The critical assumption behind this chapter is that The Tragedy of Hamlet, Prince of Denmark revolves around scenes whose parallel wording turns them into fateful, ironic counterparts unbeknownst to the characters, as befits the essence of a tragedy.¹ Most crucially, the play hinges on an "existential distance" between Hamlet's famous "to be or not to be" soliloquy and his less conspicuous inflection of the question of being as "Let be" in the final scene, a dramatic philosophical twist that inevitably comes too late for its untimely hero. Between these two poles Hamlet repeatedly interrogates the significance of "(no)thing", "being" and "man", among other "concepts", implicit or explicit, whose germanity,² that of the Wittenberg student of philosophy/theology and even "theory"³ in a play about brotherly duels, this essay proposes to investigate in order to read the hero's tragic evolution as a shift from a Heideggerian problematic of being and existence to a Derridean qualification of ontology and substitution of "desistance" instead. In a final move, or twist to the Renaissance drama, we shall enquire into the posthumous, as much as posthuman, nature of a tragedy famously known since Derrida's Specters of Marx for its untimely effects of revenance by exhuming its ghostly dead in the light of Nicolas Abraham's imaginary epilogue, "The Sixth Act".