The Seven Ages of Man – Summary & Analysis

Short Summary

• The world is like a stage, and all people are actors playing different roles.
• Each person plays seven different ages during their lifetime, from infancy to old age.
• The journey goes from helpless baby to schoolboy, lover, soldier, judge, old man, and finally to oblivion.
• Each stage has its own characteristics, challenges, and natural ending.
• Life is cyclical—it begins with complete dependency and ends the same way.

The Seven Ages of Man – Line by Line Analysis

Introduction: Lines 1-4

All the world's a stage,

Shakespeare opens with one of the most famous lines in English literature. He compares the world to a theatrical stage. A stage is a place where actors perform and an audience watches. By comparing the world to a stage, Shakespeare suggests that life is performance and drama. The comparison would have been especially meaningful to Shakespeare, who was himself a playwright and performer. The word "stage" suggests that life is not permanent but temporary, like a play that has a beginning and an end.

And all the men and women merely players;

All people—both men and women—are actors on this world stage. The word "merely" is significant. It means "only" or "just," suggesting that human beings are insignificant and small. The word implies that we are not important or special in the grand scheme of the world. We are just players acting out roles written by fate, nature, or God. This creates a somber, philosophical tone. We are all performers in a great play, but we are unimportant players.

They have their exits and their entrances,

"Exits" means departures or deaths. "Entrances" means arrivals or births. The phrase refers to people entering and leaving the stage of life. But notice that Shakespeare places "exits" before "entrances." This unusual order gives the speech a dark, sad tone. It suggests endings before beginnings. The plural forms of both words are important. Shakespeare is talking about multiple exits and entrances, not just birth and death. People enter and leave our lives repeatedly through relationships, friendships, and connections.

And one man in his time plays many parts, / His acts being seven ages.

During a person's lifetime, they play many different roles. A "part" is a role, like an actor plays different characters in different plays. These many parts are divided into seven acts, or seven ages. This structure is important: Shakespeare says life has seven distinct stages. Each stage is like an act in a play, with its own characteristics and purposes. This framework allows Shakespeare to organize the complexity of life into understandable pieces.

Age One: Infancy (Lines 5-6)

At first, the infant, / Mewling and puking in the nurse's arms.

The first age is infancy, the time from birth to early childhood. "Mewling" means crying weakly, like a cat meowing. "Puking" means vomiting. The infant cries and throws up in the arms of a nurse or caregiver. This is a completely helpless stage. The infant cannot feed itself, cannot walk, cannot speak, and is completely dependent on others for survival. The speech uses unflattering imagery—mewling and puking—to show the messiness and helplessness of being a baby. This stage represents complete dependency and vulnerability.

Age Two: Childhood (Lines 7-9)

Then the whining schoolboy, with his satchel / And shining morning face, creeping like snail / Unwillingly to school.

The infant grows into a schoolboy. "Whining" means complaining in an annoying way. The boy has a "shining morning face," which suggests he is young and his face is fresh and bright. But he moves "like snail," which means slowly and reluctantly. He creeps unwillingly to school. The schoolboy is forced to attend school but does not want to go. He has just been removed from his mother's protection and must now face the world of learning. He whines about having to leave home. His satchel (a bag for carrying books) represents the burden of education. This stage shows childhood as a time of complaint and unwillingness to grow up.

Age Three: Adolescence and Youth (Lines 9-11)

And then the lover, / Sighing like furnace, with a woeful ballad / Made to his mistress' eyebrow.

The schoolboy becomes a lover. "Sighing like furnace" is a simile comparing the lover's sighs to the sound of a furnace. Furnaces make loud, heavy sounds as they burn hot. The lover sighs deeply and heavily from emotion. He is full of passion and longing for his beloved. "Woeful" means sad and sorrowful. He writes sad love songs or ballads for his mistress. He even praises her eyebrow specifically, showing how completely and irrationally love has captured him. He notices every detail about her with exaggerated importance. This stage shows youth as a time of romantic passion, emotion, and lovesickness.

Age Four: Young Manhood and Soldiering (Lines 11-15)

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.

The young lover becomes a soldier. Soldiers take "strange oaths," which means they make vows and promises of loyalty and honor. "Bearded like the pard" (a leopard) suggests the soldier is fierce and fierce-looking like a wild animal. He is "jealous in honour," meaning he cares deeply and intensely about his reputation and honor. He is "sudden and quick in quarrel," meaning he fights quickly and without thinking. The soldier is reckless and brave. He seeks "the bubble reputation," which is a metaphor. A bubble is fragile and temporary and floats away easily. But the soldier wants this fragile reputation so badly that he will face it "Even in the cannon's mouth"—he will face death and danger to get it. This stage shows young manhood as brave, foolish, honor-driven, and willing to die for reputation.

Age Five: Middle Age and Justice (Lines 15-19)

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 soldier matures into a judge or "justice." His body has changed. He has a "fair round belly" that is "lined" (filled) with "good capon" (a castrated rooster—good meat). In other words, he is fat from eating well. He has become comfortable and successful. His "eyes severe" means he looks serious and stern. His beard is "formal cut," meaning neat and proper. He is "full of wise saws," which means he speaks wise sayings and proverbs. He has "modern instances," meaning modern examples and evidence to support his points. This stage represents middle age as a time of wisdom, authority, comfort, and the enjoyment of success.

Age Six: Old Age (Lines 19-25)

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.

"Pantaloon" is a character from old plays who wears ragged, loose clothing. The man is now "lean" and wears comfortable "slippers." Age has made him thin and weak. He wears "spectacles" (glasses) because his eyesight is failing. He wears a "pouch on side" to carry items because he is no longer strong enough to carry much. His "youthful hose" (his old pants saved from youth) are now "a world too wide / For his shrunk shank" (leg)—his pants are too large for his thin legs. His body has shrunk. Most dramatically, "his big manly voice / Turning again toward childish treble, pipes / And whistles in his sound." The deep, strong voice of his manhood has become high and childish. His voice "pipes and whistles," making sounds like a flute. Old age has reversed his body back toward childhood.

Age Seven: Extreme Old Age and Oblivion (Lines 25-28)

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 final age is the "last scene of all." The life play finally ends. Shakespeare calls life a "strange eventful history"—strange meaning unusual and eventful meaning full of happenings. The final stage is "second childishness and mere oblivion." "Second childishness" means the person has returned to a child-like helplessness, forgetting most things and losing control of their body and mind. "Oblivion" means forgetting and losing consciousness—being lost in darkness. The person becomes like a baby again but with no hope of future growth. The final line uses repetition for powerful effect: "Sans teeth, sans eyes, sans taste, sans everything." "Sans" is a French word meaning "without." The old person has no teeth (cannot eat), no eyes (cannot see), no taste (cannot enjoy food), and finally "everything" is gone. This represents complete loss and return to the helplessness of infancy.

Word Notes

Stage: A platform where actors perform in a theater. Represents the world and life.
Players: Actors who perform roles in plays or on stages.
Exits: Departures or deaths; also refers to leaving the stage in theater.
Entrances: Arrivals or births; also refers to entering the stage in theater.
Acts: Main divisions of a play; here used to mean stages of life.
Mewling: Crying weakly, like a cat; making weak sounds.
Puking: Vomiting; throwing up. Shows the messy nature of infancy.
Whining: Complaining in an annoying, high-pitched voice.
Satchel: A bag, usually for carrying books or school supplies.
Creeping: Moving slowly and reluctantly.
Sighing: Breathing out deeply, often from emotion or sadness.
Furnace: A device that burns fuel to create heat. Used here in simile to describe heavy sighing.
Ballad: A song or poem, often sad, telling a story.
Woeful: Full of sadness or sorrow; sorrowful.
Mistress: A woman who is loved or admired, especially romantically.
Oaths: Solemn promises or vows, usually sworn before witnesses.
Pard: A leopard or other large wild cat. Symbol of fierceness.
Jealous in honour: Fiercely protective of one's reputation and pride.
Quarrel: An argument or fight; to argue strongly.
Bubble: A thin sphere of liquid containing gas. Symbol of something fragile and temporary.
Reputation: The opinion people have of someone; one's good name and fame.
Cannon: A large gun that fires large metal balls as weapons in war.
Justice: A judge or administrator of law. Represents authority and wisdom.
Capon: A castrated rooster; meat of good quality.
Pantaloon: A character in old plays who wears ragged, loose clothes; represents an old fool.
Spectacles: Eyeglasses; worn because eyesight weakens with age.
Hose: Tight-fitting pants or leggings; stockings.
Shank: The leg, especially the lower leg.
Treble: A high-pitched musical sound; the highest range in music.
Pantaloon: A thin-legged man or one dressed in ragged, loose clothes.
Second childishness: A return to child-like behavior and helplessness in extreme old age.
Oblivion: The state of being completely forgotten or unaware; darkness and nothingness.
Sans: A French word used in English meaning "without" or "lacking."

Publication

"The Seven Ages of Man," also known as "All the world's a stage," is a famous monologue from William Shakespeare's comedy play "As You Like It." The play was written around 1599 and first published in the First Folio in 1623. In the play, the character Jaques, a melancholy and philosophical man, delivers this monologue in Act II, Scene VII. He speaks to the Duke Senior and Orlando in the Forest of Arden. The monologue was likely inspired by earlier versions of the "ages of man" concept, which dates back to medieval philosophy and even to ancient Greek and Roman writers.

Some scholars believe Shakespeare drew inspiration from classical sources like Aristotle, Ovid, and Juvenal. The concept of seven ages may have been influenced by medieval religious thinking about the seven deadly sins. Today, this monologue is considered one of the greatest pieces of English literature and is studied in schools worldwide.

Context

William Shakespeare wrote "As You Like It" during the late Elizabethan era, around 1599-1600. At this time, the new Globe Theatre had just opened in London, and it used the Latin motto "Totus mundus agit histrionem," which means "All the world's a stage"—the very phrase Shakespeare uses to open this monologue. Shakespeare's society was becoming increasingly aware of the transience of life and the universal human experience. The Renaissance was bringing new philosophical thinking about humanity's place in the universe.

The character Jaques represents a new type of person in drama—the philosophical observer who stands back from action to comment on life's meaning. In "As You Like It," Jaques meets the Duke Senior in the forest and uses this monologue partly to console the Duke's sadness and partly to philosophically comment on human existence. The play is set in an idealized forest, away from the court, which allows for these kinds of reflective, philosophical discussions.

Setting

The monologue is set in the Forest of Arden, a magical, idealized forest in "As You Like It." The forest is a place where people escape from court life and the pressures of society. It is a location where characters can think freely and philosophically about life. The forest represents a space removed from the artificial and political world of the court. Inside this natural setting, away from distractions, Jaques delivers his monologue. The specific moment is a meeting between Jaques, Duke Senior, and Orlando while they are having dinner together.

The forest setting emphasizes that this is a place for reflection and truth-telling. The outdoor nature of the setting, with its natural beauty and seasonal changes, reinforces the themes of life's stages and nature's cycles. The forest of Arden becomes a theater itself—the stage where this commentary on the world's stage is delivered. This creates a layered, interesting effect.

Title

The title "The Seven Ages of Man" is straightforward and descriptive. It tells the reader exactly what the monologue is about: the seven different ages or stages that a man (and by extension, all people) experiences during life. The word "ages" refers to life stages rather than just years of time. Each age is a distinct period with its own characteristics and roles. The full original phrase is "All the world's a stage," which appears in the first line of the monologue.

However, "The Seven Ages of Man" has become the more common title because it focuses on the central concept: the division of human life into seven distinct stages. The numbering "seven" is significant because the number seven appears throughout literature and theology as a complete or perfect number. The title is simple and memorable, which helps readers understand the poem's main idea before they even read it. The title creates curiosity: what are these seven ages?

Form and Language

Shakespeare wrote "The Seven Ages of Man" as a monologue, a speech delivered by one character to others (or to an audience). The monologue is written in blank verse, which is unrhymed iambic pentameter. However, Shakespeare does not follow this form strictly throughout. The language is poetic and uses vivid, concrete imagery. Shakespeare avoids overly complicated vocabulary, making the poem accessible to audiences while maintaining poetic beauty. He uses many comparisons and figurative language to make abstract ideas concrete and visual.

The monologue is approximately 28 lines long, divided into seven sections corresponding to the seven ages of man. Each section uses different imagery and tone to capture the essence of that life stage. The language moves from the harsh, physical descriptions of infancy (mewling and puking) to the philosophical reflections on the final age (sans everything).

Shakespeare's language is direct and dramatic. He addresses his listeners directly, making them think about their own lives. The tone shifts throughout the monologue: it is initially matter-of-fact when describing life as a stage, then becomes more detailed and specific as it describes each age. The final age's language becomes more repetitive and somber, using the repeated "sans" to create an accumulating sense of loss and emptiness.

Meter and Rhyme

Shakespeare wrote "The Seven Ages of Man" primarily in blank verse, which is unrhymed iambic pentameter. Iambic pentameter means that each line ideally contains five iambs (two-syllable units with the pattern unstressed-stressed, or da-DUM). This creates a regular rhythm when the lines are read aloud. However, Shakespeare does not follow this pattern strictly throughout the monologue. Many lines have variations from perfect iambic pentameter, with different numbers of syllables and stresses. This gives the speech a natural, conversational quality rather than making it sound overly rigid or artificial.

Most lines contain approximately 10-11 syllables, which is the typical length of iambic pentameter lines. However, the meter is not perfectly consistent. Shakespeare prioritizes meaning and natural speech over strict meter. This flexibility allows him to emphasize important words and create the exact emotional effect he wants. For example, the opening line "All the world's a stage" is shorter than a typical iambic pentameter line, which gives it extra emphasis and makes it memorable.

The monologue has no regular rhyme scheme. Shakespeare does not use end rhymes (rhymes at the ends of lines). However, the language is full of other poetic devices like alliteration, repetition, simile, and metaphor. These techniques create musical and poetic effects without the need for rhyming. The lack of regular rhyme allows Shakespeare to focus on the meaning and the vivid descriptions of each age.

The Seven Ages of Man – Themes

1. The Inevitable Passage of Time and Aging

The central theme is the inevitability and universality of aging. Every person moves through seven ages from infancy to extreme old age. Time passes for everyone equally, and no one can escape the natural progression of life. Shakespeare shows that aging brings physical changes: strength becomes weakness, beauty fades, and the body changes dramatically. The passage of time is unstoppable and natural. This theme creates a melancholy tone because it emphasizes loss. Youth becomes old age, strength becomes frailty, and activity becomes dependency. The monologue suggests that no matter who we are or what we achieve, we will all eventually become old and helpless. This is a universal human condition that applies to everyone equally.

2. The Futility and Meaninglessness of Life

The monologue suggests that human life is futile and ultimately meaningless. We play roles on the stage of life, but these roles are predetermined and temporary. Life is "a stage" on which we perform, but the stage continues long after we leave it. Individual human lives seem small and insignificant in the grand scheme of the world. We are "merely players," which emphasizes how unimportant individual people are. We play our parts and then exit. The final age describes "oblivion"—complete nothingness. Everything we achieve is temporary. The soldier seeks "bubble reputation," which is fragile and temporary like a bubble that pops and disappears. All the power, beauty, passion, and wisdom of the earlier ages eventually disappear into nothingness. This theme creates a somber, cynical tone.

3. The Cyclical Nature of Life

Life is cyclical, returning to its beginning. The monologue shows that the seventh age returns to the conditions of the first age. Infancy is helpless and dependent. The seventh age is also helpless and dependent. Both require constant care and cannot survive alone. Both ages are marked by inability to speak clearly (the infant mewls, the old man's voice becomes high and childish). Both ages show loss of teeth and loss of sight. This cyclical pattern suggests that life comes full circle. We enter the world helpless and we leave it helpless. We begin dependent on others and end dependent on others. The cyclical nature of life emphasizes the pattern of all living things: birth, growth, aging, and death.

4. The Different Roles We Play Throughout Life

Shakespeare emphasizes that each age has its own role and characteristics. A man is not always the same person throughout his life. He plays different "parts" in different ages: infant, schoolboy, lover, soldier, judge, old man, and finally a person approaching death. Each role brings different emotions, behaviors, and values. The lover experiences passion and emotion that the judge does not. The soldier seeks courage and honor that the schoolboy cannot understand. The judge has gained wisdom and authority that the young lover lacks. This theme teaches that each age has its own value and its own particular concerns. We cannot judge a person of one age by the standards of another age. Young people are passionate, soldiers are brave, and judges are wise. Life is not one continuous experience but a series of different experiences.

The Seven Ages of Man – Symbols

The Stage

The stage is the central extended metaphor of the entire monologue. A stage is where actors perform, where illusion meets reality, and where roles are played according to scripts. By comparing the world to a stage, Shakespeare suggests that life is performance and illusion rather than something solid and real. The stage has a limited lifespan—a performance begins and ends. Similarly, human lives have beginnings and endings. The stage is empty and waiting for new actors. The world stage continues after we leave it, suggesting that individual people are not important. Life on the stage is not authentic reality but a representation of reality. This symbol suggests that we should not take ourselves too seriously or believe that our individual roles are permanent or specially important.

The Soldier and His Sword

The soldier represents youth, courage, ambition, and recklessness. Soldiers are willing to face danger and death in pursuit of honor and reputation. The soldier seeks "the bubble reputation / Even in the cannon's mouth." The cannon represents danger and death. The soldier is willing to look directly at death itself to gain reputation. This symbol represents the fourth age of man, when physical strength is at its peak but judgment and wisdom are lacking. The soldier's focus on honor rather than survival shows the foolishness of youth. The soldier does not think about the consequences of his actions. He lives for the moment and for glory. This symbol teaches that youth and physical strength are admirable but can lead to dangerous behavior. The soldier represents the qualities of youth before maturity brings wisdom and caution.

The Judge and His Wisdom

The judge represents maturity, wisdom, authority, and comfort. The judge has moved beyond the passionate emotions of youth and the physical dangers of soldiering. He has accumulated knowledge and experience. He has a "fair round belly with good capon lined," suggesting comfortable success and well-being. He is "full of wise saws and modern instances," meaning he speaks with authority and knowledge. The judge represents the peak of a man's life—he has achieved security and respect. This symbol represents the fifth age, when people have moved beyond the struggles of youth and have gained position in society. The judge maintains order and protects people with his knowledge of law and justice. This symbol teaches that maturity brings rewards and responsibility. However, the judge does not remain in this pleasant stage forever. Old age comes next, stripping away the comfort and authority.

The Final Age—Oblivion

"Oblivion" symbolizes the complete loss of self and meaning at the end of life. "Sans teeth, sans eyes, sans taste, sans everything" represents total deprivation. The person loses all the physical senses and abilities that define human existence. They lose everything that made them an individual with accomplishments and relationships. The return to "second childishness" means the person has lost their mind and independence.

Oblivion symbolizes death and the complete loss of everything. Unlike the hopeful childishness of the first age, where growth lies ahead, the second childishness offers no future. This symbol represents the dark, nihilistic message of the monologue: ultimately, everything we achieve and everything we are disappears into nothingness. All the wisdom, strength, courage, and beauty of the earlier ages cannot save us from this final loss.

The Seven Ages of Man – Literary Devices

Extended Metaphor

Example: The entire monologue is built on the metaphor that "All the world's a stage" and all people are "players" performing roles in a play called life.

Explanation: An extended metaphor is a comparison that continues throughout a text rather than appearing in just one line or phrase. The stage metaphor structures the entire monologue. All the language of the monologue—acts, parts, scenes, exits, entrances, players—comes from theater. This device makes the monologue unified and memorable. It also adds layers of meaning: if life is a play, then nothing in life is permanent or ultimately real. The metaphor also suggests that we all have prescribed roles to play in life.

Simile

Example: "creeping like snail," "Sighing like furnace," "bearded like the pard."

Explanation: Similes compare two different things using "like" or "as." Shakespeare uses similes to create vivid pictures of each age. The schoolboy creeping like a snail suggests slow, reluctant movement. Sighing like a furnace suggests heavy, deep sighing. Being bearded like a leopard (pard) suggests fierce, wild appearance. These similes make the description more poetic and help readers visualize each age. They also connect human characteristics to animals or objects, suggesting that human aging follows natural patterns.

Imagery

Example: "Mewling and puking in the nurse's arms," "fair round belly with good capon lined," "Sans teeth, sans eyes, sans taste, sans everything."

Explanation: Imagery uses descriptive language to create vivid pictures in the reader's mind. Shakespeare's imagery appeals to different senses: we can picture the infant's crying and vomiting, we can imagine the judge's fat belly, and we can understand the loss described by the absence of teeth, eyes, and taste. The imagery makes each age come alive and becomes memorable. Physical, concrete details make abstract ideas about aging and life easier to understand and emotionally moving.

Personification

Example: "Seeking the bubble reputation / Even in the cannon's mouth" (the cannon is given the human feature of having a mouth).

Explanation: Personification gives human qualities to non-human things. By saying the cannon has a "mouth," Shakespeare suggests the cannon can "swallow" or destroy the soldier. This makes the danger more vivid and personal. The cannon becomes almost alive and threatening. Personification makes abstract concepts like danger more concrete and emotionally powerful.

Repetition

Example: "Sans teeth, sans eyes, sans taste, sans everything" (the word "sans" is repeated four times).

Explanation: Repetition means using the same word or phrase multiple times. The repeated "sans" creates a cumulative effect, emphasizing increasing loss. Each repetition adds something else to the list of losses, building toward the final "everything." The repetition makes the final description of old age more powerful and memorable. It also creates a rhythmic, almost chanting quality that emphasizes the finality of death.

Alliteration

Example: "Men, merely, man, many, mewling," "plays, part, puking," "shrunk shank," "quick quarrel".

Explanation: Alliteration is the repetition of the same beginning sound in nearby words. Shakespeare uses alliteration to create musical effects and to connect related ideas. The repetition of "m" sounds at the beginning creates a smooth, flowing quality. Alliteration makes the language more poetic and easier to remember. It also helps group related ideas together through the sound connections.

Antithesis

Example: "exits and entrances," "acts being seven ages" (old age versus youth).

Explanation: Antithesis places opposite ideas next to each other for contrast and emphasis. "Exits and entrances" are opposites (leaving and arriving). The ages are opposite to each other (youth and age). By putting opposites next to each other, Shakespeare emphasizes the contrasts between the stages of life. Antithesis makes the relationships between ideas clearer and more dramatic. The opposites highlight important differences.

Asyndeton

Example: "Sans teeth, sans eyes, sans taste, sans everything" (lacking the conjunctions "and" between items).

Explanation: Asyndeton is the omission of conjunctions (words like "and") between words or phrases that would normally have them. Instead of "sans teeth and sans eyes and sans taste," Shakespeare simply uses "sans" repeatedly. This creates a rapid, breathless effect that emphasizes the list of losses. Asyndeton makes the final description feel like a rapid accumulation of losses, building toward the climactic "everything."

Oxymoron (if one appears)

Example: "strange eventful history" (strange and eventful might seem contradictory—strange suggests unusual, eventful suggests full of events).

Explanation: An oxymoron is a combination of contradictory terms that create an interesting effect. "Strange eventful history" suggests that life is both unusual and full of events, which is a paradox. The combination of contradictory words creates emphasis and thought-provoking meaning.

Synecdoche

Example: "All the men and women" (using "men" and "women" to represent all of humanity).

Explanation: Synecdoche is a figure of speech where a part represents the whole, or the whole represents a part. By saying "all the men and women," Shakespeare means all of humanity, using specific groups to represent the entire human race. This device makes the statement apply to everyone universally.