacred pity hath engender'd:
And therefore sit you down in gentleness
And take upon command what help we have
That to your wanting may be minister'd.
ORLANDO
Then but forbear your food a little while,
Whiles, like a doe, I go to find my fawn
And give it food. There is an old poor man,
Who after me hath many a weary step
Limp'd in pure love: till he be first sufficed,
Oppress'd with two weak evils, age and hunger,
I will not touch a bit.
DUKE SENIOR
Go find him out,
And we will nothing waste till you return.
ORLANDO
I thank ye; and be blest for your good comfort!
Exit
DUKE SENIOR
Thou seest we are not all alone unhappy:
This wide and universal theatre
Presents more woeful pageants than the scene
Wherein we play in.
JAQUES
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.
And 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 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 slipper'd 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.
Re-enter ORLANDO, with ADAM
DUKE SENIOR
Welcome. Set down your venerable burthen,
And let him feed.
ORLANDO
I thank you most for him.
ADAM
So had you need:
I scarce can speak to thank you for myself.
DUKE SENIOR
Welcome; fall to: I will not trouble you
As yet, to question you about your fortunes.
Give us some music; and, good cousin, sing.
SONG.
AMIENS
Blow, blow, thou winter wind.
Thou art not so unkind
As man's ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude.
Heigh-ho! sing, heigh-ho! unto the green holly:
Most friendship is feigning, most loving mere folly:
Then, heigh-ho, the holly!
This life is most jolly.
Freeze, freeze, thou bitter sky,
That dost not bite so nigh
As benefits forgot:
Though thou the waters warp,
Thy sting is not so sharp
As friend remember'd not.
Heigh-ho! sing, & c.
DUKE SENIOR
If that you were the good Sir Rowland's son,
As you have whisper'd faithfully you were,
And as mine eye doth his effigies witness
Most truly limn'd and living in your face,
Be truly welcome hither: I am the duke
That loved your father: the residue of your fortune,
Go to my cave and tell me. Good old man,
Thou art right welcome as thy master is.
Support him by the arm. Give me your hand,
And let me all your fortunes understand.
Exeunt
All the World's a Stage
윌리엄 셰익스피어(William Shakespeare)의 희극, 'As You Like It"에서 나오는 대사
2막 7장(Act II Scene VII Line 139)에서부터 시작되는 제이키스(Jaques)가 하는 대사(독백)
한 사람의 인생을 나열했다는 점에서 특히 큰 주목을 받았고, 다른 여러 작품(문학작품 포함)에서 인용되기도 했다. 한 사람의 인생을 7단계로 나누어서(seven ages of man) 이야기
인간의 유년 시절부터 젊음과 늙음을 거쳐 죽음에 이르기까지의 과정을 7막으로 된 연극에 비유하고 있다.
이 대사는 셰익스피어 작품 중 가장 유명한 대사의 하나이다. 인생을 7개의 단계로 나누어 연령별로 묘사하고 있다.
'인간 삶의 일곱 단계' 는 영어로는 "seven ages of man" 으로 통칭되면서 많은 명화와 조각 작품들이 만들어졌다.
그 중 유명한 것은 윌리엄 멀레디(William Mulready)의 '인간 삶의 일곱 단계' (The Seven Ages of Man, 1838)와,
런던에 있는 리처드 킨더슬리(Richard Kindersley)의 '인간 삶의 일곱 단계' (The Seven Ages of Man, 1979) 조각상을 들 수 있다.
인간이 거치는 7개의 단계로 유아기, 아동기 학창 시절, 사랑에 빠지는 청년 시절, 군인, 법관, 노인, 마지막 죽음을 앞둔 노년 시절을 들고 있다.
인생이 종국에 가서는 모든 것을 잃고 망각의 세계로 간다는 인생의 유한함과 덧없음을 시사하고, 그러한 것을 깨닫는 지혜를 담고 있다.
1-2행의,
'이 세상은 연극 무대,
세상 모든 남녀는 단지 배우일 뿐'
(All the world's a stage,
and all the men and women merely players)
'제2의 유년기' (second childishness)도 자주 인용된다.
이 극은 주로 프랑스의 아덴(Arden) 숲을 배경으로 전개된다.
이 대사를 말하는 제이키스(Jaques)는 프랑스 이름으로 원래 '자크' 이지만 영어식으로 '제이키즈' 로 발음한다.
대사중 '이도 없고' (sans teeth)의 'sans' 도 불어이고 원 발음이 '상' 이지만, 여기서는 영어식으로 '산스' 로 발음한다.
셰익스피어의 5대 희극은 "한 여름밤의 꿈", "베니스의 상인", "말괄량이 길들이기", "십이야" (The Twelfth Night)를 포함한다.
'As you like it' 의 번역은 "좋으실 대로", "뜻대로 하세요", "좋을 대로 하시든지"
16행의 '두둑한 뇌물' (with good capon lined)에서 'capon' 은 거세한 수탉으로 뇌물을 뜻한다.
20행의 '슬리퍼를 신은 수척한 노인' (lean and slippered pantaloon)에서 'pantaloon' 은 이탈리아 희극에 나오는 돈과 지위에 욕심 많은 배역 'Pantalone' 에서 나왔으며 '어리석은 노인' 을 의미한다.
All the World's a Stage
By William Shakespeare
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 schoolboy, 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 honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with 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.
이 세상은 연극 무대,
세상 모든 남녀는 단지 배우일 뿐.
무대에 등장하고 그리고 퇴장하지요,
인간은 살아 생전에 여러 역을 맡는데,
나이에 따라 일곱 개의 역할을 하지요.
먼저 아기 역할, 유모 품에서 침 흘리고 칭얼대지요.
다음은 불평하는 학생 역할,
아침에 해맑은 얼굴로 가방 메고
달팽이 걸음으로 마지못해 학교를 가지요.
다음은 연인 역할, 용광로처럼 한숨 쉬며
애인의 눈썹을 찬양하는 서글픈 시를 읊지요.
그리고 군인 역할, 표범 수염에 생소한 서약을 늘어놓고,
명예욕에 불타며, 성급하고 쉽게 싸움에 뛰어들고,
심지어 포탄의 총구 앞에서도
물거품같은 명성을 좇지요.
다음은 법관 역할, 두둑한 뇌물로 배는 살이 쪘고,
준엄한 눈초리에 위엄있게 깎은 수염을 과시하며,
유식한 문구와 최근의 판례들을 줄줄이 입에 담으며,
그의 역할을 연기하지요.
여섯 번째 역할은 슬리퍼를 신은 수척한 노인,
콧잔등에 안경을 걸치고 허리에는 돈주머니를 찼는데,
젊었을 때 아껴둔 바지는 가늘어진 정강이에 비해
볼품없이 크며, 남자다운 우렁찬 목소리는
높고 가는 아이 목소리로 다시 돌아가서
피리 소리같이 새된 소릴 내지요.
이 파란만장한 인생사를 끝내는 마지막 역할은
제2의 유년기에 단지 망각일 뿐이지요,
이도 없고, 눈도 없고, 맛도 없고, 모든 것을 다 잃지요.