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William ShakespeareA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Eating and consumption are major motifs throughout Coriolanus, representing the destructive impacts of anger. The play opens with a riot caused by a lack of food. The plebeians protest against the senate because of a grain shortage, demanding that storehouses be opened up instead of saved for an emergency. While the citizens of Rome are literally protesting due to hunger, they perceive the senate as the consuming entity, feeding upon the common people. One citizen claims, “If the wars eat us not up, they will; / and there’s all the love they bear us” (1.1.87-88). Likewise, Menenius views the plebeians as the consumers during his exchange with the tribune Sicinius:
MENENIUS. Pray you, who does the wolf love?
SICINIUS. The lamb.
MENENIUS. Ay, to devour him, as the hungry plebeians
would the noble Martius (2.1.7-10).
Both the plebeians and the patricians see the other side as having an excessive appetite that causes them to consume what they hate.
Anger, aggression, and dominance are all described using the metaphor of eating. Shakespeare describes Coriolanus’s ferocity in battle as a form of eating up his enemies. One of Aufidius’s servants remarks that Coriolanus has defeated their general before and claims that if he “had been cannibally given / he might have boiled and eaten him too” (4.5.208-209). Eating another person is portrayed by these lines as the ultimate act of dominance over another.
However, Shakespeare also suggests that rage as a form of appetite can be self-destructive as well. Coriolanus’s anger against the tribunes ends up consuming his political ambitions rather than dominating them. Similarly, Volumnia states that her inability to forgive the people for banishing her son will result in an act of auto-cannibalism: “Anger’s my meat. I sup upon myself / And so shall starve with feeding” (4.2.68-69). Her words are paradoxical, indicating the irony that the more anger she consumes, the closer she actually comes to starvation. Likewise, when Coriolanus protests against giving the tribunes authority, he warns the senate, “I say they nourished disobedience, fed / The ruin of the state” (3.1.151-153). The metaphor of feeding ruin suggests the way that giving into appetite can destroy a society. Through this motif, Shakespeare explores the idea that anger is a form of destructive consumption that will ultimately lead to starvation, just as the plebeians rioting for grain may lead to famine later when the stores are depleted.
Monsters are a symbol that represents the collective power of the mob and the plebeians, reflecting The Dangers of Internal Political Conflict. Throughout the play, many characters refer to groups of protesting plebeians as many-headed monsters, referencing mythological beasts such as the hydra. This symbol serves to emphasize the threat to Rome’s stability posed by the plebian riots. One of the Roman citizens points this out during a debate over whether or not Coriolanus will make a good consul, reminding his fellows that “Ingratitude is monstrous, and for the multitude to / be ingrateful were to make a monster of the multitude / of the which, we being members, should / bring ourselves to be monstrous members” (2.3.10-13). He worries that if the Roman plebeians act without proper respect for Coriolanus’s military service to Rome, their collective power will appear monstrous rather than legitimate.
Coriolanus refers to the common people as a monstrous entity several times in a derogatory manner. His disgust with the initial food riots prompts him to perceive the plebeians as a many-headed monster like the mythological hydra: “You grave but reckless senators, have you thus / Given Hydra here to choose an officer” (3.1.124-125). When he is banished from Rome, he tells his wife and mother that “The beast / With many heads butts me away” (4.1.1-2). This metaphor of a mob as a many-headed monster suggests the disorganized nature of the plebeians. While the tribunes serve as their mouths, making their will known to the senate, the mob has no organized leadership and are liable to change their opinion on a whim. Due to this “many-headed” nature, Coriolanus sees it as pointless to seek their approval, as their feelings will never be stable or universally accepted.
Weeping is used throughout the play as a motif to symbolize femininity, submission, and a plea for mercy. Tears serve as powerful persuasive tools to inspire compassion and even to soften the force of anger. While some characters deride weeping, Shakespeare suggests its undeniable power in Volumnia’s successful ploy to convince her son not to attack Rome.
One of the first characters to weep in the play is Virgilia, Coriolanus’s wife, and her tears indicate her tender and feminine nature. While Volumnia is proud and excited to see her son returning home with wounds after a battle, Virgilia weeps when she sees her husband. Coriolanus lightly mocks this, asking her, “Wouldst thou have laughed had I come coffined / home / That weep’st to see me triumph? Ah, my dear / Such eyes the widows in Corioles wear / And mothers that lack sons” (2.1.185-189). He is puzzled by her compassionate reaction, reminding her that a woman should only weep for her husband if he dies in battle, rather than when he returns victorious. This scene serves to indicate how Rome’s patrician cultural values are at odds with Virgilia’s gentle nature.
By the end of the play, however, vulnerability, submission, and femininity are the only force able to save Rome from Coriolanus’s rage. The Romans know that it will be impossible to defeat Coriolanus using masculine methods such as combat, and so they are forced to use their tears to try to inspire pity. Volumnia and the women of Coriolanus’s family are able to compel him to stop the assault by offering him an honorable way out of his oath to Aufidius, but also by kneeling and weeping before him. This act suggests the power of femininity to soothe male anger and the important role that women play in ending political violence between men. However, while the Romans hail Volumnia’s actions as heroic and worthy of senators and consuls, Aufidius uses derogatory and emasculating references to their weeping to provoke Coriolanus in their final confrontation. He insults Coriolanus, telling him that he should not invoke the god Mars anymore because he gave up a military victory for the sake of a woman’s weeping, calling him “thou boy of tears” (5.6.120). At this insult, Coriolanus once again gives in to his rage, indicating the tragic consequences of a society that places little value on mercy, gentleness, and compassion.
By William Shakespeare