which Shakespeare would have been aware of, as it affected the legal status of the area surrounding the Blackfriars Theatre. The riots in the Midlands were caused by hunger because of the enclosure of common land. For these reasons, R.B. Parker suggests "late 1608 ... to early 1609" as the likeliest date of composition, while Lee Bliss suggests composition by late 1608, and the first public performances in "late December 1609 or February 1610". Parker acknowledges that the evidence is "scanty ... and mostly inferential". The play was first published in the First Folio of 1623. Elements of the text, such as the uncommonly detailed stage directions, lead some Shakespeare scholars to believe the text was prepared from a theatrical prompt book. Analysis and criticism A. C. Bradley described this play as "built on the grand scale," like King Lear and Macbeth, but it differs from those two masterpieces in an important way. The warrior Coriolanus is perhaps the most opaque of Shakespeare's tragic heroes, rarely pausing to soliloquise or reveal the motives behind his proud isolation from Roman society. In this way, he is less like the effervescent and reflective Shakespearean heroes/heroines such as Macbeth, Hamlet, Lear and Cleopatra, and more like figures from ancient classical literature such as Achilles, Odysseus, and Aeneas—or, to turn to literary creations from Shakespeare's time, the Marlovian conqueror Tamburlaine, whose militaristic pride finds its parallel in Coriolanus. Readers and playgoers have often found him an unsympathetic character, as his caustic pride is strangely, almost delicately balanced at times by a reluctance to be praised by his compatriots and an unwillingness to exploit and slander for political gain. His dislike of being praised might be seen as an expression of his pride; all he cares about is his own self-image, whereas acceptance of praise might imply that his value is affected by others' opinion of him. The play is less frequently produced than the other tragedies of the later period, and is not so universally regarded as great. (Bradley, for instance, declined to number it among his famous four in the landmark critical work Shakespearean Tragedy.) In his book Shakespeare's Language, Frank Kermode described Coriolanus as "probably the most fiercely and ingeniously planned and expressed of all the tragedies". T. S. Eliot famously proclaimed Coriolanus superior to Hamlet in The Sacred Wood, in which he calls the former play, along with Antony and Cleopatra,