Caius Marcius Coriolanus is the central figure of the play. He is loud, boisterous, and a man of decisive action. His physical strength and bravery seem almost beyond human capability. Coriolanus stands as the greatest warrior of his time. His personal heroism inspires other soldiers, who follow him into battle with near-religious fervor. The play does not depict him as a natural leader who is comfortable with or respectful of his subordinates. When the Romans are driven back to their trenches outside Corioles, he reverses the situation by cursing his men. He bellows for "boils and plagues" to afflict them, calls them "souls of geese / That bear the shapes of men," and threatens to turn his sword on them if they do not "stand fast" (I.iv.31, 34-35, 41).

The traits that make him Rome's most celebrated soldier are not the ones needed for successful political leadership. Coriolanus seems to recognize this, despite not being introspective. His mother appears to be the driving force behind his decision to run for consul. He himself is not skilled at campaigning. He uses language as a blunt tool, as seen in the earlier passage, rather than for persuasion or cajoling. It goes against his nature, he admits, to ask people for their votes: "It is a part / That I shall blush in acting" (II.ii.144-45). Menenius tries to coach his performance, reminding him that "the worthiest men" in Rome have had to don the robe of humility and appeal directly to the citizens (II.iii.49). Coriolanus behaves as if his exceptional military service alone should entitle him to the office of consul—he shouldn't have to woo the voters.

He holds the citizens he would need to serve in contempt. "Bid them wash their faces, / And keep their teeth clean" (II.iii.60-61), he mockingly remarks as the first group of citizens approaches him. Coriolanus's disdain for the people is evident throughout the play. He calls them rogues, curs, rats, and foul-smelling cowards. His political views are rooted in his belief that only aristocrats are fit to govern. He thinks it was a grave error for the senators to distribute corn to the people for free; he believes the common soldiers were cowardly in the battle outside Corioles and should not be rewarded for "this kind of service" (III.i.123). He argues that distributing corn will only make them expect more handouts in the future. Additionally, Coriolanus believes that the people will think the senators acted out of fear, encouraging them to believe they can intimidate their rulers. He feels the citizens have been granted too much power and does not think a stable government is possible if, as he sees them, ignorant citizens have a say in policy and elections.

Many commentators highlight Coriolanus's arrogance, viewing his immense pride as central to his character. Several have pointed out what they consider to be the hero's egotism or self-centeredness. Nearly all note Coriolanus's uncontrollable temper, which frequently leads to catastrophic outcomes. The tribunes exploit this trait by provoking him until he vehemently defies them and shows disdain for the people, effectively ensuring his banishment. Similarly, Aufidius knows that Coriolanus can be provoked into a self-destructive rage and incites him to a furious display in the play's final scene. Like a child who hasn't learned to think before speaking, Coriolanus expresses his emotions immediately and bluntly. "His heart's his mouth: / What his breast forges, that his tongue must vent," Menenius observes (III.i.256-57).

To many readers, Coriolanus seems immature. He appears unusually reliant on his mother's praise and approval. He pursues a course of action he knows is...

She is Coriolanus's mother and the most intricate female character in the play. From one angle, she embodies the ideal Roman matron: a deeply patriotic woman who has instilled in her only son the pursuit of honor through service to his country. Indeed, Volumnia proudly states that she would willingly see her son Coriolanus fall in battle if it meant contributing to his glory and Rome's well-being. Her aggressive ferocity and thirst for blood make many modern readers uncomfortable. Her preference for the image of blood gushing from a hero's forehead over that of a mother nursing her child appears shocking and unnatural. She frequently expresses disdain for her daughter-in-law Virgilia's tenderness. When Virgilia inquires how she would feel if Coriolanus were to perish in battle, Volumnia answers that she would consider the noble reputation that survived him as a replacement for her son.

Volumnia's relationship with Coriolanus has sparked numerous questions among readers and critics. Some argue that her drive to see him adorned with military honors mirrors her own desire to be a warrior—a role that Roman society denied her. She is the first to suggest after his triumphant victory at Corioles that now there is only "one thing wanting" (II.i.201), referring to the consulship. Whether this position suits him is never questioned: it represents the pinnacle of her ambitions for him. Additionally, there are unsettling hints of incestuousness in Volumnia's remarks about Coriolanus. "If my son were my husband," she tells Valeria, she would take more joy "in that absence wherein he / won honour than in the embracements of his bed / where he would show most love" (I.iii.2, 3-5).

Her fervor is occasionally tempered by her pragmatism. She desires her son to be elected consul and strategically plans how this should be accomplished. The number of his wounds is significant, and at II.i.146-50, 153-54, she tallies them, highlighting the political significance of scars "to show the people" (II.i.147) when he seeks political office. She encourages her son to compromise his principles—the very ones she instilled in him—to secure the people's votes. Though she has taught him to scorn the common citizens and fiercely value his integrity, she implores him in III.ii to set those beliefs aside and pretend to be something he is not. Partly because he has been raised to be an obedient son, Coriolanus complies with her wishes.

Near the end of the play, she once again urges him to compromise his honor. She begs him to spare Rome, wanting him to act as a peacemaker, seemingly oblivious to the irony: she has raised and trained him to be a warrior. She declares that "no man in the world" has been "More bound to's mother" (V.iii.158-59) for his accomplishments, yet she claims, "Thou hast never in thy life / Show'd thy dear mother any courtesy" (V.iii.160-61). She shames him by kneeling before him—a startling reversal of ancient Roman customs, which dictate that children should revere their parents. She ends by depicting him as the cause of her potential death:

So we will home to Rome
And die among our neighbors.
…
I am hush'd until our city be afire,
And then I'll speak a little.
(V.iii.172-73, 181-82)

She seems unaware that if he withdraws the Volscians from Rome, it will likely lead to his demise. After Coriolanus acquiesces and explains to Volumnia the consequences of his concession, she falls silent. When the women return to Rome, they are met with a tumultuous welcome. Volumnia does not reply to the senator who praises her for her accomplishment.

As a Roman senator and close friend to Coriolanus, Menenius views himself as Coriolanus's mentor and advisor. He consistently urges Coriolanus to control his temper, appear humble before the people, and soften his harsh language. Menenius understands the importance of diplomacy and the power of gentle words. He also seeks to prevent a popular uprising, believing that "the violent fit o' the time" (III.ii.33) could lead to civil war unless Coriolanus responds to the accusations against him with respect. Menenius frequently uses conciliatory language, recognizing its value.

Menenius's recounting of "the fable of the belly" (I.i.96-163) aims to calm the angry citizens and persuade them to accept their subordinate role in society. Many commentators have noted the ambiguity of this speech. On the surface, it serves as an allegory for a well-ordered state, where each social group performs its assigned role, ensuring the welfare of the entire body politic. To some, it appears patronizing—a simplistic tale that Menenius interprets to serve his own interests. His reading suggests that the Roman aristocracy is determined to maintain the current social order and that the country will function with or without its common citizens. It may also imply that Menenius views the body politic solely in terms of physical needs and desires. A citizen in his audience points out that Menenius's retelling omits higher functions of the body: intellect, imagination, and benevolence.

Menenius enjoys presenting himself as a genial old man who loves eating, drinking, and storytelling. The tribunes see him as a charming, harmless fellow known for good-natured teasing. They fail to recognize the sincerity of his insults; when he calls them asses and hypocrites and mocks their official duties, they dismiss his remarks as the usual jokes of someone who doesn't take himself or others too seriously. However, others, including some citizens, sense a darker meaning in his jokes. In I.i, Menenius tries to downplay the shrewdness of a citizen's commentary on the fable of the belly by mocking the man as "the great toe" (I.i.155) of the body politic. His true opinion of the people becomes evident when he later refers to them as the rats of Rome.

By the end of the play, Menenius is a pitiable character. The Volscian guards ridicule his assertions that he is Coriolanus's closest friend and scorn his repeated efforts to convince them of his importance. Coriolanus dismisses him, refusing to heed any more of his counsel. This is precisely the kind of treatment Cominius had cautioned Menenius about if he ventured to the Volscian camp. Perhaps it speaks to his dedication that he endured such abuse and humiliation for the sake of Rome.

He stands as the foremost military hero among the Volsces. Similar to Coriolanus, his identity is deeply intertwined with his acclaim as a warrior. The two men have a longstanding rivalry; their personal combat in I.viii marks their fifth encounter on the battlefield. Despite their intense animosity, there is also a strong mutual admiration between them. Many commentators have noted the homoerotic elements in Aufidius's speech at IV.v.101-35—when he realizes that his uninvited guest is Coriolanus. "Let me twine / Mine arms about that body" (IV.v.106-07), exclaims Aufidius. He admits that seeing Coriolanus brings him more joy than he felt when he saw his bride on their wedding day.

Aufidius's attitude shifts when Coriolanus becomes the favorite among the Volscian soldiers. He displays a deep understanding of Coriolanus's character. During a conversation with his lieutenant in IV.vii, he observes that Coriolanus feels uneasy when people praise him. Aufidius suggests several reasons for Coriolanus's banishment: his pride, a "defect of judgment" (IV.vii.39), or his warrior temperament that proves fatal in politics. Commentators believe Aufidius understands Coriolanus so well because they are so similar.

In many respects, however, Aufidius differs greatly from his rival. He is a pragmatist and a shrewd analyzer of situations. He is willing to feign goodwill towards Coriolanus while waiting for the opportune moment to undermine him. He is ready to use any means—honorable or not—to achieve his goals. Aufidius shows no hesitation in manipulating Coriolanus or using the Volscian people for his personal revenge. He knows exactly which accusations will most enrage Coriolanus—calling him a "traitor" and a "boy"—and uses them masterfully in the play's final scene. The conspirators, who have aligned with Aufidius, kill Coriolanus, and Aufidius arrogantly places his foot on the corpse until a Volscian lord orders him to remove it.

Aufidius may be genuine when he begins his eulogy of Coriolanus by stating, "My rage is gone; / And I am struck with sorrow" (V.vi.146-47). Since he has often acknowledged Coriolanus's superiority and criticized only his actions, not his nature, Aufidius's statement that "he shall have a noble memory" (V.vi.153) seems sincere. While there is some justice in Aufidius's accusation that Coriolanus betrayed his Volscian allies, his contemptuous claim that Coriolanus spared Rome due to "a few drops of women's" tears (V.vi.45) reveals more about Aufidius's pettiness than Coriolanus's character.

A number of citizens are partially individualized characters, but none are given names. Their speech headings are designated as first citizen, second citizen, and so forth, indicating the order in which they speak within a particular scene. Therefore, the first citizen in I.i is not necessarily the same individual as the first citizen in II.iii, for instance.

The Roman citizens have elicited a variety of reactions from readers and commentators. Many believe they have legitimate grievances. The citizens' complaint about the corn shortage—that the government has ample supplies in storage but refuses to sell it at prices affordable to ordinary people—is never refuted by either Menenius or Coriolanus. Additionally, the citizens argue that the senate enacts laws favoring the wealthy over the poor and that it holds them in contempt. Although the senators in the play recognize the citizens' right to participate in elections and occasionally grant them special concessions, they generally do so only when a citizen uprising threatens to escalate into civil war.

Individual citizens often display political insight and an understanding of the issues at hand. In I.i, the first citizen identifies flaws in Menenius's interpretation of "the fable of the belly," noting that several crucial body parts are missing from his allegory: the head for judgment, the eye for vision, and the heart for compassion. In II.iii, before Coriolanus's initial appearance in the marketplace to solicit their votes, a group of citizens thoughtfully deliberates whether they are obligated to support him. During a series of interviews with him, they are honest and direct, raising significant issues. For instance, the first citizen pragmatically reminds Coriolanus that "if we give you anything, we hope to gain by you" (II.iii.71-72). When Coriolanus inquires about the "price o' the consulship," the first citizen reasonably responds: "The price is to ask it kindly" (II.iii.73-74, 75).

The citizens' reluctance to elect Coriolanus to the consulship is understandable. They know he despises them and has consistently opposed policies that would benefit them. To their faces, he has called them untrustworthy dogs, incapable of appreciating the nuances of political issues. The citizens also recognize that Coriolanus's temperament makes him unsuitable for the role of a national leader, who must set aside personal biases and govern on behalf of all people. As soon as they grant him their votes, they begin to express their doubts. Perhaps influenced by the sight of this legendary hero appearing before them in a robe of humility and personally appealing for their votes, they do not question his sincerity until afterward. "He mock'd us" (II.iii.159), one citizen says. The tribunes exploit the citizens' unease and turn it to their own advantage.

Some commentators have cautioned against romanticizing the Roman citizens, asserting that the play portrays them as politically naïve. Others have been more critical, labeling them as gullible, cowardly, greedy, and ungrateful. Their inclination toward violence is clear from the very start of the play when they storm the streets of Rome armed with sticks and clubs, ready to coerce the patricians into concessions.

From Act III onward, they are easily swayed, manipulated by the tribunes, and respond according to the instructions given by the aediles. They seem elated by the downfall of their long-standing adversary and celebrate his exile with great fervor, showing little comprehension of the implications for Rome. It has been observed that, as individuals, the Roman citizens are commendable and even sympathetic characters. However, when they form a mob, they lose their ability to judge wisely and act rationally.

He serves as a consul and leads the Roman army. A thoughtful individual, he usually speaks with care and caution, though he occasionally indulges in grandiose language. He is more practical than idealistic but remains loyal to Rome and his friend Coriolanus. When a conflict arises between his nation and his friend, Cominius finds himself in a difficult position. His attempts to mediate between the two sides ultimately fail.

Like other patricians in the play, Cominius is constantly worried that the fragile balance between social classes will crumble, potentially plunging Rome into civil war. During a violent clash in the marketplace in Act III, Scene i, Cominius reprimands the tribunes and the plebeians. He warns them, "That is the way to lay the city flat, / To bring the roof to the foundation" (III.i.203-04). Cominius understands that the senate cannot simply impose its choice for consul on the common people; they must be persuaded and won over. In Act III, Scene ii, lines 93-95, he advises Coriolanus that unless he can stay calm when returning to the marketplace, he should not go at all. When Coriolanus admits he cannot pretend to be humble and contrite, Cominius reassures him, "Come, come, we'll prompt you" (III.ii.106). Cominius believes that effective politicians sometimes need to compromise and that the Roman republic's structure requires respecting the power of the common citizens.

Cominius's tendency to embellish is most evident in his speeches praising Coriolanus. Before the senators vote on Coriolanus's election to the consulship, Cominius vividly recounts Coriolanus's impressive military career. Although he claims, "I shall lack voice" (II.ii.82) to fully convey his merits, he rises to the task. In an elaborate speech filled with vivid descriptions, complex sentences, and imagery, he portrays Coriolanus as a superhuman hero (II.ii.82-122). Likewise, after Coriolanus is banished and joins the enemy forces, Cominius reports that the Volscians have made Coriolanus "their god" (IV.vi.90). Again, he suggests that Coriolanus is more than human: "He leads them like a thing / Made by some other deity than nature" (IV.vi.90-91). When Cominius returns to Rome after trying to dissuade Coriolanus from attacking the city, his description of Coriolanus inspires awe: "he does sit in gold, his eye / Red as 'twould burn Rome" (V.i.63-64). Through his words, Cominius significantly enhances Coriolanus's image as a superhuman force in the play.

Junius Brutus and Sicinius Velutus are among the tribunes elected early in the play to represent the Roman citizens. Their main role is to safeguard the people's rights by keeping them updated on senate activities and gathering them to seek their opinions. As representatives of the populace, they are justified in viewing Coriolanus's disdain for the plebeians as a valid reason to oppose his bid for consul. They might genuinely believe, as Brutus states at II.iii.256-57, that the minor rebellion they are promoting will alleviate political tensions and prevent a larger civil conflict in the future. As politicians, they exhibit a clear grasp of effective campaigning. They are well-organized and ensure—through the aediles—that citizens turn out to vote.

However, Sicinius and Brutus significantly overreach their responsibilities. Most critics agree that they corrupt the tribune office. They seem more interested in preserving their own power than serving the public. Coriolanus is their adversary, just as he is the people's, and they are aware of this. If he were elected, their positions would be threatened, which appears to be their primary motivation. They understand that Coriolanus's arrogance is a political liability, and they skillfully manipulate him into revealing it in front of the populace. They seem envious of the enthusiastic reception he gets upon returning from Corioles, which may partly drive their actions to undermine him. They provoke him with words they know will anger him—such as "traitor"—and wait for the inevitable reaction.

They do not appear as astute in their interactions with Menenius, who makes a mockery of them without their noticing. During the peaceful period following Coriolanus's exile, they become complacent, noting that "the world goes well" and observing tradesmen happily "singing in their shops, and going about their functions friendly" (IV.vi.5, 8-9). The resurgence of hostilities by the Volscians, led by Coriolanus, catches them off guard, and initially, they refuse to believe it is possible. However, the people remember who orchestrated Coriolanus's banishment. In V.iv, Sicinius learns that the citizens have captured Brutus; moreover, they are dragging him "up and down" and threatening to kill him "by inches" (V.iv.37, 39) if the women's appeal to Coriolanus fails. Sicinius gratefully thanks the messenger who informs him that Volumnia has convinced her son not to attack Rome, which presumably also saves Brutus's life.

The senators serve as advisors to the consuls, whom they have the authority to appoint. However, these appointments must be ratified by a citizen vote. All senators are affluent patricians from Rome's most distinguished families. Their attitude toward the common citizens is complex, but they generally seem to understand the limits of their power and acknowledge the rights of the plebeians. One citizen, however, argues that the senators are so indifferent to the populace that they would let them starve rather than lower the price of grain. Additionally, he accuses them of passing laws that encourage usury, repealing regulations that limited the wealthy, and consistently enacting legislation that burdens the poor. Conversely, Menenius—a senator himself—claims that the senate is the source of all benefits for the common citizens. Coriolanus asserts that without the vigilance of "the noble Senate" (I.i.186), the plebeians would constantly be in conflict with each other.

In II.ii, the senators address the tribunes—the representatives of the people—with respect. They intend to appoint Coriolanus to the consulship, and they follow through. In III.i, they escort him to the marketplace. As Coriolanus grows increasingly frustrated with the tribunes, the senators urge him to temper his language. When the mob arrives, the senators are caught up in the chaos. They draw their weapons and attempt to separate Coriolanus from the crowd. After Coriolanus leaves, they speak to the tribunes respectfully and encourage them to give him another chance to address the people. In III.ii, some senators join Volumnia and others in trying to convince Coriolanus to return to the marketplace and appease the crowd. As one senator points out (III.ii.26-28), they fear a civil war unless Coriolanus retracts his statements. The senators are also worried about a potential invasion by the Volscians. When Volumnia and her party return from the Volscian camp outside Rome—having persuaded Coriolanus not to attack the city—the senators lead a celebration in honor of their success.

Roman messengers make appearances in six different scenes throughout the play, delivering news of events and sometimes confirming or contradicting earlier reports from other messengers. The initial messenger enters the marketplace while Coriolanus is expressing his deep frustration over the government granting the plebeians five tribunes "to defend their vulgar wisdoms" (I.i.215). Coriolanus is delighted to hear the messenger's news that the Volscian army is advancing. In I.iv, another messenger arrives as Coriolanus and Lartius are preparing to attack the city of Corioles, informing them that Cominius and his forces have spotted the enemy, though the battle has not yet started. In I.vi, a messenger delivers incomplete information to Cominius, having seen Roman troops at Corioles being pushed back to their trenches by the Volscians. Since he departed immediately after witnessing this, he is unaware that the Romans subsequently captured the city.

Virgilia, the wife of Coriolanus, embodies virtues such as integrity, composure, and tenderness, contrasting sharply with the more ruthless dispositions of her family. Often described as "my gracious silence" by her husband, her character is marked by her devotion and love for Coriolanus. Despite her aversion to the public and political sphere, she stands by her husband in times of need, joining Volumnia at the Volscian camp to plead for Rome's salvation.

Her gentle nature and quiet dignity often provoke criticism from Volumnia, yet they illustrate the softer side of the warrior Coriolanus. Her presence highlights themes of familial loyalty and the personal cost of public conflicts, showcasing her as one of the few characters to genuinely care for Coriolanus beyond his military prowess.

Titus Lartius, a Roman general, serves alongside Coriolanus, commanding respect and demonstrating bravery. Although overshadowed by Coriolanus’s exploits, he is respected by both Coriolanus and Cominius. His character fades into the background as Coriolanus takes center stage, yet his loyalty and valor are evident in his actions during the campaign against the Volscians.

Lartius’s lack of distinguishing characteristics beyond his military competence allows him to serve as a backdrop to the more dynamic personalities in the play, highlighting the singular nature of Coriolanus’s heroism.

Valeria, a Roman noblewoman, is noted primarily for her chastity and her close association with Coriolanus’s family. She is well-informed about political and military matters, often serving as a conduit of information to Volumnia and Virgilia. Her reputation for purity earns her respectful treatment from Coriolanus and his household.

Her interactions provide insight into the domestic sphere of Roman nobility, contrasting with the public and political challenges faced by the men. Her presence in the play underscores the societal expectations and roles of women during this era.

Nicanor, a Roman spy, encounters Adrian on the road to Antium. He is the one to first recognize Adrian and initiates a dialogue about the political turmoil in Rome following Coriolanus’s banishment. Nicanor’s openness to travel with Adrian signals a willingness to bridge political divides for practical purposes.

Through their interaction, the play subtly highlights the complex web of relationships between enemy states, illustrating the intricate balance of diplomacy and enmity that characterizes the political landscape.

Adrian, a Volscian character, interacts with Nicanor, a Roman, when they meet on the road from Rome to Antium. Despite their opposing allegiances, Adrian displays a convivial attitude, demonstrating the potential for camaraderie beyond national conflicts. He is receptive to Nicanor’s news about Rome and willingly offers to accompany him on his journey.

His role, though minor, enriches the narrative by presenting the human side of political enmity, emphasizing shared humanity over division.

Young Marcius, the son of Coriolanus and Virgilia, makes a brief appearance but leaves a lasting impression. He inherits his father’s courage and determination but not his pride. His actions, such as tearing a butterfly to pieces, suggest an emerging ruthlessness encouraged by his grandmother, Volumnia.

This portrayal foreshadows the potential continuation of his father’s legacy, hinting at the cyclical nature of familial traits and the influence of upbringing in shaping character.