Hamlet and the metaphysical doubtAn immense tragedy, which denies any attempt at a univocal interpretation, Hamlet is first of all the drama of a man who does not hesitate to confront his own imperfections and who rejects illusions and idealized appearances: "What work is a man, how noble in reason, how infinite in faculties, how expressed and admirable in form and movement, how similar to an angel in action, how similar to a god in learning: the beauty of man" world, the example of animals, and yet, for me, what is this quintessence of dust? Man does not delight me...' (Act two, scene two, Arden) The tragedy, Fluchère tells us, takes place above all in Hamlet's consciousness, since all the events that make up the backbone of the play are reduced to a symbolic representation, to a disorder that no action will resolve and no decision will quell. The deepest theme, masked by that of revenge, is none other than human nature itself, confronted with the metaphysical and moral problems by which it is shaped: love, time, death, perhaps even the principle of identity and quality, not to mention being and nothingness'. The shock Hamlet receives from his father's death and his mother's remarriage triggers disturbing questions about the peace of the soul, and the revelation of the ghost triggers ferocious responses to these. The world changes color, life changes meaning, love is stripped of its spirituality, the woman of her prestige, the state of its stability, the earth and the air of their charm. It is a sudden explosion of evil, a reduction of the world to the absurd, of peace to bitterness, of reason to madness. Contagious disease that spreads from man to kingdom, from kingdom to celestial vault': the air, look, this splendid firmament above, this majestic roof woven of golden fire, well, it seems to me nothing but a hideous and pestilent congregation of vapors.