G. Whitney, the house of Christopher Plantyn, by Francis Raphelengius, 1586, p.94

A. Ovid and . Golding, The .xv. Bookes of P. Ovidius Naso, entytuled Metamorphosis, 1567.

. Brockbank, , p.212

. Parker, , pp.78-79

, If the audience were moved to tears, for instance, they would be poisoned just like Menenius, as Coriolanus says that tears are

R. B. Parker, , pp.115-136

«. Oedipe, infirmité qui rappelle l'enfant maudit, rejeté par ses parents, exposé pour y périr dans la nature sauvage. Mais OEdipe, c'est aussi l'homme qui sait (oîda) l'énigme du pied, qui réussit à déchiffrer, sans le prendre à rebours, "l'oracle" de la sinistre prophétesse, de la Sphinx au chant obscur, Mythe et tragédie en Grèce Ancienne, vol.1, 1972.

, For more on the difference between body politic and body natural, see the classic study by Ernst H. Kantorowicz, The King's Two Bodies: A Study in Medieval Political Ideology, 1957.

T. L. Pollard, The sweet which is their poison, Dangerous Remedies: Poison and Theater in the English Renaissance, p.153, 1999.

, Whereupon Tullus [Aufidius] fearing that if he dyd let him speake, he would prove his innocencie to the people, bicause emongest other things he had an eloquent tongue, In Bullough, op. cit, p.543

, After that, the Romaines overcame them in battell, in which Tullus [Aufidius] was slaine in the field, and the flower of all their force was put to the sworde 1 ? This seems to illustrate the motif of just revenge 2. But this is not in Shakespeare's tragedy, as the fall of the Volscians happens offstage, if it happens at all (we cannot expect the audience to know what Plutarch says actually happened to the Volscians after Coriolanus' death). By cutting the story short, Shakespeare suggests that revenge is the silent role the audience must now act out, or "assist" (V.6.154), poisoned as it was by listening to, The sweet which is their poison": of venom, envy and vanity in Coriolanus 157 "My rage is gone

A. Andrea-;-padua and P. P. Tozzium, Emblemata cum commentariis, Joannes Thulius, pp.1597-1625, 1966.

?. Brailowsky-yan-;-?-bullough-geoffrey and ;. Stanley, Amphibologie et parole jésuitique à la Renaissance : entre poétique et politique », Bulletin de la Société de Stylistique Anglaise, vol.27, 1964.

I. Plutarch and . Bullough, , p.544

. See and . Alciati's-emblem, Iusta ultio", in which both raven and scorpion die: the raven had seized the scorpion, in retaliation, the latter envenoms the former. Both insect and bird perish as they crash into the sea, Emblemata cum commentariis, Joannes Thulius

?. Cotgrave-randle, A Dictionarie of the French and English Tongues, p.1611

?. Pietro and L. Boet, Traicté des venims de Pierre d'Abano dict Conciliatevr, pp.71-197, 1972.

?. Terry, W. Shakespeare, . Oxford, ;. Blackwell, and . John, Queen Anna's New World of Words, or Dictionarie of the Italian and English tongues, Sur le sens opposé des mots originaires », L'inquiétante étrangeté et autres essais, pp.47-60, 1985.

?. Ernst and H. , The King's Two Bodies: A Study in Medieval Political Ideology, pp.1580-1595, 1957.

?. Montaigne-michel-de and J. Florio, The Essayes of Michael, p.1886, 1603.

?. Ovid and A. Golding, The liues of the noble Grecians and Romanes, London, Thomas Vautroullier dvvelling in the Blacke Friers by Ludgate, The .xv. Bookes of P. Ovidius Naso, entytuled Metamorphosis, London, Willyam Seres, 1567. ? PLUTARCH, Sir Thomas North (tr.), p.1579

?. Paracelsus-sieben-defensiones and . Verantwortung-Über-etliche-verunglimpfungen-seiner-mißgönner, ? POLLARD Tanya Louise, Dangerous Remedies: Poison and Theater in the English Renaissance, München, R. Oldenbourg, 1928 (1538), vol.11, 1589.

?. William, ;. , V. Pierre, and ;. Geffrey, A Choice of Emblemes, and other devises, vol.1, p.1586, 1972.