Introduction In his essay: Hamlet and His Problems, T.S. Eliot conceived as an artistic failure, pointing at inexplicable manner which is obsessed with his mother's behavior; and how terms of an objective correlative, Gertrude is not only an inadequate object for emotions generated play, but also unable to support them. In other words, problem of play lies not character of Hamlet, but author's treatment of the effect of a mother's guilt upon her son. (1) But might be an image that distills Hamlet's emotional connection to his mother? Picture standing graveyard contemplating universal and fleeting nature of life, while also holding skull of Yorick, symbol of all that is wild, silly and ridiculous. Might such a juxtaposition of consciousness correspond to conceptual form of Descartes' Cogito, whereby a determined reason and a determined madness stand both together, and yet separate? By same token, while Elliot's superego considered Shakespeare, artist, incapable of controlling his disordered subjectivity and to transform it to literary tradition that preceded him or surrounded him, might philosophical form of Cogito, which Shakespeare implicitly pre-figures play, be form which helps to understand Hamlet's intense feelings towards his mother's sexual behavior? (2) In keeping with assertion that play as a whole is problematic, Eliot also suggests that Stoll is correct steering away from a psychological reading of leading character, terms of staying nearer spirit to Shakespeare's art. (3) In this respect, it seems that Eliot is correct asserting that some other factor must be responsible for Hamlet's emotions. However, asserting that dominating emotion is inexpressible, because it is excess of facts as they appear (4) seems to be misleading terms of Eliot's underestimation of play's philosophical dimensions, and degree that Hamlet's psychological response to his philosophical concerns spills over to his perception and judgment of his mother's behavior. In contrast, it will be developed how Hamlet's judgment of his mother's sexual behavior and her shameless attitude toward it, is intensified by his own restless sense of shame related to his unguarded philosophical doubts. A) Hamlet's Pre-Cartesian Doubt In keeping with Eliot's assertion that there was an older play by Thomas Kyd, (5) most critics agree that Kyd probably wrote UR-Hamlet, performed during late 1580's and early 1590's. Considering that Kyd's version already contained elements of Ghost, play within play, etc, as well as conditions of Elizabethan stage and conventions of revenge tragedy, it would give great insight into Shakespeare's innovations and underlying intentions. Since primary source has been irrevocably lost, Shakespeare's intentions are not clear and remain shrouded mystery. However, contrary to Eliot's assertion that in earlier play motive was a revenge-motive simply; that action or delay is caused, as Spanish Tragedy, solely by difficulty of assassinating a monarch surrounded by guards, (6) MacCary asserts that while questioning of role of avenger was a creaking convention genre of revenge drama, as demonstrated Spanish Tragedy, which closely parallels, it is undoubtedly raised to level of profound philosophical speculation Hamlet. (7) In other words, notwithstanding verbal parallels between two plays, Shakespeare was not, as Eliot suggests, merely revising text of Kyd. (8) In fact, as soon as audience begins to experience drama unfold before them, it is evident customary authority has been altered, if not inverted. Rather than being asked by Francisco, who is on duty, Bernardo, who is obviously anxious about strange visitations of Ghost who has been usurp[ing] night(I. …