The Works of Edgar Allan Poe by Edgar Allan Poe (great books of all time TXT) 📖
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sure, is not very tall, but upon drawing near the machine, his head will be found at least eighteen inches below the head of the Turk, although the latter, it will be remembered, is in a sitting position.
11. The box behind which the Automaton is placed, is precisely three feet six inches long, two feet four inches deep, and two feet six inches high. These dimensions are fully sufficient for the accommodation of a man very much above the common size--and the main compartment alone is capable of holding any ordinary man in the position we have mentioned as assumed by the person concealed. As these are facts, which any one who doubts them may prove by actual calculation, we deem it unnecessary to dwell upon them. We will only suggest that, although the top of the box is apparently a board of about three inches in thickness, the spectator may satisfy himself by stooping and looking up at it when the main compartment is open, that it is in reality very thin. The height of the drawer also will be misconceived by those who examine it in a cursory manner. There is a space of about three inches between the top of the drawer as seen from the exterior, and the bottom of the cupboard--a space which must be included in the height of the drawer. These contrivances to make the room within the box appear less than it actually is, are referrible to a design on the part of the inventor, to impress the company again with a false idea, viz. that no human being can be accommodated within the box.
12. The interior of the main compartment is lined throughout with cloth. This cloth we suppose to have a twofold object. A portion of it may form, when tightly stretched, the only partitions which there is anv necessity for removing during the changes of the man's position, viz: the partition between the rear of the main compartment and the rear of the cupboard No. 1, and the partition between the main compartment, and the space behind the drawer when open. If we imagine this to be the case, the difficulty of shifting the partitions vanishes at once, if indeed any such difficulty could be supposed under any circumstances to exist. The second object of the cloth is to deaden and render indistinct all sounds occasioned by the movements of the person within.
13. The antagonist (as we have before observed) is not suffered to play at the board of the Automaton, but is seated at some distance from the machine. The reason which, most probably, would be assigned for this circumstance, if the question were demanded, is, that were the antagonist otherwise situated, his person would intervene between the machine and the spectators, and preclude the latter from a distinct view. But this difficulty might be easily obviated, either by elevating the seats of the company, or by turning the end of the box towards them during the game. The true cause of the restriction is, perhaps, very different. Were the antagonist seated in contact with the box, the secret would be liable to discovery, by his detecting, with the aid of a quick car, the breathings of the man concealed.
14. Although M. Maelzel, in disclosing the interior of the machine, sometimes slightly deviates from the routine which we have pointed out, yet reeler in any instance does he so deviate from it as to interfere with our solution. For example, he has been known to open, first of all, the drawer--but he never opens the main compartment without first closing the back door of cupboard No. 1--he never opens the main compartment without first pulling out the drawer--he never shuts the drawer without first shutting the main compartment--he never opens the back door of cupboard No. 1 while the main compartment is open--and the game of chess is never commenced until the whole machine is closed. Now if it were observed that never, in any single instance, did M. Maelzel differ from the routine we have pointed out as necessary to our solution, it would be one of the strongest possible arguments in corroboration of it--but the argument becomes infinitely strengthened if we duly consider the circumstance that he does occasionally deviate from the routine but never does so deviate as to falsify the solution.
15. There are six candles on the board of the Automaton during exhibition. The question naturally arises--"Why are so many employed, when a single candle, or, at farthest, two, would have been amply sufficient to afford the spectators a clear view of the board, in a room otherwise so well lit up as the exhibition room always is--when, moreover, if we suppose the machine a pure machine, there can be no necessity for so much light, or indeed any light at all, to enable it to perform its operations--and when, especially, only a single candle is placed upon the table of the antagonist?" The first and most obvious inference is, that so strong a light is requisite to enable the man within to see through the transparent material (probably fine gauze) of which the breast of the Turk is composed. But when we consider the arrangement of the candles, another reason immediately presents itself. There are six lights (as we have said before) in all. Three of these are on each side of the figure. Those most remote from the spectators are the longest--those in the middle are about two inches shorter--and those nearest the company about two inches shorter still--and the candles on one side differ in height from the candles respectively opposite on the other, by a ratio different from two inches--that is to say, the longest candle on one side is about three inches shorter than the longest candle on the other, and so on. Thus it will be seen that no two of the candles are of the same height, and thus also the difficulty of ascertaining the material of the breast of the figure (against which the light is especially directed) is greatly augmented by the dazzling effect of the complicated crossings of the rays--crossings which are brought about by placing the centres of radiation all upon different levels.
16. While the Chess-Player was in possession of Baron Kempelen, it was more than once observed, first, that an Italian in the suite of the Baron was never visible during the playing of a game at chess by the Turk, and, secondly, that the Italian being taken seriously ill, the exhibition was suspended until his recovery. This Italian professed a total ignorance of the game of chess, although all others of the suite played well. Similar observations have been made since the Automaton has been purchased by Maelzel. There is a man, Schlumber0er, who attends him wherever he goes, but who has no ostensible occupation other than that of assisting in the packing and unpacking of the automata. This man is about the medium size, and has a remarkable stoop in the shoulders. Whether he professes to play chess or not, we are not informed. It is quite certain, however, that he is never to be seen during the exhibition of the Chess-Player, although frequently visible just before and just after the exhibition. Moreover, some years ago Maelzel visited Richmond with his automata, and exhibited them, we believe, in the house now occupied by M. Bossieux as a Dancing Academy. Schlumberg er was suddenly taken ill, and during his illness there was no exhibition of the Chess-Player. These facts are well known to many of our citizens. The reason assigned for the suspension of the Chess-Player's performances, was not the illness of Schlumberger. The inferences from all this we leave, without farther comment, to the reader.
17. The Turk plays with his left arm. A circumstance so remarkable cannot be accidental. Brewster takes no notice of it whatever beyond a mere statement, we believe, that such is the fact. The early writers of treatises on the Automaton, seem not to have observed the matter at all, and have no reference to it. The author of the pamphlet alluded to by Brewster, mentions it, but acknowledges his inability to account for it. Yet it is obviously from such prominent discrepancies or incongruities as this that deductions are to be made (if made at all) which shall lead us to the truth.
The circumstance of the Automaton's playing with his left hand cannot have connexion with the operations of the machine, considered merely as such. Any mechanical arrangement which would cause the figure to move, in any given manner, the left arm--could, if reversed, cause it to move, in the same manner, the right. But these principles cannot be extended to the human organization, wherein there is a marked and radical difference in the construction, and, at all events, in the powers, of the right and left arms. Reflecting upon this latter fact, we naturally refer the incongruity noticeable in the Chess-Player to this peculiarity in the human organization. If so, we must imagine some reversion-- for the Chess-Player plays precisely as a man would not. These ideas, once entertained, are sufficient of themselves, to suggest the notion of a man in the interior. A few more imperceptible steps lead us, finally, to the result. The Automaton plays with his left arm, because under no other circumstances could the man within play with his right--a desideratum of course. Let us, for example, imagine the Automaton to play with his right arm. To reach the machinery which moves the arm, and which we have before explained to lie just beneath the shoulder, it would be necessary for the man within either to use his right arm in an exceedingly painful and awkward position, (viz. brought up close to his body and tightly compressed between his body and the side of the Automaton,) or else to use his left arm brought across his breast. In neither case could he act with the requisite ease or precision. On the contrary, the Automaton playing, as it actually does, with the left arm, all difficulties vanish. The right arm of the man within is brought across his breast, and his right fingers act, without any constraint, upon tile machinery in the shoulder of the figure.
We do not believe that any reasonable objections can be urged against this solution of the Automaton Chess-Player.
~~~ End of Text ~~~
======
THE POWER OF WORDS
OINOS. Pardon, Agathos, the weakness of a spirit new-fledged with immortality!
AGATHOS. You have spoken nothing, my Oinos, for which pardon is to be demanded. Not even here is knowledge thing of intuition. For wisdom, ask of the angels freely, that it may be given!
OINOS. But in this existence, I dreamed that I should be at once cognizant of all things, and thus at once be happy in being cognizant of all.
AGATHOS. Ah, not in knowledge is happiness, but in the acquisition of knowledge! In for ever knowing, we are for ever blessed; but to know all were the curse of a fiend.
OINOS. But does not The Most High know all?
AGATHOS. That (since he is The Most Happy) must be still the one thing unknown even to Him.
OINOS. But, since we grow hourly in knowledge, must not at last all things be known?
AGATHOS. Look down into the abysmal distances! -- attempt to force the gaze down the multitudinous vistas of the stars, as we sweep slowly through them thus -- and thus -- and thus! Even the spiritual vision, is it not at all points
11. The box behind which the Automaton is placed, is precisely three feet six inches long, two feet four inches deep, and two feet six inches high. These dimensions are fully sufficient for the accommodation of a man very much above the common size--and the main compartment alone is capable of holding any ordinary man in the position we have mentioned as assumed by the person concealed. As these are facts, which any one who doubts them may prove by actual calculation, we deem it unnecessary to dwell upon them. We will only suggest that, although the top of the box is apparently a board of about three inches in thickness, the spectator may satisfy himself by stooping and looking up at it when the main compartment is open, that it is in reality very thin. The height of the drawer also will be misconceived by those who examine it in a cursory manner. There is a space of about three inches between the top of the drawer as seen from the exterior, and the bottom of the cupboard--a space which must be included in the height of the drawer. These contrivances to make the room within the box appear less than it actually is, are referrible to a design on the part of the inventor, to impress the company again with a false idea, viz. that no human being can be accommodated within the box.
12. The interior of the main compartment is lined throughout with cloth. This cloth we suppose to have a twofold object. A portion of it may form, when tightly stretched, the only partitions which there is anv necessity for removing during the changes of the man's position, viz: the partition between the rear of the main compartment and the rear of the cupboard No. 1, and the partition between the main compartment, and the space behind the drawer when open. If we imagine this to be the case, the difficulty of shifting the partitions vanishes at once, if indeed any such difficulty could be supposed under any circumstances to exist. The second object of the cloth is to deaden and render indistinct all sounds occasioned by the movements of the person within.
13. The antagonist (as we have before observed) is not suffered to play at the board of the Automaton, but is seated at some distance from the machine. The reason which, most probably, would be assigned for this circumstance, if the question were demanded, is, that were the antagonist otherwise situated, his person would intervene between the machine and the spectators, and preclude the latter from a distinct view. But this difficulty might be easily obviated, either by elevating the seats of the company, or by turning the end of the box towards them during the game. The true cause of the restriction is, perhaps, very different. Were the antagonist seated in contact with the box, the secret would be liable to discovery, by his detecting, with the aid of a quick car, the breathings of the man concealed.
14. Although M. Maelzel, in disclosing the interior of the machine, sometimes slightly deviates from the routine which we have pointed out, yet reeler in any instance does he so deviate from it as to interfere with our solution. For example, he has been known to open, first of all, the drawer--but he never opens the main compartment without first closing the back door of cupboard No. 1--he never opens the main compartment without first pulling out the drawer--he never shuts the drawer without first shutting the main compartment--he never opens the back door of cupboard No. 1 while the main compartment is open--and the game of chess is never commenced until the whole machine is closed. Now if it were observed that never, in any single instance, did M. Maelzel differ from the routine we have pointed out as necessary to our solution, it would be one of the strongest possible arguments in corroboration of it--but the argument becomes infinitely strengthened if we duly consider the circumstance that he does occasionally deviate from the routine but never does so deviate as to falsify the solution.
15. There are six candles on the board of the Automaton during exhibition. The question naturally arises--"Why are so many employed, when a single candle, or, at farthest, two, would have been amply sufficient to afford the spectators a clear view of the board, in a room otherwise so well lit up as the exhibition room always is--when, moreover, if we suppose the machine a pure machine, there can be no necessity for so much light, or indeed any light at all, to enable it to perform its operations--and when, especially, only a single candle is placed upon the table of the antagonist?" The first and most obvious inference is, that so strong a light is requisite to enable the man within to see through the transparent material (probably fine gauze) of which the breast of the Turk is composed. But when we consider the arrangement of the candles, another reason immediately presents itself. There are six lights (as we have said before) in all. Three of these are on each side of the figure. Those most remote from the spectators are the longest--those in the middle are about two inches shorter--and those nearest the company about two inches shorter still--and the candles on one side differ in height from the candles respectively opposite on the other, by a ratio different from two inches--that is to say, the longest candle on one side is about three inches shorter than the longest candle on the other, and so on. Thus it will be seen that no two of the candles are of the same height, and thus also the difficulty of ascertaining the material of the breast of the figure (against which the light is especially directed) is greatly augmented by the dazzling effect of the complicated crossings of the rays--crossings which are brought about by placing the centres of radiation all upon different levels.
16. While the Chess-Player was in possession of Baron Kempelen, it was more than once observed, first, that an Italian in the suite of the Baron was never visible during the playing of a game at chess by the Turk, and, secondly, that the Italian being taken seriously ill, the exhibition was suspended until his recovery. This Italian professed a total ignorance of the game of chess, although all others of the suite played well. Similar observations have been made since the Automaton has been purchased by Maelzel. There is a man, Schlumber0er, who attends him wherever he goes, but who has no ostensible occupation other than that of assisting in the packing and unpacking of the automata. This man is about the medium size, and has a remarkable stoop in the shoulders. Whether he professes to play chess or not, we are not informed. It is quite certain, however, that he is never to be seen during the exhibition of the Chess-Player, although frequently visible just before and just after the exhibition. Moreover, some years ago Maelzel visited Richmond with his automata, and exhibited them, we believe, in the house now occupied by M. Bossieux as a Dancing Academy. Schlumberg er was suddenly taken ill, and during his illness there was no exhibition of the Chess-Player. These facts are well known to many of our citizens. The reason assigned for the suspension of the Chess-Player's performances, was not the illness of Schlumberger. The inferences from all this we leave, without farther comment, to the reader.
17. The Turk plays with his left arm. A circumstance so remarkable cannot be accidental. Brewster takes no notice of it whatever beyond a mere statement, we believe, that such is the fact. The early writers of treatises on the Automaton, seem not to have observed the matter at all, and have no reference to it. The author of the pamphlet alluded to by Brewster, mentions it, but acknowledges his inability to account for it. Yet it is obviously from such prominent discrepancies or incongruities as this that deductions are to be made (if made at all) which shall lead us to the truth.
The circumstance of the Automaton's playing with his left hand cannot have connexion with the operations of the machine, considered merely as such. Any mechanical arrangement which would cause the figure to move, in any given manner, the left arm--could, if reversed, cause it to move, in the same manner, the right. But these principles cannot be extended to the human organization, wherein there is a marked and radical difference in the construction, and, at all events, in the powers, of the right and left arms. Reflecting upon this latter fact, we naturally refer the incongruity noticeable in the Chess-Player to this peculiarity in the human organization. If so, we must imagine some reversion-- for the Chess-Player plays precisely as a man would not. These ideas, once entertained, are sufficient of themselves, to suggest the notion of a man in the interior. A few more imperceptible steps lead us, finally, to the result. The Automaton plays with his left arm, because under no other circumstances could the man within play with his right--a desideratum of course. Let us, for example, imagine the Automaton to play with his right arm. To reach the machinery which moves the arm, and which we have before explained to lie just beneath the shoulder, it would be necessary for the man within either to use his right arm in an exceedingly painful and awkward position, (viz. brought up close to his body and tightly compressed between his body and the side of the Automaton,) or else to use his left arm brought across his breast. In neither case could he act with the requisite ease or precision. On the contrary, the Automaton playing, as it actually does, with the left arm, all difficulties vanish. The right arm of the man within is brought across his breast, and his right fingers act, without any constraint, upon tile machinery in the shoulder of the figure.
We do not believe that any reasonable objections can be urged against this solution of the Automaton Chess-Player.
~~~ End of Text ~~~
======
THE POWER OF WORDS
OINOS. Pardon, Agathos, the weakness of a spirit new-fledged with immortality!
AGATHOS. You have spoken nothing, my Oinos, for which pardon is to be demanded. Not even here is knowledge thing of intuition. For wisdom, ask of the angels freely, that it may be given!
OINOS. But in this existence, I dreamed that I should be at once cognizant of all things, and thus at once be happy in being cognizant of all.
AGATHOS. Ah, not in knowledge is happiness, but in the acquisition of knowledge! In for ever knowing, we are for ever blessed; but to know all were the curse of a fiend.
OINOS. But does not The Most High know all?
AGATHOS. That (since he is The Most Happy) must be still the one thing unknown even to Him.
OINOS. But, since we grow hourly in knowledge, must not at last all things be known?
AGATHOS. Look down into the abysmal distances! -- attempt to force the gaze down the multitudinous vistas of the stars, as we sweep slowly through them thus -- and thus -- and thus! Even the spiritual vision, is it not at all points
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