Abstract

Quantum mechanics is hardly a technical pons asinorum that the humanities must cross over like the Styx—Science and the Arts are already coeval; STEM—entangled. We purport to source literary criticism for syntactic entanglement operation arranged in superposition, a term subscribed by Quantum Linguistics, to explain the semantic circumstances on which mathematic syntax is built to justify Harold Bloom’s Chomsky hidden meaning as a genetic record firing off proteins instructing and recording human thought. Superposition historically accumulated paleontology fossils arrayed in sedimentary rock, arranged by events in time preserved in stone. Superposition in quantum mechanics succinctly statistically supplies reality to an apparent Platonic illusion of a discrete integral object occurring in numerous other places simultaneously, not as reflected Newtonian optics, but as original function. Notably, Thomas Young’s nineteenth-century double-slit discovery alleging the twentieth-century Nils Bohr identification of recognizable but ignored wave-particle mechanics collateral contemporaneously discerns quantum duality in Renaissance-Romantic essays “On the Sublime,” essentially predicating the so-called “hard problem” of mind differentiating sensory experience from mental operation (the Sublime). John Keats as well contemporaneously comments in “Bards of Passion and of Mirth,” stating the simulacrum of quantum mechanical research perspective. Collateral to scientific observation literary colloquy over the same subject matter must be included in scientific field endeavor as following Ervin Schrödinger’s What Is Life? scientific observations for post-WWII Humanists.