All literary translation starts with the act of reading, which is the first, deeply subjective step of the interpretative process. Translation can neither be objective nor result in the translator’s invisibility, even more so in the case of the translation of poetry, where form and meaning are inseparable. We need to hear the voice of the translator, as an expression of their subjectivity through their translation, which is a re-enunciation. This article illustrates how, through his five translations of Shakespeare’s Hamlet, Yves Bonnefoy let his art of translation evolve from a re-enunciation to a real creation, letting his own voice as a poet resonate through the translation and make itself heard. This analysis is based on the theoretical works of Barbara Folkart, who argues that poetic translation is profoundly subjective and aims to be the creation of a new poem in another language, that is to say a new act of writing.