between Hamlet’s thoughts and actions but we once again see proof of Eric Levy’s theory of the relation between reason and emotion in the world of this play. When Hamlet proclaims his love for Ophelia was greater than that of “forty thousand brothers,” Claudius quickly points to Hamlet’s madness as a cause for this emotional and dramatic outburst. But, just as before, Hamlet is not mad but rather knows precisely what he is doing. He is, at last, ready to perform his role in the face of his own death. In the final scene of the play, Hamlet’s mind is the clearest is has been and his thoughts are incredibly rational. He is now more metatheatrically aware than he has been at any other point in the entire play and he reveals this in his discourse with Horatio. He tells Horatio exactly what happened on his trip to England and reveals Claudius’ plot to have him murdered. His tale is laced with super-awareness and a very broad sense of his condition when he praises impulsive behavior because “there’s a divinity that shape’s our ends, rough-hew them how we will” (Shakespeare V.ii.11-12). He recognizes the inevitability of his fate and the futility of deep reflection about life to try to change its outcome. He understands that the only way to incite change is through action and no matter how you try to paint life in your mind, it will not change. Throughout the following dialogue, Hamlet mixes in many more theatrical metaphors to describe his situation. He alludes to the fact that he has finally begun his performance after the very detailed research he performed throughout the rest of the play. The play ends with Hamlet’s death and possibly the clearest thought we’ve seen from him since the beginning of the play. Hamlet instructs Horatio to tell his story and to crown the invading Fortinbras king of Denmark. Hamlet is ready to take his fin