"Shakespeare's final Exeunts order us out of the theater because the unfinished business they leave us with cannot be transacted there. ... What stage death offers the hero is an escape from this verbal dying into the rest that is silence. ...a critique of this commitment to stageable closure as an escape from meaning. ... This critique speaks to the ethical limits of such notions as Aristotle's circumscribed concept of courage, the courage that thinks to prove itself by facing death in battle as "the most terrible thing of all." ...Aristotle limits the range of the term according to the doctrine of the mean: "to seek death in order to escape from poverty, or the pangs of love, or from pain or sorrow, is not the act of a courageous man, but rather of a coward; for it is weakness to fly from troubles, and the suicide does not endure death because it is noble to do so, but to escape evil." But the interest, pathos, and poignancy of Shakespear's warrior-heroes is produced by ignoring this distinction."