The Works of Edgar Allan Poe — Volume 4, Edgar Allan Poe [essential books to read .TXT] 📗

first place he opens the door No. I. Leaving this open, he goes round to the rear of the box, and opens a door precisely at the back of door No. I. To this back door he holds a lighted candle. He then closes the back door, locks it, and, coming round to the front, opens the drawer to its full extent. This done, he opens the doors No. 2 and No. 3, (the folding doors) and displays the interior of the main compartment. Leaving open the main compartment, the drawer, and the front door of cupboard No. I, he now goes to the rear again, and throws open the back door of the main compartment. In shutting up the box no particular order is observed, except that the folding doors are always closed before the drawer.

Now, let us suppose that when the machine is first rolled into the presence of the spectators, a man is already within it. His body is situated behind the dense machinery in cupboard No. T. (the rear portion of which machinery is so contrived as to slip en masse, from the main compartment to the cupboard No. I, as occasion may require,) and his legs lie at full length in the main compartment. When Maelzel opens the door No. I, the man within is not in any danger of discovery, for the keenest eye cannot penetrate more than about two inches into the darkness within. But the case is otherwise when the back door of the cupboard No. I, is opened. A bright light then pervades the cupboard, and the body of the man would be discovered if it were there. But it is not. The putting the key in the lock of the back door was a signal on hearing which the person concealed brought his body forward to an angle as acute as possible—throwing it altogether, or nearly so, into the main compartment. This, however, is a painful position, and cannot be long maintained. Accordingly we find that Maelzel closes the back door. This being done, there is no reason why the body of the man may not resume its former situation—for the cupboard is again so dark as to defy scrutiny. The drawer is now opened, and the legs of the person within drop down behind it in the space it formerly occupied. {*4} There is, consequently, now no longer any part of the man in the main compartment—his body being behind the machinery in cupboard No. 1, and his legs in the space occupied by the drawer. The exhibiter, therefore, finds himself at liberty to display the main compartment. This he does—opening both its back and front doors—and no person Is discovered. The spectators are now satisfied that the whole of the box is exposed to view—and exposed too, all portions of it at one and the same time. But of course this is not the case. They neither see the space behind the drawer, nor the interior of cupboard No. 1—the front door of which latter the exhibiter virtually shuts in shutting its back door. Maelzel, having now rolled the machine around, lifted up the drapery of the Turk, opened the doors in his back and thigh, and shown his trunk to be full of machinery, brings the whole back into its original position, and closes the doors. The man within is now at liberty to move about. He gets up into the body of the Turk just so high as to bring his eyes above the level of the chess-board. It is very probable that he seats himself upon the little square block or protuberance which is seen in a corner of the main compartment when the doors are open. In this position he sees the chess-board through the bosom of the Turk which is of gauze. Bringing his right arm across his breast he actuates the little machinery necessary to guide the left arm and the fingers of the figure. This machinery is situated just beneath the left shoulder of the Turk, and is consequently easily reached by the right hand of the man concealed, if we suppose his right arm brought across the breast. The motions of the head and eyes, and of the right arm of the figure, as well as the sound echec are produced by other mechanism in the interior, and actuated at will by the man within. The whole of this mechanism—that is to say all the mechanism essential to the machine—is most probably contained within the little cupboard (of about six inches in breadth) partitioned off at the right (the spectators’ right) of the main compartment.

In this analysis of the operations of the Automaton, we have purposely avoided any allusion to the manner in which the partitions are shifted, and it will now be readily comprehended that this point is a matter of no importance, since, by mechanism within the ability of any common carpenter, it might be effected in an infinity of different ways, and since we have shown that, however performed, it is performed out of the view of the spectators. Our result is founded upon the following observations taken during frequent visits to the exhibition of Maelzel. {*5}

I. The moves of the Turk are not made at regular intervals of time, but accommodate themselves to the moves of the antagonist—although this point (of regularity) so important in all kinds of mechanical contrivance, might have been readily brought about by limiting the time allowed for the moves of the antagonist. For example, if this limit were three minutes, the moves of the Automaton might be made at any given intervals longer than three minutes. The fact then of irregularity, when regularity might have been so easily attained, goes to prove that regularity is unimportant to the action of the Automaton—in other words, that the Automaton is not a pure machine.

2. When the Automaton is about to move a piece, a distinct motion is observable just beneath the left shoulder, and which motion agitates in a slight degree, the drapery covering the front of the left shoulder. This motion invariably precedes, by about two seconds, the movement of the arm itself—and the arm never, in any instance, moves without this preparatory motion in the shoulder. Now let the antagonist move a piece, and let the corresponding move be made by Maelzel, as usual, upon the board of the Automaton. Then let the antagonist narrowly watch the Automaton, until he detect the preparatory motion in the shoulder. Immediately upon detecting this motion, and before the arm itself begins to move, let him withdraw his piece, as if perceiving an error in his manœuvre. It will then be seen that the movement of the arm, which, in all other cases, immediately succeeds the motion in the shoulder, is withheld—is not made—although Maelzel has not yet performed, on the board of the Automaton, any move corresponding to the withdrawal of the antagonist. In this case, that the Automaton was about to move is evident—and that he did not move, was an effect plainly produced by the withdrawal of the antagonist, and without any intervention of Maelzel.

This fact fully proves, 1—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