Conclusion

Abstract

I began with problems raised by the distancing effect of Coriolanus which prevents sympathy or empathy with any character or group. While each person in the play has qualities possible to like, or at least agree with, they have stronger characteristics or views which audiences will hate. Moreover our perspective keeps changing or the character changes; but the changes take place outside our vision so that we only see the results, not the reasons for them. Such distancing is inherent to the epic sweep that the Elizabethan theatre inherited from the Mysteries; but it is also clear that during the late tragic period Shakespeare was experimenting with theatrical form, pointing to effects he wants, using verbal pictures, shifting the perspective through the eyes of a character (such as Cordelia in the division of the kingdom scene in King Lear). There is also the classicism; this is a play without subplot, without clowns and without addresses to the audience.