Guild. My lord, I can not.
· · · · · · ·
Ham. Why look you, now, how unworthy a thing you make of me. You would play upon me; you would seem to know my stops; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass; and there is much music, excellent voice in this little organ; yet can not you make it speak. S’blood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.
Such are a few of the chief passages in which the lesson of “reserve” is taught directly. The reader will find many others, (maxims, illustrations and allusions,) in every scene; but I pass on to the notice of some instances in which the same lesson is taught indirectly or by contrast. These passages may properly be arranged under several heads.
(1.) Extravagance of conduct and language.
Hamlet is for the most part, calm and self-possessed. But on the occasion of his first interview with the Ghost, in the 4th scene of the first act he is transported (as, indeed, he well might be,) beyond all bounds of moderation: in the words of Horatio:
He waxes desperate with imagination.
His speech to Laertes at the grave of Ophelia is a still more remarkable example of extravagance:
Zounds, show me what thou’lt do;
Woul’t weep? woul’t fight? woul’t fast? woul’t tear thyself?