Hark you, Guildenstern; and you too, at each ear a
hearer: that great baby you see there is not yet
out of his swaddling-clouts.

Happily he's the second time come to them; for they
say an old man is twice a child.

I will prophesy he comes to tell me of the players;
mark it. You say right, sir: o' Monday morning;
'twas so indeed.

My lord, I have news to tell you.

My lord, I have news to tell you.
When Roscius was an actor in Rome…

The actors are come hither, my lord.

Buzz, buzz!

Upon mine honour…

Then came each actor on his ass,--

The best actors in the world, either for tragedy,
comedy, history, pastoral, pastoral-comical,
historical-pastoral, tragical-historical, tragical-
comical-historical-pastoral, scene individable, or
poem unlimited: Seneca cannot be too heavy, nor
Plautus too light. For the law of writ and the
liberty, these are the only men.


Swaddling Clouts
The phrase “swaddling clouts” refers to the swaddling clothes familiar to Christian listeners who recognise it from the description of the Nativity. From the King James version of the Gospel of St. Luke: “And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger.”

Quintus Roscius (ca. 126 BC – 62 BC) was a Roman actor. By the Renaissance, he was considered the paradigm of achievement as an actor. Presumably Hamlet is quoting a ballad or poem about him when he mentions actors riding on their asses in ancient Rome.

The Roman Actor
The Roman Actor is a Caroline-era play by Philip Massinger. Written shortly after Shakespeare died, it is an intriguing look at how contemporary England looked at Ancient Rome.

Harold Bloom - Hamlet: Poem Unlimited (here)
J. Dover Wilson - What Happens in Hamlet (here)
Michael Srigley - Hamlet, The Law of Writ, and the Universities (here)

Seven Ages of Man
As You Like It contains Shakespeare’s beloved speech about the stages of human life. Here it is, in its entirety!

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 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 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.