This article defines paronomastic fetishism, tracing the influence of Hamlet on its psycho-analytical development (Freud 1927, Lacan 2013). It then applies the concept to a critical analysis, firstly, of ‘paradigmatic’ approaches to translating Shakespearean wordplay (Offord 1990, Delabastita) and, secondly, of the ‘performative’ approach propounded by Antoine Vitez and Henri Meschonnic. It argues that the ‘satisfaction’ derived from a quibbling translation often results from a sense of conquering aporia. However, aporia is fundamental to Hamlet. It can be vitiated by premature resolution. Close reading of the play’s French (re)translations reveals a conflict between metalingual success and tonal fidelity. Instead the paper proposes a contrapuntal, aporetic approach.