Coriolanus is one of Shakespeare’s later plays; believed to have been written between 1605 and 1608 (the latter end of that scale being thought more likely). Like many of Shakespeare’s plays, Coriolanus straddles two genres; it is a tragedy, but it could also be described as a history play. However, it is labelled as a tragedy and is, in fact, Shakespeare’s last great political tragedy. Moreover, it is considered by some to be Shakespeare’s only ‘exclusively’ political play.
It tells of the life of Roman warrior and leader Gaius (Caius) Marcius, who is given the name ‘Coriolanus’ after his bravery during the siege of Corioli, a Volscian city (an event that is depicted within the play).
Shakespeare’s Source for Coriolanus
The play is believed to have been predominantly created from material found in the ‘ Life of Coriolanus ’, which is a section in the Lives of Noble Greeks and Romans by Plutarch. This work was translated, in 1579, by Thomas North and was very likely to have been a major source of material for Shakespeare.
It is also believed that he may have been influenced by the work of Titus Livius, known as Livy. Ab Urbe Condita, Livy’s history of ancient Rome, was translated by Philemon Holland during the Elizabethan era.
In addition, the words given to Menenius in his speech about the ‘body politic’, is thought to have come from Remains by William Camden, which was written in 1605.
A Brief Synopsis of Coriolanus
The play tells of the tragic downfall of the noble Caius Marcius Coriolanus, who leads a successful attack against the Volsces (led by Lucius Aufidius) in the city of Corioli. Coriolanus’ tragic flaw, or hubris, is, well…hubris. He is an incredibly proud character, who believes himself to be better than many of his fellow men. He does, however, see Aufidius as an equal and engages in hand-to-hand combat with him during the siege. Aufidius is almost beaten, but flees before Coriolanus can kill him.
When Coriolanus returns, as a hero, to Rome, the Patricians (ruling class), wish to make him a Tribune, which is the Roman equivalent of a parliamentary representative, of the Plebeians (commoners). However, this idea does not go down well with Sicinius Velutus and Junius Brutus, who believe that Coriolanus has become too arrogant and fear that the position will give him too much power. Therefore, they turn the Plebeians against Coriolanus and convince them to sentence him to death.
Coriolanus abandons his family and flees Rome for Antium, where he finds Lucius Aufidius and vows to join the Volsces to defeat the Roman Empire. After seizing control of several cities on the outskirts of Rome, Coriolanus’ friend, Menenius, tries to persuade him not to invade Rome, which his friends and family members still inhabit. The pleas fall on deaf ears, but Volumnia (Coriolanus’ mother) emotionally blackmails him with his love for his wife, and son, and convinces him to end the attack. He then returns to Corolio with Aufidius, but Aufidius, who is enraged by the aborted attack and the knowledge that Coriolanus has become influential among the Volsces, murders him.
The Play’s Performance History
It is not known when the first performance of Coriolanus was given, but it is assumed to have been between 1608 and 1610. However, the first ‘recorded’ performance was not until after the Restoration (1660). It has subsequently proved extremely popular, especially at times of political uncertainty and/or turmoil.
Arguably, the most famous production of Coriolanus was Laurence Olivier’s performance, which first graced the stage at the Old Vic, in 1937, (a time of great political upheaval throughout Europe) and was reprised at Shakespeare Memorial Theatre, in 1959.
Most recently, Ralph Fiennes directed and starred in a film version of the play, which was released in 2011. The film, which thrusts Coriolanus into a modern setting, co-stars Jessica Chastain, Gerard Butler and Vanessa Redgrave.
Politics in Shakespeare’s Coriolanus
As mentioned above, many people are of the conviction that Coriolanus is, above all else, a political play. Indeed, the subject matter of the play; the dispute between Plebeians and Patricians in the era of ‘The First Succession of Rome’, is overtly political.
During this period, there is a drastic shortage of food and the Plebeians form a rebellion against the Patricians. The revolt is staunched by the Patricians’ vow to provide five tribunes for the Plebeians (one of these being Coriolanus).
The Play’s Political Legacy
Perhaps unsurprisingly, the themes of the play, which include; the injustice of the ‘class system’, the struggle of the impoverished and a conflict between the ‘haves’ and the ‘have nots’, were fundamental to the philosophies of nineteenth and twentieth century political theorists and campaigners, such as Friedrich Engels, Karl Marx and Bertolt Brecht.
In fact, similarities can be drawn between Shakespeare’s concept of the ‘body politic’ and the Marxist theories of the ‘social working body’ and the ’production organism’. Marx’s daughter claimed that, “Shakespeare was the bible of our house…”(Marx-Aveling, E., ‘Karl Marx’ Marx and Engels Through the Eyes of Others) Therefore, it is not unreasonable to suggest that Marx may have been inspired by Shakespeare’s plays, and Coriolanus in particular.
The full text of Coriolanus can be found here.
Sources
- Camden, W., Remains
- Filling, J., The Body, the Belly and Blood in Coriolanus
- Livy, Ab Urbe Condita
- Marx-Aveling, E., ‘Karl Marx’ Marx and Engels Through the Eyes of Others
- Plutarch, Lives of Noble Greeks and Romans
- Shakespeare, W., Coriolanus
Samantha Markham - Samantha Markham is a professional freelance writer with a particular passion for literary and theatrical subjects.
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