Scene 1 Summary:

Coriolanus opens in Rome, with a group of citizens who are considering an uprising against the state because of the high price, and the scarcity, of grain. They believe that Caius Martius, one of the most distinguished generals of the state, is their main enemy; if they kill him, they believe they will get what they want, meaning grain. Menenius, a wise patrician, comes upon this mob; they respect him because of his wit and reason, and he begins to speak to them about their wish for rebellion. He tells them that they receive benefit from the senate, and that without the senate, they will be like a body without a stomach, lacking nutrition and a vital part. He makes some headway, which Martius dashes immediately upon his entrance, and his cursing of these common people.

Martius' insults undo all of Menenius' hard work, and again inflames the wrath of the masses. He clearly does not know what to do in tricky domestic situations like this one; however, he knows exactly what to do in battle, and news that the Volscians have raised an army against Rome is exactly what he wants to hear. Martius has a rivalry with the Volscian leader, Tullus Aufidius, and relishes the chance to go to war. The tribunes, Brutus and Sicinius, make their first appearance, and air their dislike for Martius, whom they believe to be a great enemy of the people and of Rome.

Analysis:

The first theme to present itself in this work is one of class; the Rome of Coriolanus is divided very sharply according to class, with the patricians ruling the people and controlling most of the wealth, and the citizens having little money, and much less power. However, as we are to soon find out, the people are beginning to usurp power from the patrician class, and are fighting especially against Caius Martius, later known as Coriolanus. Though the citizens' complaints are definitely valid, still they are depicted as rabble throughout the work; they are driven to desperation, and soon become reckless under the guidance of the tribunes, who are even more hungry for power. Coriolanus as a play is deeply involved in the balance of power between the patrician and the common class, with much of the strife and conflict within the story originating from this source.

Pride is the second theme introduced into the story, through the citizens' discussion of Caius Martius and his shortcomings. Caius Martius is indeed proud, a fact which will prove his undoing. Pride will be one of the main determinants of Caius Martius' fate, and also becomes one of the main shortcomings for which he is hated by the common people.

Note the contrast between the tone and diction of Menenius, and the citizens. The citizens speak angrily and somewhat rashly, and choose strong, sometimes violent words through which to convey their frustration. Menenius, however, expresses himself with a tone marked by reason, calmness, and a genuine desire to reason with the people he is speaking to. He begins by addressing the mob as "my countrymen," a wise move that pulls them in, and makes them feel some kind of connection with this patrician figure. "You may as well strike at the heavens with your staves as lift them against the roman state," Menenius tells them; this metaphor signifies to them the futility of rising up for the sake of grain, when there is none to gain. He counters charges of "usury" and "piercing statutes" with careful logic, and a gentle, reasonable tone; indeed, Menenius is meant as a figure personifying the superiority of the patricians, and their right to govern over the volatile, easily led masses.

Menenius' great wit is demonstrated right away, with his parable of the stomach and the body. His metaphor of the stomach as the state, and the body as the people, helps to take the edge off the very precarious situation. The citizens' interruptions and taunting as he is meticulously spinning this parable shows them to be of an inferior sort. Still, Menenius has a point here, and is able to win some ground with his long, involved story, and his deft use of metaphors, and application of this story to the workings of the Roman state.

Keep in mind that Shakespeare may have been writing these plays for a common audience, but at the time that this play was written, acting companies were heavily funded by the royals and aristocracy, meaning that Shakespeare and other writers had to be very cautious not to offend those who were funding their work. England itself was a country of a strong social hierarchy, and that hierarchy dictated political power; there was little power given to the masses, and probably little respect given to them from the higher-ups as well.

From Martius' entrance, it is clear that Menenius and Martius are dramatic foils. Menenius is old, wise, has a great wit, and skills at negotiating and debating; he is peaceful and reasonable, and a great statesman as well. Martius is young, hot-tempered, full of disdain, proud, and has no skills with which to deal with the common masses. He is a soldier, not a statesmen, and lacks the humility, patience, and other skills he needs to work within the senate and with the people. Note the contrast between Martius' and Menenius' tone and behavior; Martius is rash and angry in every area that Menenius has proven himself calm and wise.

Despite Martius' anger, he is right about the citizens in some respects. His statements foreshadow later events, like how the citizens are easily led to fulfill the wishes of the tribunes, and how he, one of Rome's great leaders, will be unceremoniously tossed out by a mob that doesn't know what is best for itself. He expresses some of the same sentiments as Menenius‹that there is little grain for anyone, and that the people are ungrateful for rising up against a protective state‹but he does so with none of the grace or conciliatory ability that Menenius is known for.

The tribunes surface at the end of the scene, and their disdain and bitter comments foreshadow their later revolt against Martius. They are correct in their appraisal of Martius, as an overly proud man, but, ironically, they completely underestimate his value to the state. Martius may be a flawed man, but he is an asset to the militaristic state of Rome; and so it is with great irony that the people and the tribunes cast him as enemy number one of the state, when he is one of the few who can get Rome through the challenges coming directly from the Volscian state.

Scene 2 Summary:

In this scene, we get our first glimpse of Tullus Aufidius, Martius' chief enemy and leader of the Volscians. Aufidius is very canny, taking into account the great distress of the Roman state when he considers their strength, and the condition of their army. He knows that the Romans probably know of their army, which he takes into account in his battle plan; overall, he seems very well prepared, a good general of excellent judgment. He decides to take his army out into the field, and if he finds Martius, he knows that they must fight to the death.

Analysis:

Although Martius at this point seems more bold and bloodthirsty than Aufidius, Aufidius seems to be the general and leader that perhaps Martius should be. Aufidius is a foil to Martius because he is not hot-tempered, is a good strategist, and has all the facts at his disposal before throwing his weight around. Unlike Martius, he knows how to appraise the enemy's strength, whether the enemy is a mob of his own people, or the army of an enemy. Above all, Aufidius seems to know Martius' worth which, ironically, Martius and the commoners of Rome seem not to be aware of.

Another irony is that Aufidius, who is so good at placing the enemy's strength and knowledge, is unable to predict that Corioles will fall under the leadership of the senators and part of the army. Aufidius doesn't seem to be backed up by leaders as able and knowledgeable as those that are behind Coriolanus, and perhaps this means that Coriolanus will win, despite the fact that he is a less-than-stellar leader himself.

The end of this scene further sets up the rivalry between Martius and Aufidius, and foreshadows a duel between them sometime in the near future. If Martius is the main character of the work, and Aufidius is his chief enemy, then surely Aufidius will have a great importance in the plot, and a key role in determining Martius' fate.

Scene 3 Summary:

Volumnia, Martius' mother, and Virgilia, Martius' wife, are at home sewing. Virgilia is sad that her husband is away, though Volumnia tells her it would be more suitable to be cheerful about her husband's triumphs and the glory he can achieve in battle. Volumnia is extremely proud of her son's achievements, and sent him to battle as a boy so that he could gain honor and become a man. Virgilia asks her how she would feel if he had died in battle, and Volumnia says that she would prefer that he died nobly rather than refused to serve and lived. She is extremely preoccupied with her son's occupation and honor, and Roman ideals of military service and valor. Virgilia, however, doesn't want to hear of Martius' exploits, or the possibility that he might have been hurt.

Valeria, another Roman gentlewoman and friend of theirs, comes by to urge them to go out of the house; she notes how adorable Virgilia and Martius' son is, and how much like his father he acts. Virgilia, however, does not want to leave until her husband is back; she seems sad to have him gone, and guilty at the thought of having a good time in his absence. Valeria and Volumnia plead with her to go out, and not just sit and sew; even after Virgilia's mind is eased by good news about her husband's victories, she says she will stay in, while the other women go out. Virgilia may be an ideal, patient Roman wife, but she is too meek and unassuming to compete with Volumnia and her iron will.

Analysis:

Volumnia, from the start of her first speech, shows herself to be war-driven and wrapped up in her son's triumphs. Her diction shows her to be a woman who prizes triumph over personal relations; she would "freelier rejoice" in her son's absence in battle than his loving presence at home, and professes "joy" at his first triumphs in battle. Volumnia introduces one of the key themes of the play, which is warlike virtue vs. real virtue. Volumnia believes that courage and distinction in battle are more important than any other qualities, and that being a hero is more important than anything else; this is a view that was popular in ancient Rome, but one that Shakespeare calls into question in this play. "I had rather had eleven [sons] die nobly," she says, than one return home disgraced; Volumnia clearly believes that military glory is a crucial thing, though not all of Rome shares this belief of hers.

Volumnia's use of images also shows that her mind is with Martius, and that she takes great interest in his pursuits. "I hear hither your husband's drum, see him pluck Aufidius down by the hair"; in these lines, Volumnia uses sound and visual imagery that show she is intent on imagining where her son is, and what he is doing. She also calls her son a "harvest-man," a metaphor that is interesting since Martius only reaps death and destruction, not anything useful like grain. She also alludes to Hector, another ancient hero who is similar to Martius in military achievements, and again expresses her belief that tenderness and shows of love are not as important as military glory.

Virgilia's character is shown to be loving, obedient, and longing in this scene, especially with Valeria's comparison of her to Penelope. This allusion shows that Virgilia is an ideal wife in that she is faithful to her husband, cares very much about him when he is away, and waits patiently for him. However, Valeria and Volumnia believe that too much resignation on Virgilia's part is a bad thing; these two women care about their loved ones, but do not suspend their lives while they are away. She should find a more pleasant diversion than sewing, Valeria's metaphor tells her, though she refuses, and sits at home, sewing, even after her heart has been lightened by good news.

Scene 4 Summary:

Martius, Lartius, and other Roman leaders are at the gates of Coriole, a city of their enemies the Volscians. Martius inquires about his main enemy, Tullus Aufidius, but he is not within the city. The Volscian senators stir up their people, while Martius rallies the Romans against them. Martius tells the soldiers to get ready for the battle, and steel themselves against the enemy they are about to attack; he also says that those who do not fight valiantly are as loathed as the enemy, which will hopefully spur them on.

Analysis:

Martius' language, metaphors, and tone are vastly different than in scene 1, when he cursed the common people, and spoke with great disdain. He alludes to "Mars," and speaks with a grand, stirring tone to his troops; he comes across as far more eloquent on the battlefield than he is in the confines of Rome. "Fight with hearts more proof than shields," he urges his men, his language far more poetic, and his diction more clear and spirited than it was before.

The difference between Martius in this scene and in the encounter with the plebeians highlights a few key themes of the work, including Martius' pride, his lack of skill in matters that are not related to war, and his heroic status. Martius is a leader, as is clearly shown here, rather than a cooperative member of Rome; he is a brave individual, like Hector, and less an able politician of the city. Martius is aware of his bravery, and the status that his achievements give him; however, this gives him an unavoidable sense of pride that the people and the tribunes find offensive.

Scene 5 Summary:

Martius curses the soldiers who retreated from the battle as harshly as he berated the citizens in the first scene of the play. His censure is meant to get the men to follow him back into the battle; but they are convinced that they cannot win, and allow Martius to enter Corioles alone. The gates are shut with Martius inside the enemy city, and the solidiers are convinced he will be slain in there alone; Lartius comes and laments Martius, thinking that even a soldier of his caliber will be unable to defeat so many enemies. But, Martius escapes the city, wounded and bloodied, much to their surprise; this finally gives the men courage, and they rush into the city to fight the battle.

Analysis:

Even as Martius appeared to be more eloquent and leader-like in the previous scene, here he shows that not even soldiers are immune to his wrath and displeasure. Although he means to encourage the men to join him again in battle, he does not have the rhetorical skills necessary to do this through words. Martius leads by example, though it is an example that is very difficult to follow; his heroism and ferocity are unique, and this scene shows that he can achieve well by himself and on his own terms, but he is not an easy person to follow by any means. This scene shows that his men do not have either the strength or the courage to be able to follow him, and he certainly is unable to persuade them that they should.

Lartius' lament is a testament to how good a soldier Martius is, but also how extreme he can be in his daring. Martius is a "carbuncle entire," Lartius says, testifying to Martius' great worth as a soldier; the metaphor is also apt because Martius is a being who stands alone, who cannot be matched by any others. Lartius' allusion to Cato shows how Martius is the ideal of a Roman soldier; his boldness seems to have no limits, and he is completely dedicated to what he does. Martius enters the city alone, but yet, comes out alive; this further proves Martius' worth and strength as a soldier.

Scene 6 Summary:

Romans come out of the city of Corioles with spoils; Martius comes upon them, and curses them for looting rather than fighting. Martius does not pursue the men, though, because he spots Tullus Aufidius, and wishes to make good on his promise to fight him when he sees him. Lartius takes new men to secure the city, while Martius, despite his wounds, decides to approach Tullus and start a fight with him.

Analysis:

Again, Martius speaks with warlike eloquence, mixed with disdain for those who are not dedicated to the fight like he is. But, when his attention turns to Tullus, his tone and language become more poetic; single combat and his rivalries are things that Martius can be enthused about and excel at, but they are more the realm of a legendary hero, than a real, worthwhile leader. Martius does show himself to be valiant, as he is very wounded but still insists on another taxing battle with Tullus. Martius seems to be charmed by "the fair goddess fortune" that Lartius mentions, but only in relation to his luck in battle.

Scene 7 Summary:

Cominius, leader of the Romans, urges the men to rest for a time, but also warns them that the battle is not yet over. A messenger tells him that Lartius and Martius are still at Corioles, and Cominius decides it would be best to march to the city and join them in their fight. But Martius comes upon Cominius before he can move out, and startles Cominius by being covered in blood. Martius says he is glad to see Cominius, and tells him that Lartius is still in Corioles, and holds the city for Rome. Martius inquires about the Volscians' other army, led by Aufidius, which Cominius is going to fight; Martius says that he is very eager to fight Aufidius, and that they should go against that army without delay. Cominius would prefer that Martius rest and tend to his wounds, but declares he cannot deny him this if he wishes it. Finally, Martius' efforts to rally the men succeed, as these soldiers listen to his calls for action, and cheer him for the deeds he has already done in this battle. Martius decides he will get together a group to pursue Aufidius, who he will fight himself; the rest will face the remainder of Aufidius' troops.

Analysis:

In this scene is the first time that terms of battle and marriage are mixed together. Martius tells Cominius that he embraces him as if he were wooing him, which are strange terms for a soldier to say to another soldier. This theme, a confusion of love and battle, shows up repeatedly, and usually in reference to Tullus and Martius, who seem to have a relationship that is different than the usual soldier-to-soldier type. That Martius says he is as happy as the day he got married shows that he too, like his mother, believes that achievements in war are as important, if not more so, than events in one's personal life. His show of strong feelings proves how important war is to him, and how much pleasure he takes in fighting and victory. Indeed, as will be seen once Martius is again back home, he does not take nearly as much pleasure in his personal life as he does in his military service.

The difference between Martius and the ordinary Roman has already been shown in the distinction between his behavior and the behavior of the ordinary soldiers, and this is much the same difference between Martius and the citizens of Rome. This distinction is especially important later, when Martius is thrown into sharper relief with the citizens of Rome; although Martius' condemnation is mean-spirited, many of these common people are rabble compared to him, and all together cannot do as much for Rome in war as he can do by himself.

Scene 8 Summary:

Lartius leaves a lieutenant in control of Corioles, with words about guarding the city. He tells the man to hold his ground, but Lartius will send word if he needs more men down at the field, for if they lose the field they lose the city as well. Lartius then leaves for the Roman camp, and to join forces with Martius and Cominius.

Scene 9 Summary:

Martius and Aufidius finally face each other, with words of hate for one another. But, their rivalry seems to be tinged with a soldier's honor, as they fight hand to hand, without any dirty tricks or cruel insults. They both swear that if either of them flee, they should be cursed for it by the gods; but, before they can conclude their fight, Volscian soldiers find them, and drag Aufidius away, shaming him before his rival.

Analysis:

Martius' and Aufidius' rivalry, an important theme in the novel, is first shown here in the confrontation between these two men. It is a rivalry based on respect for each other as soldiers, mutual envy of each other's strengths, and the honor that each man has. Their hate may be bitter, but they manage to express it in a poetic, intense way that conveys their regard for each other, and almost seems akin to love. And later, this intense rivalry and hatred does turn into something that is close to love, demonstrating how interchangeable these two intense emotions can be.

Aufidius compares Martius' formidable reputation to "a serpent I abhor," a metaphor that seems almost biblical in nature. Aufidius envies Martius' skill and his renown, which he cannot match, although he himself is a great warrior. This metaphor also conveys Aufidius' temptation, which is fulfilled later, to embrace Martius as a friend and ally himself to Martius' bravery. There is also another allusion to the hero Hector in describing Martius, which is a great compliment coming from a great adversary like Aufidius; this comparison again shows Martius' worth and prowess, and confirms his status as a solitary hero figure. Reputation is of great importance to both Martius and Aufidius; it is a theme they rely upon to gain them respect, and frighten their enemies as well.

Scene 10 Summary:

Cominius praises Martius' deeds done that day, saying that it will impress all of Rome, and will show the tribunes and the citizens that they hate a man of great worth and use to Rome. However, Martius does not seek the praise; he doesn't like to be extolled to his face, though Cominius insists that his deeds must be told to the people of Rome, and displayed for what they are. Cominius offers Martius a tenth of the treasure taken that day, though Martius refuses to take it. In token of his service, Martius is given the surname "Coriolanus," to mark his victory over the city of Corioles; Martius accepts this honor, though he still seems leery of any public praise.

Analysis:

Even Cominius admits that the citizens and the tribunes are "dull" and "fusty"; Martius was not incorrect in his appraisal of them as scabs and cowards, if another worthy, wise man is willing to back up this opinion. This statement brings attention to the theme of appraisal of worth; Martius is worthy of Rome because of the great battles he has fought and won for the city, though the tribunes and the citizens seem to believe that Martius has little worth, and do not believe that his military triumphs equal worthiness. It is ironic, though, that Cominius foretells that the plebeians will learn to love Martius because of this recent triumph; in fact, they do exactly the opposite, condemning him for not catering to them, and ignoring his long and distinguished record of service, which none of them can boast.

Martius reveals here a modesty that seems paradoxical when considering his great pride. Although Martius knows his worth and his greatness when dealing with the soldiers and the citizens, when confronted with praise from a superior, he suddenly becomes modest, and refuses to accept the compliments. This is a contradiction in Martius' nature, and not an insignificant one; his later refusal to tout his accomplishments gets him into trouble with the plebeians, though this is also somehow related to his great pride, and his refusal to cheapen his accomplishments by talking of them to a crowd.

Some of Martius' comments in this scene seem to foreshadow his fall, and the change that occurs in Rome to banish him from the city. "When drums and trumpets shall I'th' field prove flatterers, let courts and cities be made all of false-faced soothing," Martius says. In the plebeians' eyes, stories and praises of Martius' achievements are taken as false flattery of him, and the city is soon overrun by the "false-faced soothing" and hypocritical manipulations of the tribunes.

Martius being given the surname "Coriolanus" is definitely a significant event in the play; it foreshadows his rise to power in Rome, and his later undoing at the hands of the Volscians. The fact that Martius is singled out and honored for this battle sets him apart from the other generals of Rome; it shows him to be a more fierce and distinguished warrior than they are, and thus presages his rise to power in the city. Also, whether the Volscians can love a man who is known for having destroyed one of their key cities later comes into question; this achievement of Martius' gains the Volscians' wrath, and is his undoing.

Another side of Martius' character, his sense of fairness, is shown in this scene as he asks for the freedom of a Volscian man who helped him. Martius, despite his flaws, does embody many of the ideal traits of a Roman soldier. Not only is he brave and fierce, he is also just and has some redeeming qualities for all his wrath and killing.

Scene 11 Summary:

Aufidius is informed that the city has been taken, but will be returned on certain conditions; but this offends Aufidius' pride, especially since he has again been beaten by Martius (now Coriolanus). He swears to fight Coriolanus even more fiercely next time they battle, and try to defeat him, even if through unfair means; his hate for Coriolanus has been deepened by this encounter. Aufidius sends a soldier to the Romans, to ask about the state of the city, and how many of their people must be taken as captives.

Analysis:

Aufidius provides one of the most concise but piercing estimations of Coriolanus' character in this scene. One of the men remarks that Coriolanus must be "the devil"; but Aufidius counters this remark by swearing Coriolanus is "bolder, though not so subtle." Indeed, it is this lack of subtlety that ensures that Coriolanus will fail as a political leader, and triumph as a military one; his boldness, and corresponding lack of subtlety, will mean that he will gain the anger of the Roman tribunes and people, and be unable to serve as a consul of the people.

Aufidius and Coriolanus are actually similar in quite a few ways, although they are also intended to be foils. They are both men of the sword, a symbol that expresses their desire and skill in war, their code of honor as soldiers, and their determination to defeat each other in the game that they are playing. They are both possessed by the same intensity of feeling concerning each other, symbolized by the heart and blood imagery that Aufidius uses when talking about a final, much-wanted defeat of his foe. Yet, the symbols of the heart and blood also betray the strange intimacy and intensity of their relationship, and how connected they are by the blood they have shed together as soldiers, locked in battle with one another.

Scene 1 Summary:

Menenius is talking with the two tribunes, Brutus and Sicinius; he knows that they and the people dislike Coriolanus, despite his triumphs and distinguished service. But Menenius also tells them that Coriolanus is a good man, and leads a blameless life; still, they do not seem to change their view of him. They still chide him for his pride, although Menenius counters this claim by telling to look at themselves, and see if they are not proud and flawed as well, and perhaps even more so than Coriolanus is. Menenius points out that their argument is not sound and that their view of Coriolanus is clearly soiled by their self-interest, and then leaves the tribunes as Virgilia, Volumnia, and Valeria enter with the good news that Martius is headed home. Menenius is glad for this news, and hopes that Martius Coriolanus has returned with some wounds, to mark his victory.

Finally, Coriolanus enters, and is greeted by his mother Volumnia, wife Virgilia, and Menenius, among others. His new name is explained and pronounced to the crowd, as Coriolanus is officially welcomed back to Rome. Volumnia is glad to see her son back, and says that she hopes he will now be able to become consul; however, Coriolanus betrays some reluctance and unwillingness to be a political creature.

All leave Brutus and Sicinius, who conspire to make Coriolanus unpopular with the people, so that he will not be named consul. They know that his pride and his unwillingness to talk about his triumphs will land him in trouble, and they will use these failings to make him seem unappealing to the people. Their plan is cunning and clever, though it is not driven by interest for the people of Rome, but for their own thirst for power, which will be sated by usurping Coriolanus' power in the city.

Analysis:

Menenius and the tribunes compare Coriolanus to different animals, to convey their different views of him. Menenius believes that Coriolanus is a lamb, that the people will threaten to tear apart like a wolf; though the tribunes believe he is too loud and warlike to be a lamb, Menenius sticks to this symbol to represent Coriolanus, because he lives an honorable life. Indeed, Coriolanus is well symbolized by the lamb, because he is unable to deceive, does the service that is required of him, and lacks the ability to manipulate people. The irony is that Coriolanus is regarded as a tricky, deceptive person by the tribunes, when he is all too honest and plain for their politics. Another irony is that Coriolanus is being regarded suspiciously by the tribunes, who aren't exactly upstanding men; they would cite Coriolanus' flaws, but are not willing to admit their own when Menenius points them out. Coriolanus is not a villain at all, as the tribunes would make him out to be, though Menenius' speech doesn't seem to change their minds at all.

Reputation is a theme in the work that determines how people, like Menenius and Coriolanus, are viewed by others, although their reputations do not always tell the truth about who they are. Menenius is known to be a wise, reasonable man, as the tribunes point out in this scene, and Coriolanus is known by the people as a proud, scornful man, and little else. Menenius says that there is more to him than his reputation indicates, and that this is true of Coriolanus as well. However, the skewed reputation of Coriolanus that the tribunes have gotten the people to believe is the one that the people will continue to believe in, though it holds a minimum of truth.

Menenius continues a motif from earlier in the play, by calling these representatives of the people parts of the body, emphasizing that they are not whole or vital. They are "poor knaves' caps and legs," Menenius says, his metaphor conveying how they lack substance, and are disconnected from the body of the state.

Volumnia and Menenius' discussion of Coriolanus' wounds shows them to be symbols of his glory and his feats in war. Each one of them is a mark of pride and bravery, which is becoming to him. Virgilia cringes at the thought of her husband wounded, showing reticence about her husband's profession; but Volumnia and Menenius know that Coriolanus will need these wounds to testify to his services, if he is to be elected consul.

During this welcome scene, it is telling that Coriolanus greets his mother first, and speaks only briefly to his wife, who does not respond. It almost seems like Virgilia is an afterthought to him; he only speaks to her after Volumnia remarks, "but o, thy wife," and even after that, his attention is immediately turned back to his mother. Coriolanus' mother already seems to have a very prominent position in Coriolanus' life, though the extent of her hold upon him is not yet clear. A conflict between the interests of the two of them is already foreshadowed, however, when Volumnia professes her hopes that he become consul, and he tells her he would "rather be their servant in my way than sway with them in theirs." This statement of stubborn reluctance on Coriolanus' part indicates that he will not simply be able to assume the consulship, nor are his plans and his mother's the same.

The overstatement of the messenger at the end of this scene speaks of Coriolanus' popularity as a great soldier and a hero. The nobles of Rome regard him well, though they are not blind to his failings either; but with the power and magnetism that Coriolanus wields, the metaphor about him being like "Jove's statue" is particularly fitting. However, what the tribunes are going to go after is not Coriolanus' popularity as a hero, but his unfitness as a politician and unwillingness to be a pawn of the people. If they make him look bad enough to the plebeians, then their plan of throwing Coriolanus out of Rome might just work.

Scene 2 Summary:

Two officers are talking of Coriolanus' bid to be consul; although they both know that he might fail in this bid because he is proud and doesn't like the people, they put things into perspective by noting that other leaders have merely flattered the people. They also say that a refusal to recognize his contributions would be ungrateful and wrong of them. The senate enters, to consider Coriolanus' qualifications to be consul; the tribunes state that they do not support them if he doesn't support the people, but Menenius is displeased by their lack of foresight. Cominius talks of Coriolanus' deeds, and his triumphs in battle, though Coriolanus again protests that he doesn't want to hear his deeds praised.

The senate decides that Coriolanus is certainly worthy of the position because of his years of service for Rome; now, all Coriolanus has to do to gain the position is go through a traditional ritual of asking the people. This seems like an easy task, but Coriolanus knows that he is ill-equipped to go through with it. He stubbornly asks to be kept from this tradition, which the tribunes interpret as scorn for the people. The tribunes do not want to see him as a consul, and will conspire to block his confirmation by the people.

Analysis:

The beginning of this scene is purely political in content, and explains not only Coriolanus's views, but also where Shakespeare is coming from in regard to the political sentiments expressed in this play. The two officers say that Coriolanus is at least honest in his feelings toward the people, and that his indifference toward them is a wise attitude considering the flightiness of the people. The picture Shakespeare paints of the common, plebeian class in this play is certainly not positive or flattering; but this is a view informed by the monarchist society in which he lived, where the people were often considered a poor, unruly mob that didn't have enough sense to govern themselves. Any other view would have been dangerous to express, since these were the days before democracy. And, also considering that Shakespeare's plays were often performed before a royal or noble audience, and sponsored by the upper class, a contrary opinion might risk this sponsorship and get Shakespeare in trouble as an author. The view of the common people expressed in this play seems anachronistic and incorrect, but it was perfectly in keeping with the views of the time and the powerful audience that plays like this one were able to reach.

The officers serve as explication of the play's leanings away from the common people, and the play's view that ignoring Coriolanus' good deeds and proclaiming him unworthy is a very unfair act. They know the arguments for and against Coriolanus that are expressed in the play, but the conclusion that they reach, that Coriolanus is worthy though flawed, but still should be respected for his deeds, is one that is shared by the play as a whole.

Cominius' language, when he speaks of Coriolanus' achievements, betrays the heroic light in which the nobles view Coriolanus. "As weeds before a vessel under sail, so men obeyed and fell below his stem," Cominius says of Coriolanus; this metaphor portrays Coriolanus as a man of great prowess, a singular hero who is able to conquer through his own merits only. Cominius' tone is complimentary and dignified; it betrays the respect that the leaders of the city have for Coriolanus, which is in direct conflict with the scorn which the tribunes have for him.

Coriolanus' nervousness at having to ask the people for his position foreshadows his downfall; he knows as well as Menenius does that he lacks the boastfulness and political skill to flatter the people, which will mean a tough time gaining their position for the consulship. Ironically, Sicinius and Brutus take his reticence as outright scorn; they seem to interpret all of Coriolanus' actions according to their very negative view of him, which is not an accurate picture of him at all.

Scene 3 Summary:

The citizens debate among themselves whether they should confirm Coriolanus or not; one of them says it would be ingratitude to deny his good deeds, but others think that they have a right to deny him the consulship because he does not love the people. The third citizen tries to reason with the other two, voicing many of the concerns and issues of the play in the process. Coriolanus comes at last, in a gown of humility, to beg their consent; the third citizen begs them all to go, and since the majority seems to approve of Coriolanus, he also says that they should approve him.

Coriolanus engages the citizens in conversation as they come by in groups; he does not hide his pride, nor does he hide his lack of love for the people he is speaking to. He is actually rather short with them, and sarcastic as well; but, five citizens manage to give him consent, despite his tone and bearing. Two more give him consent, and declare that he is done with his duty; Menenius returns and congratulates him on passing this last hurdle for the consulship.

Then, the two tribunes, Sicinius and Brutus, come and ask the people if they approved Coriolanus; they seek to reverse this approval by asking them how Coriolanus acted, and reminding them of how he has scorned them in the past. Soon, the citizens are stirred up against Coriolanus, and have decided to reverse the decision they had just made. The citizens then decide to confront Coriolanus, and the tribunes will take advantage of the situation to gain power for themselves.

Analysis:

The third citizen, in this scene, serves as a voice of conscience among the other citizens, who are portrayed as selfish and unwise in their judgment of Coriolanus. They do have the power to deny Coriolanus, he says, "but it is a power that we have no power to do"; this paradox communicates the fact that they have no pressing reasons to keep him from being consul, and that it would be an abuse of their civic power to do so. "For the multitude to be ingrateful were to make a monster of the multitude," he continues, this metaphor voicing an important issue of the play. Indeed, the citizens lack of appreciation for what Coriolanus has done is a terrible thing, and one that leads to a great man's turn against Rome, and his later destruction.

Coriolanus' pride is fully exhibited in this scene, along with his corresponding, but equally perverse sense of modesty. These two paradoxical qualities determine Coriolanus' behavior toward the people in this scene; not only is he too proud to have to perform such a ritual, he is also shy about having to boast of what he has done. Again, the symbol of the wounds come into play; Coriolanus is supposed to show them in order to testify to the service he has done the state, as they are visual reminders of his feats and bravery.

The ritual that Coriolanus is a part of is a strange one; it is an outward show of democracy, though this ritual does not necessarily give them the power to keep him out of office. The cap and gown that Coriolanus wears as he begs the people's support is meant to symbolize his humility and his service to the people; however, Coriolanus clearly shows that he isn't humble, and he has no favor for the people at all. His tone is often tinged with sarcasm during this episode; "I will practice the insinuating nod and be off to them most counterfeitly," he says, showing little regard for the people as he runs through this ritual.

That Coriolanus calls the people "voices" is significant; this instance of synecdoche continues an important motif in the play. From the first scene, the people have been called "fragments" and parts, and dismembered bits; calling them "voices" makes them seem disembodied, and somewhat ghostlike as well. The common people do not seem to be real, autonomous people the way that the patricians in this play are; this is another example of the theme of class in this work, and how it creates prejudice in how the common people are regarded and portrayed in this work. Also, this is important because it shows that Coriolanus really does not care for the people in any significant way; he just wants their "voices" and approval, but does not want to really speak with them at all.

Brutus and Sicinius use rhetoric to turn the people against Coriolanus; they ask whether the people could support a man who had mocked them, and in what manner he asked permission of them. "Why, had your bodies no heart among you," Brutus asks, making their approval sound like an act of cowardice on their part. Their tone is disapproving, and slightly chiding; their speech is meant to get the people to reverse their judgment, and feel that this is the right thing to do. The people seem like children here, easily convinced by Coriolanus, and then as easily manipulated by the tribunes. They truly show themselves to be fragments, not whole beings with their own autonomous powers of thought. Meanwhile, Brutus and Sicinius are doing all of this for their desire for power, and care little or nothing for the well-being of the state, or for Coriolanus' worthiness.

Scene 1 Summary:

Lartius informs Coriolanus that Tullus Aufidius and the Volscians have raised a new army against them; but Cominius thinks that they are still too weak to make an attack on Rome. Aufidius is at Antium, they tell Coriolanus, and Coriolanus expresses desire to see him there so that they can fight once again. Then, the tribunes enter, and Coriolanus greets them with words of displeasure. The tribunes announce that the people have changed their mind, and that Coriolanus now does not have the consent he needs in order to become consul. Coriolanus knows that this is a play for power, and warns the senate that if they allow this to succeed, they will never be able to truly rule the people again.

Brutus and Sicinius continue to attack Coriolanus' character, which gets him thoroughly angry; although Cominius, Menenius, and the other senators beg him not to get angry and react out of this anger, Coriolanus is not able to hold his tongue. He tells them that the people have been allowed too much freedom, and that by allowing them some of the privileges of the nobles, they have become insolent and spoiled. He also chides the senators for allowing the tribunes to take the floor and assume power in the manner they are doing. He says that the people do not deserve corn for sitting in the city while it was in danger, or for trying to disrupt the state; they need to contribute in order to receive, Coriolanus believes. After Coriolanus also condemns the tribunes for their bad leadership and the people for believing in them, the two tribunes call the people to confront Coriolanus, so that they might throw him out of the city.

The people and the aediles rush in, while the senators rush to Coriolanus' side, and Menenius calls for everyone to stay calm during this confrontation. Sicinius speaks to the people, trying to stir them up rather than calm them down; the senators allow him to speak, and to assume far more authority than he was ever given, or should have in his position. Brutus and Sicinius say that Coriolanus has committed treason through his remarks, and should be taken to the Tarpeian rock and hurled off, which is the traditional punishment for traitors. Coriolanus resists, though; he says he'd prefer to die fighting them, and will not let them just drag him off. Menenius and Cominius manage to talk him down, and convince him to go home while they try to patch things up. The senators say that Coriolanus has messed things up for himself, but Menenius knows that he is just too noble to be a politician.

Menenius confronts the tribunes, who are still calling for Coriolanus to pay through a traitor's death. Menenius says that this is nonsense, Rome should not kill any who have given noble service; he tries to convince them that Coriolanus is merely flawed, but to throw him out might mean internal war for Rome. Menenius is now supposed to fetch Coriolanus and meet the tribunes and the people at the marketplace, so some kind of judgment can be pronounced for Coriolanus.

Analysis:

Coriolanus' remark that he would like to face Aufidius again is clearly foreshadowing, and this mention of Aufidius means that he will doubtless show up later in the play. The contrast between Coriolanus' fierce response to the tribunes and his expression of longing to see Aufidius truly shows where Coriolanus' interest lies. Again, this change in subject shows Coriolanus speaking with interest, and a tone of honor and longing, and then changing abruptly to a tone full of scorn, when the tribunes come.

Although Coriolanus pronounces the tribunes "the tongues o' th' common mouth" out of anger, ironically, he is more right than he knows; he has no idea that they have put words into the people's mouths, and are there to play their part as tongues before the senate. This metaphor of the people as a mouth and the tribunes as tongues continues Coriolanus' discussion of them as voices. By this point, they have truly become little disembodied parts, mouths with other tongues, and voices controlled by others' will.

Coriolanus' declaration that to listen to this attempt to grab away power will mean that the senate will have to relinquish some control is a pronouncement of another theme of the play. The rebellion that is the center of this play represents a shift in politics that will transform Rome; and the more power and autonomy the people gain through this rebellion, the less likely it is that the senate will ever be able to subdue them. The rift between the people and the senate, once made, can never be repaired; Coriolanus knows this, although these events seem almost to be an inevitable consequence of progress.

Coriolanus' argument also lights upon another theme and hotbed issue of the play, that of class structure and privileges. Coriolanus, and the play at large, espouse the idea that the class system is necessary and justified, and that the common people need guidance rather than rights. This idea is very much in keeping with Jacobean ideas about absolutism, that held that the people need discipline and leadership, but were too weak and lacking in wisdom to make decisions for themselves. Coriolanus speaks with pointed, exacting diction about his thoughts on the people; he calls them out for their "rebellion, insolence, sedition," expressing his views with a formal, political tone that seems uncharacteristic of his brash, often inarticulate character. It is ironic that Coriolanus is only able to summon up this clear, authoritative speech only when it is too late for him to help himself; he takes a very convincing stand here as a leader, though unfortunately he is doomed by the will of the people and the devices of the tribunes.

Coriolanus makes several allusions when speaking of the tribunes, and these allusions help to characterize his view of the tribunes and the people as well. Sicinius is a "Triton of the minnows," Coriolanus says; this allusion makes Coriolanus' objections to Sicinius' power very clear. He calls the people "Hydra," the name of a mythical snake with many heads; this figure was sometimes associated with the people, but its mention shows that Coriolanus doesn't think of the people as individuals, or as being as human as he and the patricians are. Coriolanus also calls upon "Jove" to bolster the authority of the senate, and this association makes the power of this body seem more legitimate.

Menenius' pronouncement about Coriolanus' character is intended to be an overall pronouncement that conveys the sentiments of the play. Menenius statement that "his nature is too noble for the world" translates into a theme of the play, the past vs. progress. As a hero figure straight out of Roman myth and legend, Coriolanus is noble, fulfills his duties, and is truly larger than life in his strength and abilities; however, he lives in times that require compromises, politicking, and debates, which Coriolanus is completely unsuitable for. "His heart's his mouth," Menenius also says, which means that Coriolanus cannot feel something without immediately expressing it. These convey how noble but rash Coriolanus is, and how transparent his character can be, though some find it hard to understand.

Sicinius' and Brutus' words, during this encounter, are poisonous, but lacking truth. They call Coriolanus a "viperous traitor," and a "disease"; their diction is clearly inflamed by anger, and guided by dislike rather than truth. "He's a limb that has but a disease," Menenius counters; his metaphor more accurately testifies to the dangers of throwing Coriolanus out of Rome. Menenius' statement here foreshadows Coriolanus' turn against Rome, and the great damage that it threatens to do to the city; it will be nearly "mortal" to throw him out, and probably would have been easier to keep him and reform him. Again, Menenius returns to his metaphor of Rome as a body, and his comparison of Coriolanus to a limb shows how big of a part of this state he truly is.

Scene 2 Summary:

Coriolanus says that he will be how he is, and doesn't want to compromise with the people even if it means death to him. He says he would rather be the man he is, though his mother has a problem with this argument of his. She chides him for messing things up before he could gain his power as a consul. Menenius and his mother ask him to mend things as best he can, though Coriolanus is too proud to apologize or take back his words. Volumnia tells him that it would only be a slight violation of his nature and his pride to mend things, and it would be better for everyone overall.

Coriolanus does not speak, but lets his mother and Menenius say what they will; when they have finished with their proposals, he says he will resign himself to their wills, and will try to ask forgiveness of the people. Still, he is reluctant to actually do what he has to; he says that pretending to be obsequious would be a complete betrayal of himself. His mother then tells him not to be so proud, and that she is ashamed of him. He immediately changes his tune, and says that he will go to the people. Cominius and Menenius beg him to answer "mildly" to the people, and Coriolanus goes off to face them.

Analysis:

This scene shows Volumnia and Coriolanus' relationship more clearly than has been depicted earlier in the work. Although Coriolanus does not want to listen to the better judgements of Menenius, who is a trusted and wise friend, he is obviously close enough with his mother that he would listen to her without interrupting her, and actually consider taking her advice. He acts like an obedient son rather than a strong, independent man in this scene; his mother's presence and advice seems to subdue him when nothing else could.

Volumnia has the political sense that her son lacks; if she were in his place, she would be able to patch things up, but he is just unable to do what she wants. Volumnia and Coriolanus' earlier exchange about him becoming consul, and his statement that he would rather serve the people in his own way, foreshadows this moment of conflict. Remembering back to that moment, it also becomes clear that Volumnia was far more eager for her son to be consul than he was to gain the position himself; she feeds off his glory, but seems to be steering him toward a direction he does not want to take. "My praises made thee first a soldier," Volumnia says; from this line, it is apparent that Volumnia has a tremendous influence on her son, and that he has been guided by her in the past.

Coriolanus' tone and manner are in direct opposition to how they were before. "Must I with my base tongue give to my noble heart a lie that it must bear," he asks himself; "well, I will do't," he answers immediately, seeming much calmer than before. His tone seems purged of anger, and his diction betrays a clarity of thought here; still, his words betray reluctance to act penitent, when he feels that he has done nothing wrong at all. Soon, his distaste for his mission overwhelms his resolve to go to the people; he makes metaphors comparing himself to a beggar, and creates images of knaves and schoolboys' tears making a mockery of his soldier's face. Even after his mother's words override his will once again, his reticence is still apparent; if he goes through with this, he will lose confidence in himself, but if he does not, his mother and the senators will be angry with him.

Scene 3 Summary:

Brutus and Sicinius are preparing to accuse Coriolanus in front of the people. They know that if he gets angry, his case will be ruined and he will not be able to restrain himself, so they resolve to upset him as soon as they can. Coriolanus comes with the senators and Menenius, who advises Coriolanus to stay calm during this encounter. The confrontation takes the form of a trial, with Menenius advocating for Coriolanus to the people, and with Sicinius, Brutus, and the aediles trying to prove Coriolanus guilty of treason. This is not a court of fact, but rather one of opinion, that takes advantage of the people's prejudices and preconceptions to determine whether they will judge Coriolanus guilty or not.

Sicinius' official charge to Coriolanus is that he sought to be a tyrant, and that is the source of his treason. Coriolanus bursts out, with curses against the people; Sicinius immediately uses this to condemn him, and calls for a traitor's death, although Brutus disagrees with this harshness. But Coriolanus has another outburst, and all chances of damage control are dashed. Sicinius finally says that Coriolanus must be banished, and the people back him in this; Coriolanus takes this as a final sentence, and decides he must act upon it, and leave the city. The people, tribunes and aediles rejoice that they are getting rid of "the people's enemy," though Coriolanus has not yet become a true enemy of Rome.

Analysis:

Although the tribunes are full of deceit, they are still very perceptive, and have the necessary cleverness to pull off a plan like their own. They are well aware what Coriolanus' weaknesses are, and how to incriminate him through his own reactions to them. A bit about Roman voting practices becomes clear at this point; the tribunes make an allusion to the custom of voting by tribes, a system that means casting votes by district. This is a precursor to our own system, in which votes are counted in districts; the other Roman method of voting was by class, though this practice ensured that whomever the patricians favored would be elected.

Note Sicinius' charge; it is not based upon actions that Coriolanus actually did take, but on intent and allegations. This charge of attempted tyranny is ironic in several respects; first, because Coriolanus preferred to have no political power, rather than to be consul, as his mother urged him to. Secondly, it is the tribunes who are trying to usurp power that is not their own; the consulship, by law, holds a good deal more power than the position of tribune, and they are trying to do away with this position in order to take power for themselves. The charge that the tribunes level against Coriolanus is one that only they can be counted guilty of.

However, Coriolanus makes a very grave and elementary mistake in assuming that the tribunes actually speak for the people, and that an accusation from Sicinius is tantamount to an accusation by the people. Rather than just get angry at Sicinius for the false charge, he gets mad and curses at the people‹a move which condemns him. His tone is ruled by anger and hate‹"the fires I'th' lowest hell fold in the people," he declares, showing a great, unwarranted ferocity.

Words vs. actions is a theme that tricks Coriolanus again and again; in battle, he is used to his mighty strokes being victorious, but here he does not realize that he cannot use his words like a sword, stabbing people indiscriminately with them and expecting them, in turn, to be so easily defeated. Coriolanus, when he is angry, is very prone to overstatement; "I would not buy [the people's] mercy with one fair word," he says, his emotions overcoming his rational self. Menenius was completely correct when he said Coriolanus was a man who showed plainly what he feels; this is a very good example of this tendency at work in him.

Sicinius' language in this announcement of banishment is cleverly worded, in order to rally the people against Coriolanus, but also state the sticky truth about the situation. He finally says that Coriolanus attacked the ministers of the state, meaning himself and Brutus, rather than simply stating that he has wronged the people, which is not true. He takes the mantle of justice upon himself, saying he is one of those whose charge is to distribute it; and he also assumes the mantle of the people, saying that he is acting on their will when he banishes Coriolanus.

By assuming all these mantles, Sicinius' maneuvers become more clear; he is usurping the power of the state at large, since the masses and the tribunes hardly count as the whole body of the state. But, when he has the force of the people behind him, stirred up by his incendiary remarks, he is very hard to stop. Still, Cominius and Menenius might have been able to delay the decision, had Coriolanus not taken it as a final pronouncement.

Coriolanus' words foreshadow the people's repentance later in the play; "have the power to banish your defenders," he says, and they will realize later how ignorant they were, which does happen later in the play. "The people's enemy is gone," the aediles and people cry, once this scene has ended. This is ironic, however, because it is only with Coriolanus' banishment that he truly becomes Rome's enemy, and now the people are left with the tribunes, who are can even more aptly be described as enemies of the people than Coriolanus can.

Scene 1 Summary:

Coriolanus is saying farewell to Virgilia, Volumnia, Menenius, Cominius, and other various members of the nobility; he tells them to keep their tears, and tells his mother to keep her strength about her. Coriolanus thinks that Rome will learn to appreciate him when he is gone, though he seems to have no ideas about returning any time soon. He tries to cheer his mother, and reassure Menenius that he will be fine while he is gone; Volumnia urges him to take Cominius with him for a time, which Coriolanus consents to do. Then, taking Cominius with him, Coriolanus leaves the city of Rome.

Analysis:

Coriolanus is unflinching in his distaste for the people; he calls them "the beast with many heads," a good metaphor conveying their seemingly singular views on cases like these, and their status as not-quite-individual beings. Cominius also comes out with another graceful metaphor, conveying the crux of his situation; "fortune's blows when most struck home, being gentle wounded craves a noble cunning," he says, continuing his metaphor of people to ships, and fortune to the sea. Fortune is a theme that has determined Coriolanus' fate thus far, and will continue to steer his course through the rest of the play.

There is one reference to the plague, which appears in this scene; "now the red pestilence strikes," Volumnia says, which seems out of time and out of character with this Roman setting. The plague recurred several times during Shakespeare's career, most notably in the early 1590's, when theaters were closed for months. This singular reference would have been important to the audience, who were in constant fear of the plague, since it recurred often, and took many lives during this period.

Here, Coriolanus shows the bravery that his mother taught him, and even manages to outdo her in decorum. He calls for her to act like the "wife of Hercules," an allusion that shows her steely strength. The amount of regard Coriolanus has for his well-wishers is shown by how long he speaks to each of them during this goodbye scene. Of course, he speaks most to his mother, with only two brief goodbyes to his wife. He also dwells on Menenius, and answers his mother's concerns and protestations, but leaves his wife's cries of grief unanswered. Coriolanus' wife is clearly not of great importance in his life, as seen by his lack of speech to her, and also his smaller amount of concern for her.

Coriolanus certainly seems changed in this scene; his tone is calm and resigned, he shows grace in the face of this new trial, and tries not to fall into anger and blame about what has happened to him. His speech actually becomes eloquent, with the image-laden metaphor about the ship and the sea being the most notable example. Also, he shows care and concern for those he is leaving behind; he is not selfish in this time of trial, but rather wishes for them to be as calm and collected as he is at this moment. Coriolanus' resolve and bravery at this moment are admirable, though it is unclear if this trial has changed him, or how.

Scene 2 Summary:

Sicinius and Brutus decide to get all the patricians gone; they will act more humble now that they have thrown Coriolanus out, and pretend that the senate has all its power back. Volumnia, Virgilia, and Menenius enter; the tribunes want to avoid them, since they know all of them are grieved, but Volumnia finds them and rails at them a little. Volumnia curses them for casting out a man who has done more for Rome than they ever will; she says she wishes they had to face him in battle, because they would surely be defeated then. After she speaks for a while, the tribunes leave to escape her wrath; Volumnia is very angry over what they have done, and admits that this anger threatens to take her over.

Analysis:

Volumnia, although she is a Roman woman steeped in tradition, manages to take on the power and authority of a man here when talking to the tribunes. Only men are supposed to speak in public in Roman society, which is the cause of Sicinius' shocked question, "are you mankind," when she begins to lecture him in public. This kind of outburst would also be uncharacteristic in Shakespeare's time, when women were also supposed to have a very peripheral public role. With her son gone, however, Volumnia assumes the authority and the voice that he had; rather than exhort him to speak and to do the right thing, she is taking all of this upon herself in his absence. This altercation presents a good example of the theme of gender roles and expectations in the work, which Volumnia is definitely defying in her outburst here.

One of the lessons of the play is stated here; "as far as doth the Capitol exceed the meanest house in Rome, so far [Coriolanus]Šdoes exceed you all," Volumnia says to the tribunes. This analogy brings attention back to the themes of class and worth expressed in the play; Coriolanus seems to be above the tribunes for his social status as well as his accomplishments, and is more worthy because of his use in battle. Overall, this statement proves true; Coriolanus defended Rome from her enemies, which was a necessary service of the state, whereas the tribunes managed to jumble things up in a selfish quest for power. The overall message of the play is that Coriolanus is indeed flawed, but his virtues and strengths still make him an asset to the city.

Scene 3 Summary:

Nicanor, a Roman, and Adrian, a Volscian, meet to exchange news. They have met before, and seem to be rather cordial with each other, aided by the fact that Nicanor has defected from the Roman state, probably to serve Coriolanus. Nicanor tells Adrian that the Roman state is in unrest, with the people and tribunes fighting the wills of the patricians and nobles. He also tells Adrian that Coriolanus has been banished, which Adrian takes as a good sign, since the Volscians are considering another attack on Rome now that it is in turmoil. The two leave together, with Nicanor promising to tell Adrian strange tales of all that is currently happening in Rome.

Analysis:

As Nicanor says, "the fittest time to corrupt a man's wife is when she's fallen out with her husband"; it will be a feat for Rome to stand against Aufidius, now that Coriolanus has gone, and the state is in such a mess. Already, the mistake of the people and the tribunes becomes very clear, and this conversation foreshadows great dangers to the Roman state, now that her chief defender is gone, and her enemies regrouped and ready.

Scene 4 Summary:

Coriolanus enters, disguised as a man of humble station; he has arrived in Antium, where Aufidius is reported to be. He comes upon a citizen, who confirms that Aufidius is in the town, having a feast at his home. Coriolanus resolves to go and see Aufidius; if Aufidius kills him, that is only honorable, but if not, he decides he will offer his service to the Volscians.

Analysis:

The theme of enemy and friend is crucial in Coriolanus' banishment, and his attempts to join his former enemy. If Aufidius' conception of Coriolanus is so strong that he cannot allow himself to accept him as a friend, then Coriolanus is definitely dead. But, if Aufidius can see how Coriolanus might be better used, then Coriolanus might just become a friend, rather than an enemy. Coriolanus and Aufidius were enemies because they were on opposing sides before; but can a relationship as intense as the one they have morph into an alliance, now that they are both enemies of Rome?

Coriolanus is well aware of the irony of his situation, that his former friends are now his enemy, and his greatest enemy might just become his friend. His assertion that he and Aufidius shall "grow great friends" foreshadows this occurring; for if Coriolanus, in all his anger and rashness, can accept Aufidius as a friend, then likely the more cool-headed and considerate Aufidius will do the same.

Scene 5 Summary:

Three servingmen are rushing about in Aufidius' house; Coriolanus enters, but is immediately stopped by the servingmen, and told to leave. They do their best to convince him to go, but he will not; they fetch Aufidius, to see this business over with. Aufidius comes to see the strange visitor; Coriolanus finally reveals himself, and asks if his old enemy can remember him in his present guise. Aufidius does not recognize him, so Coriolanus tells him that he is Caius Martius, former enemy to the Volscians, and formerly of Rome. He tells Aufidius that he cannot do anything but serve Aufidius, and will be in his service against Rome, if Aufidius decides not to kill him.

Aufidius is touched by this, and accepts Coriolanus' help immediately. They embrace, and Aufidius swears to take him as an ally, and together they will revenge Coriolanus against Rome. Aufidius takes the surprising step of giving Coriolanus half of his troops to command; this means that Aufidius trusts Coriolanus thoroughly, and has a lot of hopes for his ability to triumph. He decides that Coriolanus should make their strategy for attacking Rome, and would be the best judge of how to handle their battle plan.

The servingmen are shocked that Aufidius embraced his enemy so readily, and that he has also given him a great deal of command. They all insist that they thought Coriolanus was better than he appeared in the disguise; they are aware of his reputation, and believe that he must be a truly great warrior. One of the servingmen is a bit alarmed that Aufidius seems to have too much regard for Coriolanus. However, all three welcome war as a cure for the malaise of peace, and approve of Aufidius' plan to join with Coriolanus and have battle with Rome.

Analysis:

Suddenly, Coriolanus is able to formulate a clear and appealing case for himself; if only he had been able to do this before the Roman people, he would have been consul, and not banished. Once he has stepped back into his favored role of lone warrior and rival to Aufidius, he gains all the nobility and honor that was hard to distinguish in him when he was trying to be consul. He surrenders to Aufidius as he could never force himself to surrender to his mother or to the people, and gains a certain dignity in his ability to do this. Coriolanus is a paradox of a man, in terms of qualities and abilities; he is hotheaded and offensive, while at other times he can be calm and persuasive. He has the ability to be a great leader when he gets to act alone and remains unquestioned, but when he is challenged and leads with others, he turns into an unbearable person.

Aufidius' regard for Coriolanus is immediately apparent in his words; "each word thou hast spoke hath weeded from my heart a root of ancient envy," Aufidius tells him, this metaphor conveying the huge effect of Coriolanus' pledge to him. His allusion to Jupiter, and statement that he would trust Coriolanus' words above those spoken by this lofty deity, tell of Aufidius' trust in Coriolanus' honor and honesty. He also says that Coriolanus is the "moon," another metaphor portraying Coriolanus' importance to Aufidius, this time through an image.

Here, again, there is a reappearance of the theme of love vs. battle, as Aufidius speaks of them both in the terms of love. Seeing Coriolanus before him, Aufidius says, "more dances my rapt heart than when I first saw my wedded mistress bestride my threshold"; as with Coriolanus, there is a definite sense that combat and the pursuits of war are more honorable, vital, and pleasurable than what their personal lives can afford them. However, Aufidius' description of dreaming about fighting Coriolanus suggests that there might be an erotic element to this rivalry as well. They have been "unbuckling helms, fisting each other's throat," he says, in these desperate dreams he has had; the terms could be harmless, but the intensity and nature of their relationship is definitely something that should be questioned.

Several themes reappear in the servingmen's conversation that follows; one is that of class distinction, as the servingmen seem to be as fickle as the people of Rome in deciding what they think, and being influenced by others in this regard. Once Aufidius proclaims Coriolanus a great man, and his identity are revealed, they are easily swayed by Aufidius' opinion, and insist they suspected he was great from the beginning. Also, the theme of reputation is clearly at work in how they regard Coriolanus; since they have heard great and impressive things about him, they are well prepared to believe that all the rumors about his valor must be true.

The servingmen's alarm about Aufidius' sudden high regard for Coriolanus speaks about the suddenness, and perhaps the rashness of this decision; it also says that Aufidius' love for Coriolanus might be a little too much and too unquestioning in this tricky situation. Aufidius is making Coriolanus out to seem "son and heir to Mars," a metaphor that says that Aufidius might just be prizing him too highly. "Our general himself makes a mistress of him," they say, which again points to the very interesting and complicated dynamic between these two warriors.

The Volscians seem to have a view of war that is more akin to the ideals of ancient Rome than the ancient Romans did. The servingmen, as representatives of the common people, have a certain distaste for peace, which Coriolanus also shares; their belief that it creates idleness and indulgence reflects Coriolanus' past frustration with the fruitless efforts of the tribunes and the people. Their negative views of peace seem manifest in the needless disorder, chaos, and factions that make up Rome; perhaps Coriolanus, as a military hero, is fundamentally more suited to this place that has more respect for warriors and appreciation for war than Rome does.

Scene 6 Summary:

Sicinius and Brutus are discussing Coriolanus, and are glad that his threat is gone now that he has been banished. They claim that Rome is more peaceful and is working better since he left, which should shame his remaining friends and supporters. Menenius enters, and they broach the subject of Coriolanus not being missed by the people, though Menenius still believes it would have been better if he had been allowed to stay. The citizens seem obedient toward the tribunes, and glad for their help, which also makes the tribunes smug in their achievement.

However, an aedile announces that the Volscians have led an army into Roman provinces, and are causing war and destruction. The tribunes do not believe that Aufidius would march against them at such a time, though Menenius assures him that this is entirely possible, given the knowledge of Rome's weakened state. Then, the news that Coriolanus has joined with them comes out; they are surprised, and know that this means serious trouble. Menenius and Cominius then tell the tribunes how wrong they were to throw Coriolanus out. They also berate the citizens, who are gathered, though the citizens deny having spoken out against Coriolanus at all.

Analysis:

In this scene, Sicinius' and Brutus' doubt about their banishment of Coriolanus becomes more plain. They completely contradict their earlier negative claims about his achievements and character, saying that he was a "worthy officer in the war," whereas before they could hardly bring themselves to acknowledge any of his achievements. Their reassurance that he would have usurped all power seems a hollow one; they are clearly worried about what Coriolanus is up to, as their repeated inquiries about his whereabouts attest. However, the servingmen's conversation about the follies of peace foreshadow the decline of Rome without war; and the tribunes' smugness is amply repaid when news of Coriolanus' joint war with the Volscians becomes known.

When Cominius declares that Coriolanus and the Volscians are marching against them "with no less confidence than boys pursuing summer butterflies," it is clear that the Romans are really in danger. This metaphor attributes to the Volscians the same boldness and confidence that Coriolanus has always had; though Roman soldiers were never able to follow his example, it appears that he has finally found an army that can, meaning that they can surely outfight the Romans. The irony of the tribunes' mission has finally hit them, as the thing that they proclaimed would save Rome might prove to be its destruction.

Menenius speaks of the tribunes' foolishness in hanging on the "breath of garlic-eaters"; this is an allusion to the lower-class tradition of eating garlic, since it was very cheap and considered too vile to be consumed by the patrician class. Again, an allusion to Hercules is made in order to communicate Coriolanus' strength. Cominius also declares that "the people deserve such pity of him as the wolf does of the shepherds"; this metaphor continues Menenius' earlier comparison of Coriolanus to a lamb and the people to a wolf, and also conveys the irony that now the lamb, meaning Coriolanus, is the one out to get them.

The voice and dominance of the people is already ended as soon as it had begun, with the message that the people are unfit to make state decisions by themselves, and are too easily led by men like the tribunes, who seek to profit from their ignorance and herd mentality. The people show their weakness when they deny their resolution to throw Coriolanus out in this scene; they clearly lack the integrity and decision-making skill necessary to judge a treacherous situation. Cominius calls them "voices," alluding back to Coriolanus' earlier name for them; also, this emphasizes the idea of the people as fragments and parts, that do not add up to a whole.

Scene 7 Summary:

Aufidius' soldiers tell him of the men's great regard for Coriolanus; they are already very attached to him, and follow him with devotion. One soldier wishes that Aufidius had not given Coriolanus so much power; but Aufidius knows that he has the ultimate power, no matter what the relationship between the two men appears to be. He knows that Coriolanus will be extremely useful in trying to defeat Rome, and their chances of capturing it with him are very good. Coriolanus' merits are greater than his flaws, Aufidius decides; though, when Coriolanus has does his duty, Aufidius is not sure whether he will be kept around.

Analysis:

The contrast between how the Romans used and regarded Coriolanus and how the Volscians do could not be greater; all the comparisons between Coriolanus and a hero or god figure come to a head in this scene, with the assertion that Coriolanus has become some sort of god to the Volscian troops. This great devotion, coupled with the report that he is overshadowing Aufidius, foreshadows Coriolanus' fall; for if Coriolanus makes any of the blunders that he did in Rome, the Volscians will be far more disappointed, and probably will not be merciful. Also, there are hints that Aufidius is becoming jealous of Coriolanus' new stature, which also means that his glory will not last too long. Coriolanus has become "the foot of our design," a necessary part of the Volscians' new plan to conquer Rome.

Aufidius shows his foresight also in his estimation of the Roman people; they 'will be as rash in the repeal as hasty to expel him thence," he says of Coriolanus' banishment, knowing that the people are fickle, and this won't last forever. Aufidius proves himself a true foil to Coriolanus through his abundance of political insight and knowledge of human nature; Coriolanus may be a good warrior, but Aufidius has a far more developed sense of strategy than Coriolanus can claim to own.

"I think he'll be to Rome as is the osprey to the fish," Aufidius also says in this scene. The metaphor highlights Coriolanus' power, and his true dominance over Rome. He even guesses at Coriolanus' faults very accurately; his flaws are "prideŠdefect of judgment," and trying to control in peacetime as he did in war, which are all flaws that Coriolanus has. "He has a merit to choke it in the utt'rance" is Aufidius' final pronouncement on Coriolanus, meaning, his merits are greater than his flaws, but so bound up with them that he is difficult to praise.

Scene 1 Summary:

Menenius speaks to Cominius and the two tribunes; they are asking him to go and plead with Coriolanus, though Menenius knows that if Coriolanus had previously ignored Cominius' pleas, he will be of no use to them. Menenius says that the tribunes, who arranged for him to get thrown out of the city, should be the ones to beg Coriolanus to stop his attack on Rome. Menenius scolds the tribunes for making such a mess, since Coriolanus seems unlikely to show Rome any mercy in this case. However, the tribunes finally persuade Menenius to confront Coriolanus.

Analysis:

Coriolanus seems absolutely determined to destroy Rome at this phase. He even says that he cannot leave "one poor grain or twoŠunburnt" while the rest of Rome is "musty chaff" that needs destruction; this metaphor shows that Coriolanus' mercy, even for his wife, child, and mother, is far outburdened by his great wrath. Menenius, for all his wisdom, misjudges Coriolanus' resolve as well; he figures that once he has eaten and is relaxed, it will be possible to dissuade him from battle.

However, Coriolanus is hardly a man who can be defeated by food and drink; Menenius will be very lucky to make any headway with him at all. However, Cominius is right; if anyone will be able to turn him, it will be his mother. Since his mother is the person with whom he seems to share the strongest bond, she will turn him, if he is able to be turned at all.

Scene 2 Summary:

Menenius finally goes to find Coriolanus; he asks the two watchmen of Coriolanus' tent if he may be admitted to see him. They are adamant that Coriolanus will admit no one to see him, despite Menenius' assertions that he knows Coriolanus, and Coriolanus will definitely want to see him. He thinks he is being clever when he asks if Coriolanus has already dined; but this knowledge will do him absolutely no good if he cannot be admitted to see him. Menenius is lucky when Coriolanus and Aufidius come upon him. Menenius is confident now that he has seen Coriolanus, and scolds the watchmen for trying to keep him away, and denying that he knew Coriolanus. Menenius calls Coriolanus "my son," and tries to connect with him emotionally with his pleas. However, Coriolanus does not even listen; he simply tells Menenius that he did care for him, and to leave immediately. Menenius says that he believes Coriolanus will destroy himself through his own folly, and exchanges a few more hostile words with the watchmen.

Analysis:

Coriolanus' words certainly prove that he is resolved to be Rome's destroyer. "Wife, mother, child, I know not," he says; he is genuinely lacking in mercy, which has been devoured by anger. His rage and temper have taken him over at this time; however, Coriolanus' anger has proved not to be too long-lived in the play, so it is possible that it might be broken down. But, Menenius knows what the end of Coriolanus' stubbornness will be. "He that hath a will to die by himself fears it not from another," he says of Coriolanus; Menenius' words foreshadow Coriolanus' own undoing, and carelessness on his own part that will be the cause.

Scene 3 Summary:

Coriolanus and Aufidius are planning their battle; they will lay siege to Rome tomorrow, settling outside the city walls. Coriolanus also asks Aufidius to testify to his steadfastness against entreaties from Rome, which Aufidius says he will definitely do. But, his mother, wife and child have come to him; he says that he will still be resolute, and relays his feelings upon seeing each of them to Aufidius, so that Aufidius knows exactly what is going on in the mind of his ally.

Coriolanus is moved by the sight of his wife, mother, and child standing before them; he betrays tenderness at seeing them, but tries his best to hold this back, and be resolute in his decision. His mother kneels before him, which seems to be a reversal of the suitable situation, so he pulls her to her feet. Volumnia impresses upon him how an attack on Rome would be like an attack on his wife and children; she presses her position as his mother, and his affection for her. Finally, he caves in; he asks Aufidius to tell him if he was weak or if he did the right thing, and Aufidius backs him up. Aufidius is glad that Coriolanus has fallen from grace, so that he may reclaim his preeminence with his people. Coriolanus asks his mother and wife to stay for a while, although he says he is going to stay with Aufidius, rather than go back to Rome with them.

Analysis:

"Shall I be tempted to infringe my vow in the same time 'tis made," Coriolanus says, of his promise to not cave to any Roman please for mercy; Coriolanus's words foreshadow his fall, and his undoing, in this scene. He attempts to deny his emotions at seeing his family there, before him; his tone becomes removed, and he attempts to be emotionally neutral in this trying situation. However, his diction betrays his real feelings; he lingers on his wife's "dove's eyes," how he seems to "melt" when he sees her. He says that his mother bowing to him is like "Olympus [bowing] to a molehill," which shows his great respect for her, which he has not forsaken. These statements show that Coriolanus is indeed vulnerable, although he tries his best not to cave in to them.

Volumnia bowing to Coriolanus is ironic not only because she is his mother, but because it is she who holds the true power in this situation. Pretending to be a supplicant only strengthens her position, as it plays for his sympathy as well as his love and sense of duty. "Let the pebbles on the hungry beach fillip the stars," Coriolanus says, when his mother bows; this continues his metaphor of her greatness versus his humbleness, associating himself with the pebbles, and herself with the stars.

In this scene, Coriolanus actually says a few words to his wife, though she remains a remote, chaste woman in her characterization in the play. The "moon" and an "icicle" are symbols that represent Valeria's chastity; Coriolanus is the opposite of these cold symbols, having a fiery temper, and being a warrior like he is. As Coriolanus says, he is full of "rages and revenges," while his mother and Valeria are possessed of "colder reasons"; his emotions contrast with his mother's collected rationality, though they will not be able to stand up to her strong reasoning.

Volumnia's language, as she tries to persuade Coriolanus to back down, is sprinkled with words and images of violence, and reminders that he is her son. She says that they will have to watch him "tearing his country's bowels out" if he attacks, the diction conveying the violence and unnaturalness of this action. He will "shed [his] wife and children's blood" through the attack, and also "treadŠon [his] mother's womb." Volumnia is testing her son's mercy, a theme which is the biggest consideration in the question of whether he will attack Rome or not. Words like these pose Coriolanus' attack as a personal attack on his loved ones; it is a clever rhetorical strategy to use on a man with such personal unions at stake.

"O mother! Mother! What have you done?" Coriolanus cries after his mother's please have succeeded with him, though Coriolanus admits this might be "most mortal to him." Some critics have argued that Volumnia is responsible for the death and undoing of her son, since she forces him to take the step that will lead to his death, namely turning against his alliance with Aufidius. Also, she forced him to take the first step that got him into trouble, which was running for the office of consul. Had Volumnia not pushed her son into the political arena, he would never be in the position of an enemy of Rome. However, if Coriolanus had not been so proud, and so dependent upon his mother, she would never have succeeded with him. Is Volumnia responsible for her son's undoing? She plays a definite part in it, and is definitely guilty of manipulating him against his better sense; however, how much responsibility she bears is debatable.

Aufidius' intent with regards to Coriolanus becomes clear in this scene. He is glad that Coriolanus has backed down so that he can regain his former position; although he was quick to embrace Coriolanus as a friend, still, he never trusted him fully. Now that Coriolanus' will has been broken, he becomes dependent upon Aufidius; his diction and tone are that of a child when he tells Aufidius that he will not go with his mother, he would like to stay with the Volscians. Coriolanus' insecurity, another theme that becomes apparent in his interactions with his mother, comes through when he begs Aufidius to say that he was not weak, and did the right thing. Coriolanus attempts to speak with dignity after he caves in, but he is already compromised; with a mother as strong as his own, it is unlikely he will ever really be able to defy her.

Scene 4 Summary:

Menenius believes that Volumnia and Valeria have no hope of prevailing with Coriolanus, as he tells Sicinius. Sicinius believes that there is no way that Coriolanus has grown so strong and resistant to his mother in that time, but Menenius thinks that banishment has made Coriolanus a much harder man. A messenger reports to them that Brutus, the other tribune, is being held by the people; and if peace cannot be made with Coriolanus, they threaten to kill him. But, another messenger enters, and says that Coriolanus has decided to make peace. Menenius is glad, though he is surprised that this has happened; he tells Sicinius to be thankful that he has gotten so lucky, and awaits Volumnia and Virgilia's return.

Analysis:

Menenius says the difference between the Coriolanus of old and the Coriolanus that is allied with the Volscians is that of "a grub and a butterfly"; the metaphor shows how Coriolanus has grown into his glory, and finally seems to be a true leader of men. Menenius also says that he has "grown from man to dragon"; Menenius thinks he is a real force to be stopped, rather than the vulnerable man he was before.

Coriolanus, he thinks, has turned into the "engine," or machine of war, that he was always able to become, and alludes to Alexander the Great in trying to explain the change in him. But, Menenius underestimates the power that Volumnia still has on Coriolanus; he certainly remembers her, and his fondness for her will mean his collapse."There is no more mercy in him than there is milk in a male tiger," Menenius continues to protest; this metaphor is meant to convince others of Coriolanus' hardness, but, ironically, this war machine that Coriolanus really has become finally has mercy where he did not before.

"This is good news," Menenius says, when he hears of Coriolanus' surrender. This statement is very ironic, since it only heralds the beginning of troubles for Rome. This means that Rome is safe from Coriolanus, but it doesn't mean that it is safe from the Volscians; now, not only have they lost their best military leader, they have lost a leader in their enemy army from whom they were safe. And, the fact that there is no war means that the tribunes are still in power, and can continue to meddle with the state. Not all is well now that Coriolanus has surrendered, and Coriolanus' banishment will likely continue to have consequences for Rome.

Scene 5 Summary:

Volumnia and Virgilia return, and Volumnia is praised by a senator for talking Coriolanus down. The senator calls for sacrifices to be made, and celebration that they will not be attacked; also, he believes that Coriolanus should now be recalled from banishment.

Scene 6 Summary:

Aufidius meets with some conspirators, and speaks to them of the situation with Coriolanus. Aufidius knows that his kindness and trust in Coriolanus has cost him; he wants to go with the people's will, but knows that Coriolanus is still a rival for power. Finally, he decides that it is his duty to kill Coriolanus, and assume his full power once again. The conspirators remind him that Coriolanus was shortly a great enemy of the people, and he can easily use this to justify killing him. The lords of the city do not know of Aufidius' plan of murder, but they are upset at Coriolanus for calling off the entire production, and taking all authority upon himself in the decision.

When Coriolanus comes to them with the treaty that has been arranged with Rome, Aufidius immediately accuses him of treason for giving up the entire war because his wife and mother cried before him. Coriolanus explodes at this charge; he boasts that he is greater than Aufidius by far, and he was able to tear that state apart not too long ago.

Coriolanus stirs the lords and Aufidius into a rage with his angry boasts, and they are so enraged by his words that Aufidius kills him, cheered on by all but one lord. That one lord says that Coriolanus is too noble to have been killed; but, Aufidius insists that he was far too dangerous to be left alive. Still, there is sorrow that he is dead; even Aufidius admits that he is struck with sadness. They decide to honor Martius Coriolanus' memory, and give him a hero's funeral.

Analysis:

Aufidius declares that he is "by his own alms impoisoned, and with his charity slain"; these words are a paradox, but it is true that Aufidius' generosity with Coriolanus has set him back. Aufidius' concern foreshadows Coriolanus' coming fall; for Aufidius knows Coriolanus' flaws and failings, which he will be able to capitalize on in order to gain control once again. Although Coriolanus took his own backing down as a personal decision, Aufidius knows that he cannot ignore the consequences that this decision had on his entire army. This situation shows how much more perceptive Aufidius is of the big picture, and the lack of foresight and care for consequences that Coriolanus has.

Coriolanus gets himself into trouble through the issue and theme of authority, once again; he does not have an official position in the Volscian ranks, yet he assumes that he has ultimate control, especially about calling off the war and making a hasty treaty with Rome. Coriolanus' tendency to act as an autonomous being, and assume authority for his actions, will go over worse with the Volscians than with the Romans; at least in Rome, he had a position and a reputation as a servant of the state, whereas he has no such reputation there.

Coriolanus, in the end, is killed by his own flaws and vices. Not even in Volscia was he able to learn to compromise, and lead in cooperation with others; and overall, it doesn't seem like he was able to learn much from being banished from Rome. He is still proud, angry, vengeful, and inflammatory when he dies; his tone and words are very much the same as they were when he got angry at the people, and was banished. He even draws his own sword before he is stabbed, indicating that he was not at all passive in this situation. Coriolanus' aggression, pride, etc. are as responsible for his downfall as any treachery or mistrust on Aufidius' part.

Although Coriolanus ends up being a victim of his own flaws, and also of his own military prowess (which allowed him to almost destroy the city of Corioles), he did have redeeming qualities, as the Volscians recognize immediately after his death. He was a heroic individual, with great strength and great abilities on the battlefield. He was a man who could inspire like-minded people as well, as shown by his interactions with the war-hungry Volscians. He was also a man of honor and integrity, despite his many flaws.

The ending of the play is abrupt; Aufidius only takes a few moments to get over killing Coriolanus, and profess that he feels sad. The ending is akin to the one in Hamlet, where the main character is killed through treachery, and then immediately declared noble and to be remembered as a good person. However, this ending is not as elegant as the one from Hamlet because it is all too sudden; it just seems unbelievable that Aufidius and the others could be so intent upon killing Coriolanus, and then completely repent of this action only moments after they carry it out.

Is Coriolanus fated to death? The best answer is yes, he was. He was a man unsuited to the time and place that he was living in. He might have succeeded as a sole ruler in a time and place when tyranny was allowed, but as he was, in a republican city, answering to others, and not appreciated for his triumphs in war, he could only be a dangerous individual. His flaws were too deeply ingrained for him to be able to simply shake them off, and he was crippled by his mother's strong will as well. One of the points of Shakespeare's play is that Coriolanus is simply outside of his own time; he is doomed from the start, which makes his failure an even more tragic one.

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