Coriolanus
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William Shakespeare
William Shakespeare (April 1564 – April 1616) was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's greatest dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "the Bard").
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Reviews for Coriolanus
327 ratings15 reviews
- Rating: 4 out of 5 stars4/5I 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 stars5/5Personal code of honor admits no compromises; Shakespeare's strong argument against republican government
- Rating: 3 out of 5 stars3/5The 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 stars4/5The 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: 3 out of 5 stars3/5In 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: 1 out of 5 stars1/5I have actually seen this as a play as well as read it, and either way, its INSANELY boring.
- Rating: 2 out of 5 stars2/5I 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 stars4/5Coriolanus 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 stars5/5This 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: 1 out of 5 stars1/5Tragedy 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: 5 out of 5 stars5/5Nobody 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: 4 out of 5 stars4/5[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 us
yet: suffer us to famish, and their store-houses
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.
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: 5 out of 5 stars5/5In 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 hand
The 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't
Lest I surcrease to honor mine own truth
And by my body's action teach my mind
A 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 stars4/5Several 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 hate
As reek o' the rotten fens, whose loves I prize
As the dead carcasses of unburied men
That 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 still
To 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 most
Abated captives to some nation
That 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: 3 out of 5 stars3/5A 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
CORIOLANUS
By
WILLIAM SHAKESPEARE
CORIOLANUS
A Tragedy
By
WILLIAM SHAKESPEARE
First published in 1623
This edition is published by Classic Books Library
an imprint of Read Books Ltd.
Copyright © 2018 Read Books Ltd.
This book is copyright and may not be
reproduced or copied in any way without
the express permission of the publisher in writing
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available
from the British Library
Contents
William Shakespeare
DRAMATIS PERSONÆ
ACT I.
SCENE I. Rome. A Street.
SCENE II. Corioli. The Senate House.
SCENE III. Rome. An apartmnet in Marcius' House.
SCENE IV. Before Corioli.
SCENE V. Within Corioli. A Street.
SCENE VI. Near the Camp of Cominius.
SCENE VII. The Gates of Corioli.
SCENE VIII. A Field of Battle Between the Roman and the Volscian Camps.
SCENE IX. The Roman Camp.
SCENE X. The Camp of the Volsces.
ACT II.
SCENE I. Rome. A Public Place
SCENE II. Rome. The Capitol.
SCENE III. Rome. The Forum.
ACT III.
SCENE I. Rome. A Street
SCENE II. Rome. A Room in Coriolanus's House.
SCENE III. Rome. The Forum.
ACT IV.
SCENE I. Rome. Before a Gate of the City.
SCENE II. Rome. A Street near the Gate.
SCENE III. A Highway Between Rome and Antium.
SCENE IV. Antium. Before Aufidius's House.
SCENE V. Antium. A Hall in Aufidius's House.
SCENE VI. Rome. A Public Place.
SCENE VII. A Camp at a Short Distance from Rome.
ACT V.
SCENE I. Rome. A Public Place
SCENE II. An Advanced Post of the Volscian Camp Before Rome. The Guards at their Station.
SCENE III. The Tent of Coriolanus.
SCENE IV. Rome. A Public Place.
SCENE V. Rome. A Street near the Gate.
SCENE VI. Antium. A Public Place.
TO THE MEMORY OF MY BELOVED THE AUTHOR, MR. WILLIAM SHAKESPEARE
By BEN JONSON
William Shakespeare
William Shakespeare, as any reader of this book will presumably know, was an English poet, playwright and actor, widely regarded as the greatest writer in the English language - and the world's pre-eminent dramatist. His plays have been translated into every major living language and are performed more often than those of any other playwright. Referred to as England's national poet, and the 'Bard of Avon', his extant works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and a few other verses, (some with unconfirmed authorship). Few records of Shakespeare's private life survive, and there has been considerable speculation about matters as wide ranging as his physical appearance, sexuality and religious beliefs.
William Shakespeare was the son of John Shakespeare, an alderman and a successful glover originally from Snitterfield, and Mary Arden, the daughter of an affluent landowning farmer. He was born in Stratford-upon-Avon and baptised there on 26th April 1564. His actual date of birth remains unknown, but is traditionally observed on 23rd April, Saint George's Day. Although no attendance records for the period survive, biographers agree that Shakespeare was probably educated at the King's New School in Stratford, a free school chartered in 1553, about a quarter-mile from his home. Grammar schools varied in quality during the Elizabethan era, but grammar school curricula were largely similar. Basic Latin education had been standardised by royal decree, and the school would have provided an intensive education in grammar based upon Latin classical authors.
At the age of eighteen, Shakespeare married the twenty-six year old Anne Hathaway (who was pregnant at the time), with whom he had three children: Susanna, and twins, Hamnet and Judith. After the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592. The exception is the appearance of his name in the 'complaints bill' of a law case before the Queen's Bench court at Westminster, dated Michaelmas Term 1588 and 9th October 1589. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. By 1598, his name had become enough of a selling point to appear on the title pages.
Shakespeare continued to act in his own and in other plays after his success as a playwright. The 1616 edition of Ben Jonson's Works names him on the cast lists for Every Man in His Humour (1598) and Sejanus His Fall (1603). During this time, Shakespeare divided his time between London and Stratford, and in 1596 bought ‘New Place’ as his family home in Stratford, whilst retaining a property in Bishopsgate, North of the river Thames. He moved across the river to Southwark by 1599, the year his company constructed the Globe Theatre there. By 1604, Shakespeare had moved north of the river again, to an area north of St Paul's Cathedral with many fine houses. He appears to have retired to Stratford around 1613 at the age of forty-nine, where he died three years later.
Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. The first recorded works of Shakespeare are Richard III and the three parts of Henry VI, written in the early 1590s during a vogue for historical drama. Shakespeare's plays are difficult to date however, and studies of the texts suggest that Titus Andronicus, The Comedy of Errors, The Taming of the Shrew and The Two Gentlemen of Verona may also belong to Shakespeare's earliest period. Shakespeare's early classical and Italianate comedies, containing tight double plots and precise comic sequences, give way in the mid-1590s to the romantic atmosphere of his greatest comedies. A Midsummer Night's Dream, one of his earliest comedies, is a witty mixture of romance, fairy magic, and comic lowlife scenes. The wit and wordplay of Much Ado About Nothing, the charming rural setting of As You Like It, and the lively merrymaking of Twelfth Night complete the sequence of great comedies.
Shakespeare then wrote mainly tragedies until about 1608. Many critics believe that his greatest tragedies represent the peak of his art. The titular hero of one of Shakespeare's most famous tragedies, Hamlet, has probably been discussed more than any other character, especially for his famous soliloquy beginning; ‘To be or not to be; that is the question.’ Unlike the introverted Hamlet, whose fatal flaw is hesitation, the heroes of the tragedies that followed, Othello and King Lear, are undone by hasty errors of judgement. In Othello, the villain Iago stokes Othello's sexual jealousy to the point where he murders the innocent wife who loves him. In King Lear, the old king commits the tragic error of giving up his powers, initiating the events which lead to the torture and blinding of the Earl of Gloucester and the murder of Lear's youngest daughter Cordelia. According to the critic Frank Kermode, ‘the play-offers neither its good characters nor its audience any relief from its cruelty.’ In Macbeth, the shortest and most compressed of Shakespeare's tragedies, uncontrollable ambition incites Macbeth and his wife, Lady Macbeth, to murder the rightful king and usurp the throne, until their own guilt destroys them in turn. His last major tragedies, Antony and Cleopatra and Coriolanus, contain some of Shakespeare's finest poetry.
Many of Shakespeare’s plays were published in editions of varying quality and accuracy during his lifetime. His sonnets were published as a collection in 1609. Scholars are not certain when each of the 154 sonnets was composed, but evidence suggests that Shakespeare wrote poetry throughout his career for a private readership. In 1623, John Heminges and Henry Condell, two friends and fellow actors of Shakespeare, published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. It was prefaced with a poem by Ben Jonson, in which Shakespeare is hailed, presciently, as ‘not of an age, but for all time.’ Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians worshipped Shakespeare with a reverence that George Bernard Shaw called ‘bardolatry’. His plays remain immensely popular and are constantly studied, performed, and reinterpreted in diverse cultural and political contexts throughout the world.
Shakespeare died on 23rd April 1616 and was survived by his wife and two daughters. He was buried in the chancel of the Holy Trinity Church (Stratford-upon-Avon) two days after his death, with a curse against moving his bones. The epitaph on his gravestone reads:
Good friend, for Jesus' sake forbear,
To dig the dust enclosed here.
Blessed be the man that spares these stones,
And cursed be he that moves my bones.
CORIOLANUS
By
WILLIAM SHAKESPEARE
DRAMATIS PERSONÆ
CAIUS MARCIUS CORIOLANUS, a noble Roman
TITUS LARTIUS, General against the Volscians
COMINIUS, General against the Volscians
MENENIUS AGRIPPA, Friend to Coriolanus
SICINIUS VELUTUS, Tribune of the People
JUNIUS BRUTUS, Tribune of the People
YOUNG MARCIUS, son to Coriolanus
A ROMAN HERALD
TULLUS AUFIDIUS, General of