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? Woul’t drink up Esil? eat a crocodile? I’ll do’t. Dost thou come here to whine? To outface me with leaping in her grave? Be buried quick with her, and so will I. And, if thou prate of mountains, let them throw Millions of acres on us; till our ground, Singeing his pate against the burning zone, Make Ossa like a wart! Nay, an thou’lt mouth, I’ll rant as well as thou. Ophelia’s madness is caused by the _extravagance_ of her love; and it is worthy of remark that she is finally drowned in consequence of _venturing too far_ on the “pendent boughs” of a willow which grew “ascaunt the brook.” In the last scene Hamlet and Laertes, whilst playing with rapiers, become “_incensed_,” and thus the final catastrophe is produced. In the last scene of the second act Hamlet meets the players and makes them recite Eneas’ tale to Dido. The only justification of this long and otherwise tedious passage, will be found in its close connection with the theme; for it is an admirable specimen of _bombast_. Unequal matched, Pyrrhus at Priam drives; in rage, strikes wide; But with the whiff and wind or his fell sword The unnerved father falls. Then senseless Ilium, Seeming to feel this blow, with flaming top Stoops to his base; and with a hideous crash Takes prisoner Pyrrhus’ ear, etc., etc. How different this from Shakspeare’s _own_ style! We shall presently see that the speeches of the _Player King_ and _Player Queen_ are direct illustrations of another aspect of the theme; indeed every thing connected with this “play within the play,” is directly to the main purpose. In the latter part of the first scene of act second Ophelia relates to her father the wild conduct and appearance of Hamlet, and Polonius attributes it to the _extravagance_ of his love: This is the very ecstasy of love, etc., and descants on the “violent property” of that passion. Laertes, as we have seen, could speak well in favor of reserve, but he seldom practiced it. His conduct is generally violent, and his speech ranting; as in his riotous appearance before the king in act fourth, scene fifth, and in his contest with Hamlet at the grave of Ophelia. (2.) _Espionage._ This method of ferreting out secrets is extensively practiced throughout the play.