[In his critical introduction to Coriolanus, Kermode surveys the principal areas of interest in the play. He examines Shakespeare's departure from the primary historical source of the drama, the writings of Plutarch. He comments on the deeply flamed character of Coriolanus, whose "aristocratic loutishness," ferocity, and overdeveloped sense of virtue—the duty of a nun—culminate in tragedy. Kermode likewise mentions the reluctance of Aristotle's dictum, "a man incapable of living in society is either a god or a beast," as it applies to the figure of Coriolanus. Kermode likewise envisions the theme of the work as the Roman warrior's inability to curb the source of his strengh—his brutality on the battlefield—when dealing in the political arena, an area that requires cunning and tact rather than the raw might Coriolanus possesses in abundance. Finally, Kermode considers the subject of language in the play, including the overarching metaphor of the diseased body politic, and describes the "decorous power" of Shakespeare's verse.]
Coriolanus is by no means a favorite among Shakespeare's tragedies. It is harsh in its manner, political in its interests, and has a hero who is not—whatever else may be said of him—presented as a sympathetic character. Wyndham Lewis was not alone in finding Coriolanus the least lovable of tragic heroes; he calls the play "an astonishingly close picture of a particularly cheerless ... snob, such as must have pullulated in the court of Elizabeth"—a schoolboy crazed with notions of privilege, and possessed of a "demented ideal of authority." Lewis uses him to illustrate the theme suggested by his title, The Lion and the Fox: Aufidius plays fox to the stupid lion of Coriolanus; what stings the hero to his last fatal outburst of raw anger is a charge of disloyalty, and, significantly, the word "boy." He is an ugly political innocent: "What his breast forges, that his tongue must vent." There is no gap between his crude mind and his violent tongue. And such men are dangerous. Yet the gracelessness of the hero and the harshness of the verse do not in themselves discredit T. S. Eliot's judgment that Coriolanus is Shakespeare's finest artistic achievement in tragedy; and when Shaw called it the best of Shakespeare's comedies he was perhaps making much the same point by means of a paradox: this is a tragedy of ideas, schematic, finely controlled.
The style of Coriolanus suggests a late date, and this is confirmed by the scanty external evidence. The simile of the "coal of fire upon the ice" (I.i.173) may have been suggested by fires built on the frozen Thames in January 1608; there had been no comparable frost since 1565. In Jonson's Eptcoene (1609) there is what looks like another of his gibes at Shakespeare in the line "You have lurch'd your friends of the better half of the garland" (compare II.ii.101). More impressively, the play almost certainly contains allusions to serious riots and disturbances in the Midlands in 1607. In any case, Coriolanus could not have been written before the publication of Camden's Remains in 1605, since the fable of the belly (1.1.96 ff.), though mainly based on Plutarch, derives something from Camden's version of the same tale. On the whole, 1607-8 seems the most likely date. The source of the play is North's version of Plutarch's Life of Coriolanus, and Shakespeare follows it in his usual way—sometimes very closely, with a liberal use of North's language, sometimes altering emphases, and changing the tone and balance by omission and addition. The events are transcribed almost in Plutarch's order, and the occasional closeness of the rendering of North's text may be gauged by a comparison with the source of the speech in which Coriolanus offers his services to Aufidius (XV.v.65 ff.) and that in which Volumnia pleads with her son to spare Rome (V.iii.94 ff.). Most of the characters are substantially taken from Plutarch, though Shakespeare modifies them in...
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