Coriolanus, by William Shakespeare
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Coriolanus, by William Shakespeare
Free PDF Ebook Coriolanus, by William Shakespeare
Coriolanus is a tragedy by William Shakespeare, believed to have been written between 1605 and 1608. The play is based on the life of the legendary Roman leader Caius Marcius Coriolanus.
Coriolanus, by William Shakespeare- Published on: 2015-06-18
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .23" w x 6.00" l, .32 pounds
- Binding: Paperback
- 98 pages
About the Author Arguably the greatest English-language playwright, William Shakespeare was a seventeenth-century writer and dramatist, and is known as the Bard of Avon. Under the patronage of Queen Elizabeth I, he penned more than 30 plays, 154 sonnets, and numerous narrative poems and short verses. Equally accomplished in histories, tragedies, comedy, and romance, Shakespeare s most famous works include Romeo and Juliet, Hamlet, Macbeth, King Lear, The Taming of the Shrew, and As You Like It.
Like many of his contemporaries, including Christopher Marlowe, Shakespeare began his career on the stage, eventually rising to become part-owner of Lord Chamberlain s Men, a popular dramatic company of his day, and of the storied Globe Theatre in London.
Extremely popular in his lifetime, Shakespeare s works continue to resonate more than three hundred years after his death. His plays are performed more often than any other playwright s, have been translated into every major language in the world, and are studied widely by scholars and students.
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8 of 9 people found the following review helpful. Shakespeare's Greatest By psychephile Shakespeare's last and greatest tragedy, *Coriolanus* dramatizes the conflict between pride and envy--those two antagonists which were the favorite characters of ancient myth.Coriolanus is a man of Virtue, when virtue meant 'manliness' not 'modest chastity.' Above all, he had the virtue of pursuing virtue, which he refused to compromise and which he refused to hide. In contrast, the aristocracy and the mob whom they serve despised Coriolanus precisely because he was good and refused to be otherwise.*Coriolanus* is Shakespeare at the height of his powers, and the real tragedy is that this work is not better known.
1 of 1 people found the following review helpful. A DIFFICULT PLAY BUT VERY RELEVANT TO OUR TIME By LAURA Perhaps (?) not among the best known of Shakespeare's works, this play partakes of his ironic and tragic celebration of Roman ideals, namely, "laus", "gloria", "virtus" in particular. The aristocracy of Coriolanus' Rome "appears" dedicated to high-sounding and noble ends - Roman: honour, bravery, valour, proper governance. The governance is presented as "organic" and therefore just. Pleasure is significantly absent from this universe. Continuation as concept and even mere consequences - are best left out of sight. The character of Volumnia devalues what would be "feminine" ends in the language and imagery "she" uses, a deathly and mechanistic language used to describe her son. Marilyn French has seen similarities between Coriolanus-the-character and another notorious misanthrope, Timon of Athens: the search for honor, fame and the attempt to act according to socially accepted rules moves on to a quest for self-exaltation. Without firm rooting in the community - yet while using this very community - there is only the self, and the self cannot provide its own end. One editor having noted that the adjective "alone" occurs more often in Coriolanus than in any other play by Shakespeare, the isolation the eponymous character finds himself in is typical, as it were, of an opposition found between those heroes embodying the "chivalric" as opposed to the "heroic" or "Herculean" ideal (Antony, Coriolanus, Achilles in Troilus and Cressida.) But Hercules is a demi-god: the characters are not; punishment of hubris - Coriolanus' bravery leads to extreme arrogance, as he sets himself above all men - means banishment, isolation, and death.
7 of 8 people found the following review helpful. Shakespeare Meets Ayn Rand By Bill Slocum Any Shakespeare play that leaves people with totally different interpretations regarding the nature of the lead character can't be all bad. That said, "Coriolanus" suffers from its ambiguity.The first time I read it was in college. My kindly professor laid out the case for seeing Coriolanus as a kind of fascist strongman brought down by his contempt for the people, and I went away comforted in my small-L liberalism. This time, however, reading it on my own, it was hard not to see Coriolanus as something else entirely, a deserving elitist brought down by an envious, parasitic mobocracy who couldn't bear to see him succeed. In short, John Galt in a toga.A more disturbing realization with this second reading was that as a play, "Coriolanus" doesn't hold together. It's considered likely to be Shakespeare's last tragedy, written in 1608-09, but lacks for the vitality or singular inspiration you expect from the seasoned tragedian of "MacBeth" or "King Lear."It has a fantastic first act as I read it, brimming with great dialogue, highly charged scenes, and a well-extended battle sequence. Act I also sets up the core issue of the rest of the play. "He that trusts to you,/Where he should find you lions, finds you hares/Where foxes, geese," is how the bold patrician Marcius puts it to the rabble rousers at the play's start. "He that depends/Upon your favors swims on fins of lead/And hews down oaks with rushes."Marcius will later be renamed Coriolanus, after conquering the city Corioles. Rome proves more of a problem, where he's rejected by an easily-led and ungrateful mob. They have a point about Marcius' coldness when it comes to their need for corn, but he's not a dangerous character. Yes, he's more than a trifle haughty and dominated by a glory-hungry mother with vicious tendencies, but he is no threat to their young republic. He prefers to fight and leave the power trappings to others. He even declines booty he took from an enemy city.Coriolanus being neither villain nor sympathetic hero is a problem with the play. So is the cast around him. There are two types of characters in "Coriolanus": his loyal but impotent patrician friends and the weaselly plebs who oppose him for largely obscure reasons. The characters lack depth, even Coriolanus's mother who goes from diabolic to dishwater in a few scenes.The last four acts mix affecting scenes and great lines with a very choppy storyline. Coriolanus is always turning on a dime. Coriolanus vows not to wear humble robes in order to appeal to public favor, then does. He promises not to lose his temper in a key moment, and then does anyway with gusto. He tells his mother to go away one moment, and the next kneels before her. Coriolanus famously offers fewer soliloquies than any of Shakespeare's tragic heroes, perhaps because he doesn't have an inner self worth knowing.I liked this play more as a Shakespeare buff. It's the flip side of his "Richard II." Richard II fatally overplays his sense of divine right as his subjects prove better than he deserves. Here, the title character is deserving but undone by common men who act in uniformly baser ways. The yin-yang idea of noblesse oblige in Shakespeare's day seems on display in these plays when considered together, presenting a kind of cultural bubble level that tilts depending on the angle of the viewer.On its own, "Coriolanus" is occasionally gripping but ultimately frustrating reading, in need of an inspired director with a properly skewed take to give it the cohesion on stage it lacks on the page.
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