Copernicus, Galileo and Hamlet :: Hamlet Copernicus

Copernicus, Galileo and Hamlet If imagination is the lifeblood of literature, then each new scientific advance which extends our scope of the universe is as fruitful to the poet as to the astronomer. External and environmental change stimulates internal and personal tropes for the poetic mind, and the new Copernican astronomy of the late 16th- and early 17th-centuries may have altered the literary composition of the era as much as any contemporaneous political shifts. Marjorie Nicolson, in "The Breaking of the Circle," argues that the heliocentric system greatly influenced the metaphysical poets, especially John Donne, as it necessarily mated the concept of a universal macrocosm with the preexisting notions of a personal microcosm and earthbound geocosm. Nicolson claims that the Elizabethans, Shakespeare included, failed to apply the new motion of heavenly bodies to their own bodies of work, and that their obsolete cosmology confers obsolescence upon their literary endeavors. I will argue that Hamlet, written in the aftermath of Copernicus's De Revolutionibus and Tycho Brahe's cosmological observations, not only follows many of Nicolson's tenets for the metaphysical poetry of the time, but stands as a central metaphor for the ambiguous period between Copernicus's initial theories and Galileo's visual proofs in Sidereus Nuncius. The conflict of Hamlet is the geocentric pitted against the heliocentric; Hamlet the "son/Sun" must revenge his Hyperion father's death by deposition of his traitorous and swinish uncle from the English throne, the center of the action and royally emblematized through the Sun. But the addition of the macrocosmic/heliocentric view to Hamlet's preexisting microcosmic†¹that is, self-centered or, to use a word that rings of etymological irony, solipsistic†¹obsessions does not make for a happy marriage; rather, the two spheres, representing externality and internality, stall Hamlet's geocentric development†¹earthly, physi cal action. Hamlet's legendary propensity to delay stems not from a mere excess of thought but from a divisive thought process that clouded Shakespeare's times: its fractured and debated cosmology. As Nicolson postulates, "'Correspondence' between macrocosm and microcosm, which man had accepted as basic to faith, was no longer valid in a new mechanical universe and mechanical world" (Nicolson, xxi). In Nicolson's eyes, King Lear reflects Shakespeare's preoccupation with the new cosmology more in astrological than astronomical terms: "Disruption in the heavens presaged disruption upon earth, the storms of the geocosm paralleled those in the microcosm, but our attention and Shakespeare's is centered on Lear, the man, rather than on the world and the universe" (Nicolson, 149).