Collected Works of Poe, Vol 4 (28 page)

This fact fully proves, ~--that the intervention of Maelzel, in performing the moves of the antagonist on the board of the Automaton, is not essential to the movements of the Automaton, 2--that its movements are regulated by
mind--
by some person who sees the board of the antagonist, 3--that its movements are not regulated by the mind of Maelzel, whose back was turned towards the antagonist at the withdrawal of his move.

3. The Automaton does not invariably win the game. Were the machine a pure machine this would not be the case--it would always win. The
principle
being discovered by which a machine can be made to
play
a game of chess, an extension of the same principle would enable it to win a game--a farther extension would enable it to win
all
games--that is, to beat any possible game of an antagonist. A little consideration will convince any one that the difficulty of making a machine beat all games, Is not in the least degree greater, as regards the principle of the operations necessary, than that of making it beat a single game. If then we regard the Chess-Player as a machine, we must suppose, (what is highly improbable,) that its inventor preferred leaving it incomplete to perfecting it-- a supposition rendered still more absurd, when we reflect that the leaving it incomplete would afford an argument against the possibility of its being a pure machine--the very argument we now adduce.

4. When the situation of the game is difficult or complex, we never perceive the Turk either shake his head or roll his eyes. It is only when his next move is obvious, or when the game is so circumstanced that to a man in the Automaton's place there would be no necessity for reflection. Now these peculiar movements of the head and eves are movements customary with persons engaged in meditation, and the ingenious Baron Kempelen would have adapted these movements (were the machine a pure machine) to occasions proper for their display--that is, to occasions of complexity. But the reverse is seen to be the case, and this reverse applies precisely to our supposition of a man in the interior. When engaged in meditation about the game he has no time to think of setting in motion the mechanism of the Automaton by which are moved the head and the eyes. When the game, however, is obvious, he has time to look about him, and, accordingly, we see the head shake and the eyes roll.

5. When the machine is rolled round to allow the spectators an examination of the back of the Turk, and when his drapery is lifted up and the doors in the trunk and thigh thrown open, the interior of the trunk is seen to be crowded with machinery. In scrutinizing this machinery while the Automaton was in motion, that is to say while the whole machine was moving on the castors, it appeared to us that certain portions of the mechanism changed their shape and position in a degree too great to be accounted for by the simple laws of perspective; and subsequent examinations convinced us that these undue alterations were attributable to mirrors in the interior of the trunk. The introduction of mirrors among the machinery could not have been intended to influence, in any degree, the machinery itself. Their operation, whatever that operation should prove to be, must necessarily have reference to the eve of the spectator. We at once concluded that these mirrors were so placed to multiply to the vision some few pieces of machinery within the trunk so as to give it the appearance of being crowded with mechanism. Now the direct inference from this is that the machine is not a pure machine. For if it were, the inventor, so far from wishing its mechanism to appear complex, and using deception for the purpose of giving it this appearance, would have been especially desirous of convincing those who witnessed his exhibition, of the
simplicity
of the means by which results so wonderful were brought about.

6. The external appearance, and, especially, the deportment of the Turk, are, when we consider them as imitations of
life,
but very indifferent imitations. The countenance evinces no ingenuity, and is surpassed, in its resemblance to the human face, by the very commonest of wax-works. The eyes roll unnaturally in the head, without any corresponding motions of the lids or brows. The arm, particularly, performs its operations in an exceedingly stiff, awkward, jerking, and rectangular manner. Now, all this is the result either of inability in Maelzel to do better, or of intentional neglect--accidental neglect being out of the question, when we consider that the whole time of the ingenious proprietor is occupied in the improvement of his machines. Most assuredly we must not refer the unlife-like appearances to inability--for all the rest of Maelzel's automata are evidence of his full ability to copy the motions and peculiarities of life with the most wonderful exactitude. The rope-dancers, for example, are inimitable. When the clown laughs, his lips, his eyes, his eye-brows, and eyelids--indeed, all the features of his countenance--are imbued with their appropriate expressions. In both him and his companion, every gesture is so entirely easy, and free from the semblance of artificiality, that, were it not for the diminutiveness of their size, and the fact of their being passed from one spectator to another previous to their exhibition on the rope, it would be difficult to convince any assemblage of persons that these wooden automata were not living creatures. We cannot, therefore, doubt Mr. Maelzel's ability, and we must necessarily suppose that he intentionally suffered his Chess Player to remain the same artificial and unnatural figure which Baron Kempelen (no doubt also through design) originally made it. What this design was it is not difficult to conceive. Were the Automaton life-like in its motions, the spectator would be more apt to attribute its operations to their true cause, (that is, to human agency within) than he is now, when the awkward and rectangular manoeuvres convey the idea of pure and unaided mechanism.

7. When, a short time previous to the commencement of the game, the Automaton is wound up by the exhibiter as usual, an ear in any degree accustomed to the sounds produced in winding up a system of machinery, will not fail to discover, instantaneously, that the axis turned by the key in the box of the Chess-Player, cannot possibly be connected with either a weight, a spring, or any system of machinery whatever. The inference here is the same as in our last observation. The winding up is inessential to the operations of the Automaton, and is performed with the design of exciting in the spectators the false idea of mechanism.

8. When the question is demanded explicitly of Maelzel-- "Is the Automaton a pure machine or not?" his reply is invariably the same--"I will say nothing about it." Now the notoriety of the Automaton, and the great curiosity it has every where excited, are owing more especially to the prevalent opinion that it is a pure machine, than to any other circumstance. Of course, then, it is the interest of the proprietor to represent it as a pure machine. And what more obvious, and more effectual method could there be of impressing the spectators with this desired idea, than a positive and explicit declaration to that effect? On the other hand, what more obvious and effectual method could there be of exciting a disbelief in the Automaton's being a pure machine, than by withholding such explicit declaration? For, people will naturally reason thus,--It is Maelzel's interest to represent this thing a pure machine--he refuses to do so, directly, in words, although he does not scruple, and is evidently anxious to do so, indirectly by actions--were it actually what he wishes to represent it by actions, he would gladly avail himself of the more direct testimony of words--the inference is, that a consciousness of its not being a pure machine, is the reason of his silence--his actions cannot implicate him in a falsehood--his words may.

9. When, in exhibiting the interior of the box, Maelzel has thrown open the door No. I, and also the door immediately behind it, he holds a lighted candle at the back door (as mentioned above) and moves the entire machine to and fro with a view of convincing the company that the cupboard No. 1 is entirely filled with machinery. When the machine is thus moved about, it will be apparent to any careful observer, that whereas that portion of the machinery near the front door No. 1, is perfectly steady and unwavering, the portion farther within fluctuates, in a very slight degree, with the movements of the machine. This circumstance first aroused in us the suspicion that the more remote portion of the machinery was so 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.