This paper is aimed at discussing the problem of the truth, based on the play Hamlet and on the theoretical production of the Psychoanalysis. It is intended to show the centrality of the matter, in the theater as well as in the analytical process and also to explore some of its aspects such as the fiction structure and the relations with desire and instincts. After emphasizing the lethal dimension of the truth, it argues its connections with knowledge and the analyst's position. To attain this aim, the classical interpretation of Freud about the Shakespeare's play and the theoretical and interpretative advances made by Jacques Lacan were used. Finally, this study corroborates the position that the analyst must express his knowledge in terms of the truth, and not the opposite. In this direction, it highlights that it is impossible to achieve a total apprehension of the truth, pointing out that there is always something to be conceived.
truth; Hamlet; psychoanalysis; theater; desire