Poe, Edgar Allen - The Complete Works of Edgar Allen Poe

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by Volume 01-05 (lit)


  arranged as to be easily slipped, _en masse, _from its position when

  occasion should require it. This occasion we have already stated to

  occur when the man concealed within brings his body into an erect

  position upon the closing of the back door.

  10. Sir David Brewster states the figure of the Turk to be of the

  size of life--but in fact it is far above the ordinary size. Nothing

  is more easy than to err in our notions of magnitude. The body of the

  Automaton is generally insulated, and, having no means of immediately

  comparing it with any human form, we suffer ourselves to consider it

  as of ordinary dimensions. This mistake may, however, be corrected by

  observing the Chess-Player when, as is sometimes the case, the

  exhibiter approaches it. Mr. Maelzel, to be 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 durin
g 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 whatever. beyond a 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 arrested by the continuous golden

  walls of the universe? -- the walls of the myriads of the shining

  bodies that mere number has appeared to blend into unity?

  OINOS. I clearly perceive that the infinity of matter is no dream.

  AGATHOS. There are no dreams in Aidenn -- but it is here whispered

  that, of this infinity of matter, the sole purpose is to afford

  infinite springs, at which the soul may allay the thirst to know,

  which is for ever unquenchable within it -- since to quench it, would

  be to extinguish the soul's self. Question me then, my Oinos, freely

  and without fear. Come! we will leave to the left the loud harmony of

  the Pleiades, and swoop outward from the throne into the starry

  meadows beyond Orion, where, for pansies and violets, and heart's --

  ease, are the beds of the triplicate and triple -- tinted suns.

  OINOS. And now, Agathos, as we proceed, instruct me! -- speak to me

  in the earth's familiar tones. I understand not what you hinted to

  me, just now, of the modes or of the method of what, during

  mortality, we were accustomed to call Creation. Do you mean to say

  that the Creator is not God?

 

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