{"id":2510,"date":"2013-07-17T11:41:07","date_gmt":"2013-07-17T15:41:07","guid":{"rendered":"http:\/\/stateofshakespeare.com\/?page_id=2510"},"modified":"2013-07-17T11:48:13","modified_gmt":"2013-07-17T15:48:13","slug":"as-you-like-it-act-ii-scene-vii","status":"publish","type":"page","link":"https:\/\/stateofshakespeare.com\/?page_id=2510","title":{"rendered":"As You Like It: Act II, Scene vii"},"content":{"rendered":"<p><strong>As You Like It\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Act II, Scene vii \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Jacques<\/strong><\/p>\n<p>(This speech is used in our <a title=\"Nicholas Martin Smith\" href=\"http:\/\/stateofshakespeare.com\/?p=2518\" target=\"_blank\">interview with Nicholas Martin-Smith<\/a>)<\/p>\n<p><a title=\"As You Like It: Act II, Scene vii First Folio\" href=\"http:\/\/stateofshakespeare.com\/?page_id=2736\" target=\"_blank\">Click here<\/a>\u00a0to open up a First Folio version.<\/p>\n<p><a title=\"Scansion:  As You Like It Act 2, Scene 7\" href=\"http:\/\/stateofshakespeare.com\/?page_id=2599\" target=\"_blank\">Click here<\/a>\u00a0to open up a scanned version.<\/p>\n<p>139\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 All the world&#8217;s a stage,<br \/>\n140\u00a0 And all the men and women merely players;<br \/>\n141\u00a0 They have their exits and their entrances,<br \/>\n142\u00a0 And one man in his time plays many parts,<br \/>\n143\u00a0 His acts being seven ages. At first, the infant,<br \/>\n144\u00a0 Mewling and puking in the nurse&#8217;s arms.<br \/>\n145\u00a0 Then the whining schoolboy, with his satchel<br \/>\n146\u00a0 And shining morning face, creeping like snail<br \/>\n147\u00a0 Unwillingly to school. And then the lover,<br \/>\n148\u00a0 Sighing like furnace, with a woeful ballad<br \/>\n149\u00a0 Made to his mistress&#8217; eyebrow. Then a soldier,<br \/>\n150\u00a0 Full of strange oaths and bearded like the pard,<br \/>\n151\u00a0 Jealous in honor, sudden and quick in quarrel,<br \/>\n152\u00a0 Seeking the bubble reputation<br \/>\n153\u00a0 Even in the cannon&#8217;s mouth. And then the justice,<br \/>\n154\u00a0 In fair round belly with good capon lined,<br \/>\n155\u00a0 With eyes severe and beard of formal cut,<br \/>\n156\u00a0 Full of wise saws and modern instances;<br \/>\n157\u00a0 And so he plays his part. The sixth age shifts<br \/>\n158\u00a0 Into the lean and slippered pantaloon,<br \/>\n159\u00a0 With spectacles on nose and pouch on side;<br \/>\n160\u00a0 His youthful hose, well saved, a world too wide<br \/>\n161\u00a0 For his shrunk shank, and his big manly voice,<br \/>\n162\u00a0 Turning again toward childish treble, pipes<br \/>\n163\u00a0 And whistles in his sound. Last scene of all,<br \/>\n164\u00a0 That ends this strange eventful history,<br \/>\n165\u00a0 Is second childishness and mere oblivion,<br \/>\n166\u00a0 Sans teeth, sans eyes, sans taste, sans everything.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As You Like It\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Act II, Scene vii \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Jacques (This speech is used in our interview with Nicholas Martin-Smith) Click here\u00a0to open up a First Folio version. Click here\u00a0to open up a scanned version. 139\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 All the world&#8217;s a stage, 140\u00a0 And all the men and women merely players;<\/p>\n <a href='https:\/\/stateofshakespeare.com\/?page_id=2510' class='excerpt-more-append'>[...]<\/a>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-2510","page","type-page","status-publish","hentry","post-seq-1","post-parity-odd","meta-position-line-bottom","fix"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P2Frfq-Eu","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/2510","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2510"}],"version-history":[{"count":10,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/2510\/revisions"}],"predecessor-version":[{"id":2757,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/2510\/revisions\/2757"}],"wp:attachment":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2510"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}