In drama, readers are given spoken language and stage directions to interpret the world of the play. In Shakespeare’s case, stage directions are close to non-existent and as analysts of what most consider the most gifted and eloquent playwright of humanity, it is possible to expound upon the most minute details and possible interpretations of his work. Having no information on what Shakespeare thought of his own work or his intended literary and dramatic motives, he speaks through his character’s voices. It is important to observe Coriolanus objectively to see how his interactions with his supporting characters shape the play and shed light on why Shakespeare chose to lead him down his tragic spiral. The main benefit of the first seven weeks of class has been to take twenty informed opinions and allow them to take shape in structured discussion in order to fuel theories and the building process of discovering major themes and literary motives in important literature to theater as an area of study. There are many sections of speech in Coriolanus that provide an outlet of use for the techniques that have been refined in class so we may be able to break off as individuals and formulate solid and specific arguments by ourselves. In lines 182-193, before the closure of Act Five, Scene Three, Coriolanus succumbs to his family’s pleas thus relinquishing pride’s strong grip around his headstrong personality and through the form of the scene and these specific lines and their dramatic explosiveness, his tragic flaw is revealed being not his pride, but his willingness and ability to understand the false motivations it has inspired within him.O mother, mother!What have you done? Behold, the heavens do ope,The gods look down, and this unnatural sceneThey laugh at. O my mother, mother! O!You have won a happy victory to Rome;But for your son-believe it-O believe it!-Most dangerously you have with him prevailed,If not...
