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Coriolanus, the last one in William Shakespeare's tragedies, deals with a unique tragic death of the Roman hero Coriolanus in a time of transition from monarchy to republicanism. In Coriolanus Shakespeare sharply delineates such political matters as the class struggle between plebeians and patricians so far as for it to be called the most political play in his entire tragedies. However, Shakespeare gives no clear indication of his political outlook in the play, keeping a critical distance aloof from the world of politics. Whatever might be considered political is all dissolved into the desire of Coriolanus as a unique Roman hero. Coriolanus is indeed an experimental tragedy in that it combines the political history of the transitional Roman era and the general rubric of the tragedy genre newly constructed by his genius. The intense conflict is suggested to be going on endlessly between the hero who tries to achieve an essentialist ideal self and the contingent political situations which are dependent on the desire of the self-interested public. The singularity of Coriolanus derives from a primordial sense of the world split between the distorted image of the unprincipled commoners and an alienated private selfhood of the hero Coriolanus whose desire is ironically determined by patriarchy, an ideology which is oppressive yet strangely appropriated by such woman figures as Volumnia in the play. Understanding Coriolanus requires not only a correct evaluation of the failure of both the individual Coriolanus and the distorted political world of Rome but also a penetration of Shakespeare's complicated socio-historical vision. Shakespeare brings out a gap between the private and the public and presents his tragic world view deriving, though in a complex mode, ultimately from the skepticism of the later Renaissance. More specifically, Coriolanus can be considered also to have reflected the socio-political and moral instabilities of Jacobean England.