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Coriolanus
Coriolanus
Coriolanus
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Coriolanus

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A highly political play, Coriolanus concerns a military hero of ancient Rome who attempts to shift from his career as a general to become a candidate for public office — a disastrous move that leads to his collaborating with the enemy and heading an attack on Rome. Despite his battlefield confidence and accomplishments, Coriolanus proves psychologically ill-suited as a candidate for the office of consul and makes an easy scapegoat for the restless citizenry and his political opponents.
The last of Shakespeare's tragedies, Coriolanus was written in approximately 1608 and derived from Plutarch's Lives of the Noble Grecians and Romans. A timeless tale of pride, revenge, and political chicanery, it remains ever-relevant for modern readers and audiences.
LanguageEnglish
Release dateAug 15, 2012
ISBN9780486153759
Author

William Shakespeare

William Shakespeare is the world's greatest ever playwright. Born in 1564, he split his time between Stratford-upon-Avon and London, where he worked as a playwright, poet and actor. In 1582 he married Anne Hathaway. Shakespeare died in 1616 at the age of fifty-two, leaving three children—Susanna, Hamnet and Judith. The rest is silence.

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Rating: 3.598591456901408 out of 5 stars
3.5/5

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  • Rating: 3 out of 5 stars
    3/5
    In preparation for the movie coming out soon! Best line so far? Menicius (Coriolanus' friend) calling a citizen, who is critical of the arrogant Coriolanus, as the "great toe of the assembly." And not in a good way, either. Coriolanus then calls all mutinous citizens (those that disagree with C?) "scabs." Awesome!
    ...
    Really enjoyed this play, and I believe it's the first Shakespeare I've read since college. Coriolanus has some of the best speeches with which he burns his foes, and these offset some of the longer, duller passages.
  • Rating: 5 out of 5 stars
    5/5
    Nobody says Coriolanus is their favorite Shakespeare play--not even the kind of people who have favorite Shakespeare plays. But after a second read, it's moving up my list. Martius (aka Coriolanus) is, for the most part, an intensely dislikeable character--but as the play goes on, you begin to see how he came to be the way he is, and while it doesn't excuse his faults, it certainly makes him a complex and intriguing character.There's just so much depth to this play. Martius' relationships with his mother, his wife, and his nemesis are all delightfully screwed up. It's difficult to pick a single "tragic flaw" for Martius because he has so many of them--pride, rigidity, wrath, unhealthy attachment to his mother... It's one of Shakespeare's last tragedies, and thus one of the most mature. Though there's a great deal of blood referenced in the text and the stage directions, there's no on-stage bloodbath as in Titus Andronicus: Martius is the only character to die in the play.It almost needs to be seen, either on stage or on screen, to be really appreciated. Just don't talk to me about the Donmar production unless you want me to spend an hour telling you about how perfect every last detail was.
  • Rating: 3 out of 5 stars
    3/5
    The secondary characters were the best part. I would have preferred spending more time with Menenius and Aufidius and having been spared some of Coriolanus's haughty declarations. I'm no scholar of Shakespeare's works, but it seemed to me that much of his poetry fell short in this play. Rarely did I stop to savor the language or to marvel at an elegant turn of phrase. I did appreciate some of the political themes, but even the best of these pale in comparison with Shakespeare's vast array of more poignant and personal observations.
  • Rating: 4 out of 5 stars
    4/5
    Several years ago I read this play as part of a class at the University of Chicago. It was a revelation that entranced me with its drama. Even so, the warrior Coriolanus is perhaps the most opaque of Shakespeare's tragic heroes, rarely pausing to soliloquise or reveal the motives behind his prideful isolation from Roman society. Instead, the play demonstrates his character through his actions and his relationships. The relationship with his mother, Volumnia, is the most important of these. The tension of her love for him reaches heights that are only exceeded by those of Coriolanus fame as a warrior for Rome.This is not the Rome of the Caesars but that of the early days when the republic was in its formative stages. It was a city concerned with warring neighbors like the Volscians who are an ever-present enemy. While Caius Martius' success in battles with this enemy lead him to military honors and earn him the name Coriolanus, he does not have the temperamental qualities that would allow him use these accolades for political purposes. He is held back by his own nature and his situation leads to banishment by the crowds who once cheered him. His speech to them as he leaves Rome is memorable:"You common cry of curs! whose breath I hateAs reek o' the rotten fens, whose loves I prizeAs the dead carcasses of unburied menThat do corrupt my air, I banish you;And here remain with your uncertainty!Let every feeble rumour shake your hearts!Your enemies, with nodding of their plumes,Fan you into despair! Have the power stillTo banish your defenders; till at length Your ignorance, which finds not till it feels,Making not reservation of yourselves,Still your own foes, deliver you as mostAbated captives to some nationThat won you without blows! Despising, For you, the city, thus I turn my back:There is a world elsewhere."(Act III, Scene iii) It is, for me, the best of the lesser-known of his plays and stands tall by the side of the other two great Roman history plays, Julius Caesar and Antony & Cleopatra. In particular, the psychological depth of the character of Coriolanus, his relationships with his mother and subject Romans, and the dramatic action make this play a delight to read.
  • Rating: 4 out of 5 stars
    4/5
    The citizens of a republic run their greatest soldier out of town because they can't stand him and he can't stand them. As it happens, they can't live without each other - literally. This may be the greatest political drama written. It is also one of the great mother and son stories.
  • Rating: 2 out of 5 stars
    2/5
    I couldn't have followed this story if my life depended on it. Something about a talented warrior who has mama manipulating him on one side and his cohorts betraying him on the other. Who knows? Who cares? Definitely the weakest of all the Bard's works I've read thus far.
  • Rating: 4 out of 5 stars
    4/5
    I listened to this book on audio in preparation to see the performance. I wanted to familiarize myself with it since I didn't get into Shakespeare much in high school or after. If I had known that his plays were also gruesome and bloody, I would have been enjoying Shakespeare a long time ago.
  • Rating: 5 out of 5 stars
    5/5
    This is a timely play in that it captures something of the American political zeitgeist wherein popularity and playing to the crowd trumps ideals and personal integrity. One can't help hearing the voices of pundits on the left and right in the petty complaints of the tribunes Brutus and Sicinius.

    Marcius (Coriolanus):
    Thanks. What's the matter, you dissentious rogues,
    That, rubbing the poor itch of your opinion,
    Make yourselves scabs?
  • Rating: 4 out of 5 stars
    4/5
     Coriolanus is worth the read, but there's also a reason why you may be unfamiliar with it. Compared to, say, Julius Caesar, it's nothing. But don't let the Bard set the bar too high on himself.
  • Rating: 5 out of 5 stars
    5/5
    In most tragedies, and Shakespearan ones in particular, the force of the tragedic ending is based on the reader's (or audience's) sympathy with the principal character. We may not like him or her, but we feel close enough to them to suffer their loss. We've lamented in the storm with Lear, and contemplated with Hamlet. We can never really get to this place with Caius Martius Coriolanus (I'll use Martius to refer to the character, to avoid confusion with the title of the play).Martius is a Roman general of great reknown, whose tragic flaw is his contempt for the people of Rome. Led on by members of the Roman senate, the people turn on Martius, and he is cast from the city. When his mother leads a contingent to him, to ask him to lay down the arms he has raised against Rome, Martius prepares himself for their visit:"My wife comes foremost; then the honored mold Wherein this trunk was framed, and in her handThe grandchild to her blood. But out, affection!All bond and privilege of nature, break!Let it virtuous to be obstinate" (V.3, 22-25).This is a moving passage, and a rich one. Does Martius think that it is obstinate to be virtuous, because the obstinancy protects a virtue (namely his pride)? Or does he recognize that he has long since left virtue behind, and is pleading to retain virtue? Yet even here, where Martius tries to cast aside affection for his family and break the bonds he has with them, it is difficult for the reader to sympathize with Martius in the way we would with characters in other tragedies. He has not given us rich soliloquies, or even reflected on his course of action. What's more, his course of action seems clearly in the wrong. His pride against the people is contemptous, and when he is cast aside, he ends up electing to burn Rome to the ground. The way in which pride drives him to these actions, the way it drives him to atttempt to reject his bonds, is entirely opaque. The play is not weaker for it though. It is different from many of the tragedies, but no less moving and no less thought provoking. While I may not have felt the same sense of desolation that one feels at the end of Lear, this play is rewarding for the complexity of the character interactions, and the depth of the sub-text.Consider, for example, the role of the citizens of Rome. The play opens with their lodging a complaint with Martius, that he has prevented them from receiving available grain. This charge is unrefuted, and Martius instead replies that the people do not deserve it, for they have not served in the wars. They ultimately turn on Martius, and it seems that there is something prescient about this decision. While Martius was not guilty of some of the charges laid against him, his willingness to turn against Rome on the simple matter of his pride suggests a mercenary element of his character that the people have trussed out.At the same time, the people are led by tribunes who goad and manipulate them. Martius' failure is his inability to win the crowd over in this way. This portrayal is much harsher on the citizens. In these passages, they come across as animals waiting to be herded. This is like the image we get of the Roman citizens in Julius Caesar, where the people's emotions are so easily manipulated by Brutus and then Antony. We see elements of that here, but the people are much more complex. After banishing Martius, one citizen recalls "For mine own part, / when I said `Banish him,' I said 'twas pity." One might read this as the citizens simply turning coat again, as Martius' returns with an army. Yet, I suspect there is more to it than that. The citizens may be manipulable, but they recognize this fact. The citizens in Caesar show little indication that they recognize how Antony moves them at his will.This relation between Martius and the people drives the play. As noted above, Martius' downfall is due to his unwillingness and inability to placate the people. In one particularly moving passage, Martius' claims:"...I will not do'tLest I surcrease to honor mine own truthAnd by my body's action teach my mindA most inherent baseness" (III.2, 119-122).Martius, along Aristotelian lines, sees acting viciously as a way of training vicious character, and as he sees placating the people as a vice, he cannot bring himself to do it (or ultimately to do it well). On one hand, if we side with Martius, we see a populace refusing to understand and exalt the triumphs of the soldier. It is Martius who has spilled blood for the city, and the citizens who have benefited from his wounds refuse to honor them. For Martius, the conflict is clear. Yet, it is clear that Shakespeare does not want us to simply settle into Martius' point of view. Indeed, since we understand him so poorly, it is very difficult to do so. What's more, after being thrown from the city, Martius' ultimately elects to burn Rome. Civilian control over the military here seems essential. While they may have been led around by the tribunes, the people have rightly removed a highly dangerous individual, whose loyalty to Rome seems to be rooted more in his own pride at being a soldier than love for the virtues of the city or its society.Shakespeare remains ambiguous between these interpretations, and the opacity of Martius' character lends itself to this ambiguity. Rather than getting sucked into his view of the matter (even if we recognize the other side), here we are unable to really understand anyone. Martius is inscrutable and the people are being led around. I found that this issue truly rewarded reflection, and it is the sort of issue that Coriolanus raises so well.This is not to mention a host of other interesting questions raised in the play, which for the sake of brevity, I will simply mention. The gender politics of Volumnia are fascinating. She has raised Martius by the ideals of honor, even so much as to value his honorable death greater than his living company. Or what is the nature of honor? Is it tied to virtue (or is itself a virtue), or can one have strictly self-interested honor? Should we say that Martius' lacks honor in the end, or that he has a self-interested honor? Woven together, as always, with Shakespeare's unparalled poetry, these rewarding and interesting questions make Coriolanus a truly powerful play.
  • Rating: 4 out of 5 stars
    4/5
    [Coriolanus] by [[William Shakespeare]].While not the best of Shakespeare's tragedies, [Coriolanus] just may be the timeliest. Yes, it's a play about a soldier whose pride and love for his overbearing mother ultimately bring him down. But the driving force behind the plot is a pair of manipulating politicians who know how to spin things to their advantage and lead the fickle multitude by their noses. While the people are more villains that victims, one can't help but notice that some things never change; here's one of them on their current government:Care for us! True, indeed! They ne'er cared for usyet: suffer us to famish, and their store-housescrammed with grain; make edicts for usury, tosupport usurers; repeal daily any wholesome actestablished against the rich, and provide morepiercing statutes daily, to chain up and restrainthe poor. If the wars eat us not up, they will; andthere's all the love they bear us.All one has to do to see the truth in that is take a look at the PA governor's proposed budget . . . or the federal budget, for that matter. It's Robin Hood in reverse: give to the rich and take from the poor.
  • Rating: 1 out of 5 stars
    1/5
    Tragedy usually centers on someone with a tragic flaw, but I'm not sure being an asshole counts as a tragic flaw. There's a reason this one wasn't covered in my Shakespeare courses. Give it a miss unless you insist on reading all of Shakespeare.
  • Rating: 1 out of 5 stars
    1/5
    I have actually seen this as a play as well as read it, and either way, its INSANELY boring.
  • Rating: 5 out of 5 stars
    5/5
    Personal code of honor admits no compromises; Shakespeare's strong argument against republican government
  • Rating: 3 out of 5 stars
    3/5
    A moral tale, taken by Plutarch to demonstrate the intens patriotic indentity of early Romans, to be contrasted with the career of Alcibiades, the Athenian. Shakespeare uses the opportunity to discuss the role of the ego, in politics, and familial relations. A general well treated for his handling of the sabine war, becomes far too involved in putting forward his own claim to glory. Exiled from his city, he takes service with the other side, and then finds himself returning to his new friends and is then killed by them for retaining his partiality for his native home. 1608 was the probable date of composition.

Book preview

Coriolanus - William Shakespeare

ACT I.

SCENE I. Rome. A Street.

Enter a company of mutinous Citizens, with staves, clubs, and other weapons

FIRST CITIZEN.

Before we proceed any further, hear me speak.

ALL.

Speak, speak.

FIRST CIT.

You are all resolved rather to die than to famish?

ALL.

Resolved, resolved.

FIRST CIT.

First, you know Caius Marcius is chief enemy to the people.

ALL.

We know’t, we know’t.

FIRST CIT.

Let us kill him, and we’ll have corn at our own price. Is ’t a verdict?

ALL.

No more talking on ’t; let it be done: away, away!

SEC. CIT.

One word, good citizens.

FIRST CIT.

We are accounted poor citizens; the patricians, good. What authority surfeits on would relieve us: if they would yield us but the superfluity while it were wholesome, we might guess they relieved us humanely; but they think we are too dear: the leanness that afflicts us, the object of our misery, is as an inventory to particularize their abundance; our sufferance is a gain to them. Let us revenge this with our pikes, ere we become rakes: for the gods know I speak this in hunger for bread, not in thirst for revenge.

9 Is ’t a verdict?] Is that our unanimous decision?

13 good] in the mercantile sense of substantial, well to do. Cf. Merch. of Ven., I, iii, 12: Antonio is a good man.

15–16 they think we are too dear] they think the expense of maintaining us is more than we are worth.

16 object] outward aspect, spectacle.

17 particularize] describe in detail.

18 our sufferance . . . to them] they gain by our suffering. The general sense is that our loss is their gain.

19 we become rakes] a reference to the proverbial expression as lean as a rake.

SEC. CIT.

Would you proceed especially against Caius Marcius?

ALL.

Against him first: he’s a very dog to the commonalty.

SEC. CIT.

Consider you what services he has done for his country?

FIRST CIT.

Very well; and could be content to give him good report for ’t, but that he pays himself with being proud.

SEC. CIT.

Nay, but speak not maliciously.

FIRST CIT.

I say unto you, what he hath done famously, he did it to that end: though soft-conscienced men can be content to say it was for his country, he did it to please his mother and to be partly proud; which he is, even to the altitude of his virtue.

SEC. CIT.

What he cannot help in his nature, you account a vice in him. You must in no way say he is covetous.

FIRST CIT.

If I must not, I need not be barren of accusations; he hath faults, with surplus, to tire in repetition. [Shouts within.] What shouts are these? The other side o’ the city is risen: why stay we prating here? to the Capitol!

ALL.

Come, come.

FIRST CIT.

Soft! who comes here?

Enter MENENIUS AGRIPPA

SEC. CIT.

Worthy Menenius Agrippa; one that hath always loved the people.

FIRST CIT.

He’s one honest enough: would all the rest were so!

MEN.

What work’s, my countrymen, in hand? where go you With bats and clubs? the matter? speak, I pray you.

FIRST CIT.

Our business is not unknown to the senate; they have had inkling, this fortnight, what we intend to do, which now we’ll show ’em in deeds. They say poor suitors have strong breaths: they shall know we have strong arms too.

MEN.

Why, masters, my good friends, mine honest neighbours, Will you undo yourselves?

FIRST CIT.

We cannot, sir, we are undone already.

MEN.

I tell you, friends, most charitable care Have the patricians of you. For your wants,

Your suffering in this dearth, you may as well

Strike at the heaven with your staves as lift them

Against the Roman state; whose course will on

The way it takes, cracking ten thousand curbs

Of more strong link asunder than can ever

Appear in your impediment. For the dearth,

The gods, not the patricians, make it, and

Your knees to them, not arms, must help. Alack,

You are transported by calamity

Thither where more attends you, and you slander

The helms o’ the state, who care for you like fathers,

When you curse them as enemies.

32 and to be partly proud . . . virtue] and in part to indulge his pride; he is fully as proud as he is valorous.

FIRST CIT.

Care for us! True, indeed! They ne’er cared for us yet: suffer us to famish, and their storehouses crammed with grain; make edicts for usury, to support usurers; repeal daily any wholesome act established against the rich, and provide more piercing statutes daily, to chain up and restrain the poor. If the wars eat us not up, they will; and there’s all the love they bear us.

MEN.

Either you must

Confess yourselves wondrous malicious,

Or be accused of folly. I shall tell you

A pretty tale: it may be you have heard it;

But, since it serves my purpose, I will venture

To stale ’t a little more.

FIRST CIT.

Well, I’ll hear it, sir: yet you must not think to fob off our disgrace with a tale: but, an ’t please you, deliver.

MEN.

There was a time when all the body’s members

Rebell’d against the belly; thus accused it:

That only like a gulf it did remain

I’ the midst o’ the body, idle and unactive,

Still cupboarding the viand, never bearing

Like labour with the rest; where the other instruments

Did see and hear, devise, instruct, walk, feel,

And, mutually participate, did minister

Unto the appetite and affection common

Of the whole body. The belly answer’d—

66 helms] helmsmen, pilots.

69–70 suffer us to famish . . . usurers] Plutarch distinguishes two separate popular outbreaks, one on account of the extortion of usurers, and the other on account of famine. Shakespeare combines the two.

80 stale ’t] make it common or familiar. Cf. Ant and Cleop., II, ii, 239–240: Age cannot wither her, nor custom stale Her infinite variety.

81–82 fob off our disgrace] offer a deceitful excuse for our hardship or injury, delude us in our misery. For the alternative form fubbed off cf. 2 Hen. IV, II, i, 32.

88 where] whereas.

FIRST CIT.

Well, sir, what answer made the belly?

MEN.

Sir, I shall tell you. With a kind of smile,

Which ne’er came from the lungs, but even thus—

For, look you, I may make the belly smile

As well as speak—it tauntingly replied

To the discontented members, the mutinous parts

That envied his receipt; even so most fitly

As you malign our senators for that

They are not such as you.

FIRST CIT.

Your belly’s answer? What!

The kingly-crowned head, the vigilant eye,

The counsellor heart, the arm our soldier,

Our steed the leg, the tongue our trumpeter,

With other muniments and petty helps

In this our fabric, if that they—

MEN.

What then?

’Fore me, this fellow speaks! what then? what then?

FIRST CIT.

Should by the cormorant belly be restrain’d,

Who is the sink o’ the body,—

MEN.

Well, what then?

FIRST CIT.

The former agents, if they did complain,

What could the belly answer?

MEN.

I will tell you;

If you’ll bestow a small—of what you have little—

Patience awhile, you’st hear the belly’s answer.

FIRST CIT.

You’re long about it.

MEN.

Note me this, good friend;

Your most grave belly was deliberate,

Not rash like his accusers, and thus answer’d:

True is it, my incorporate friends, quoth he,

"That I receive the general food at first,

Which you do live upon; and fit it is,

Because I am the store-house and the shop

Of the whole body: but, if you do remember,

I send it through the rivers of your blood,

Even to the court, the heart, to the seat o’ the brain;

And, through the cranks and offices of man,

The strongest nerves and small inferior veins

From me receive that natural competency

Whereby they live: and though that all at once,

You, my good friends,"—this says the belly, mark me,—

94–95 a kind of smile . . . lungs] Hearty laughter was commonly supposed to come direct from the lungs. Cf. As you like it, II, vii, 30: My lungs began to crow like chanticleer.

99 most fitly] exactly.

104 counsellor heart] The heart was reckoned the seat of the understanding. Cf. line 128, infra.

FIRST CIT.

Ay, sir; well, well.

MEN.

"Though all at once cannot

See what I do deliver out to each,

Yet I can make my audit up, that all

From me do back receive the flour of all,

And leave me but the bran." What say you to ’t?

FIRST CIT.

It was an answer: how apply you this?

MEN.

The senators of Rome are this good belly,

And you the mutinous members: for examine

Their counsels and their cares, digest things rightly

Touching the weal o’ the common, you shall find

No public benefit which you receive

But it proceeds or comes from them to you

And no way from yourselves. What do you think,

You, the great toe of this assembly?

FIRST CIT.

I the great toe! why the great toe?

MEN.

For that, being one o’ the lowest, basest, poorest,

Of this most wise rebellion, thou go’st foremost:

Thou rascal, that art worst in blood to run,

Lead’st first to win some vantage.

But make you ready your stiff bats and clubs:

Rome and her rats are at the point of battle;

The one side must have bale.

Enter CAIUS MARCIUS

Hail, noble Marcius!

MAR.

Thanks. What’s the matter, you dissentious rogues,

That, rubbing the poor itch of your opinion,

Make yourselves scabs?

128 to the seat o’ the brain] even to the royal residence of the thinking faculty, which, according to the old physiology, was the heart. Cf. line 104, supra, and note.

129 cranks and offices] winding passages and working-chambers.

130 nerves] sinews, muscle.

144 weal o’ the common] welfare of the common people.

152 rascal] The word was specifically applied to a deer in bad condition and unfit for the chase.

152 in blood to run] in condition for running.

156 have bale] suffer ruin. Bale had become an archaic word in Shakespeare’s day.

FIRST CIT.

We have ever your good word.

MAR.

He that will give good words to thee will flatter

Beneath abhorring. What would you have, you curs,

That like nor peace nor war? the one affrights you,

The other makes you proud. He that trusts to you,

Where he should find you lions, finds you hares,

Where foxes, geese: you are no surer, no,

Than is the coal of fire upon the ice,

Or hailstone in the sun. Your virtue is

To make him worthy whose offence subdues him

And curse that justice did it. Who deserves greatness

Deserves your hate; and your affections are

A sick man’s appetite, who desires most that

Which would increase his evil. He that depends

Upon your favours swims with fins of lead

And hews down oaks with rushes. Hang ye! Trust ye?

With every minute you do change a mind,

And call him noble that was now your hate,

Him vile that was your garland. What’s the matter,

That in these several places of the city

You cry against the noble senate, who,

Under the gods, keep you in awe, which else

Would feed on one another? What’s their seeking?

MEN.

For corn at their own rates; whereof, they say,

The city is well stored.

MAR.

Hang ’em! They say! They’ll sit by the fire, and presume to know

What’s done i’ the Capitol; who’s like to rise,

Who thrives and who declines; side factions and give out

Conjectural marriages; making parties strong,

And feebling such as stand not in their liking

Below their cobbled shoes. They say there’s grain enough!

Would the nobility lay aside their ruth,

And let me use my sword, I ’ld make a quarry

With thousands of these quarter’d slaves, as high

As I could pick my lance.

160 scabs] a common term of contemptuous reproach.

163 Beneath abhorring] What is beneath contempt.

169–171 Your virtue is . . . did it] Your notion of virtue is to treat as worthy of honour him who is brought low or conquered by crime, and to curse that justice which paid him his desserts.

179 your garland] your ornament, your crown. Cf. Ant and Cleop., IV, xv, 64: wither’d is the garland of the war.

189 side factions and give out] (who) take sides in

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