In the next scene (the fourth) occurs Hamlet’s speech to Horatio on drunkenness, which, it will be observed, in conformity with the theme, turns entirely upon the _imprudence_ of the practice. In the fifth scene of the same act, Hamlet, after his interview with the Ghost, baffles the curiosity of Horatio and Marcellus. Not content with keeping his own secret, and swearing them not to reveal what they had seen, he makes them further promise that if he should see fit “to put an antick disposition on,” they never will, “with arms encumbered thus, or this head-shake, or by pronouncing of some doubtful phrase, as _Well, well, we know_; or, _we could, and if we would_; or, _if we list to speak_, or such ambiguous giving out,” intimate that they “knew aught of him.” In the same scene the Ghost says: “I could a tale unfold,” etc. “But that I am _forbid to tell_ the secrets of my prison-house.” In the first scene of the third act, Hamlet’s rude speeches to Ophelia, “Get thee to a nunnery,” etc., are mainly on the same subject; and the next following scene contains the celebrated advice to the players, every word of which inculcates _reserve_ or _moderation_; it teaches the same lesson as the speeches of Polonius and Laertes, above referred to, though it is applicable to very different circumstances. Hamlet’s speech to Horatio, immediately after, is to the same purpose: “Blessed are those Whose blood and judgment are so well co-mingled, That they are not a pipe for fortune’s finger To sound what stop she pleases; Give me that man That is not passion’s slave,” etc. In the same scene Rosencrantz and Guildenstern endeavor to find out Hamlet’s secret; but he baffles and rebukes them with the beautiful illustration of the flute: _Ham._ Will you play upon this pipe? _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._