Collected Works of Poe - Edgar Allan Poe (phonics reading books txt) 📗

pronounces the word echec (check) when necessary. {*3} If a false move be made by his antagonist, he raps briskly on the box with the fingers of his right hand, shakes his head roughly, and replacing the piece falsely moved, in its former situation, assumes the next move himself. Upon beating the game, he waves his head with an air of triumph, looks round complacently upon the spectators, and drawing his left arm farther back than usual, suffers his fingers alone to rest upon the cushion. In general, the Turk is victorious--once or twice he has been beaten. The game being ended, Maelzel will again if desired, exhibit the mechanism of the box, in the same manner as before. The machine is then rolled back, and a curtain hides it from the view of the company.

There have been many attempts at solving the mystery of the Automaton. The most general opinion in relation to it, an opinion too not unfrequently adopted by men who should have known better, was, as we have before said, that no immediate human agency was employed--in other words, that the machine was purely a machine and nothing else. Many, however maintained that the exhibiter himself regulated the movements of the figure by mechanical means operating through the feet of the box. Others again, spoke confidently of a magnet. Of the first of these opinions we shall say nothing at present more than we have already said. In relation to the second it is only necessary to repeat what we have before stated, that the machine is rolled about on castors, and will, at the request of a spectator, be moved to and fro to any portion of the room, even during the progress of a game. The supposition of the magnet is also untenable--for if a magnet were the agent, any other magnet in the pocket of a spectator would disarrange the entire mechanism. The exhibiter, however, will suffer the most powerful loadstone to remain even upon the box during the whole of the exhibition.

The first attempt at a written explanation of the secret, at least the first attempt of which we ourselves have any knowledge, was made in a large pamphlet printed at Paris in 1785. The author's hypothesis amounted to this--that a dwarf actuated the machine. This dwarf he supposed to conceal himself during the opening of the box by thrusting his legs into two hollow cylinders, which were represented to be (but which are not) among the machinery in the cupboard No. I, while his body was out of the box entirely, and covered by the drapery of the Turk. When the doors were shut, the dwarf was enabled to bring his body within the box--the noise produced by some portion of the machinery allowing him to do so unheard, and also to close the door by which he entered. The interior of the automaton being then exhibited, and no person discovered, the spectators, says the author of this pamphlet, are satisfied that no one is within any portion of the machine. This whole hypothesis was too obviously absurd to require comment, or refutation, and accordingly we find that it attracted very little attention.

In 1789 a book was published at Dresden by M. I. F. Freyhere in which another endeavor was made to unravel the mystery. Mr. Freyhere's book was a pretty large one, and copiously illustrated by colored engravings. His supposition was that "a well-taught boy very thin and tall of his age (sufficiently so that he could be concealed in a drawer almost immediately under the chess-board") played the game of chess and effected all the evolutions of the Automaton. This idea, although even more silly than that of the Parisian author, met with a better reception, and was in some measure believed to be the true solution of the wonder, until the inventor put an end to the discussion by suffering a close examination of the top of the box.

These bizarre attempts at explanation were followed by others equally bizarre. Of late years however, an anonymous writer, by a course of reasoning exceedingly unphilosophical, has contrived to blunder upon a plausible solution--although we cannot consider it altogether the true one. His Essay was first published in a Baltimore weekly paper, was illustrated by cuts, and was entitled "An attempt to analyze the Automaton Chess-Player of M. Maelzel." This Essay we suppose to have been the original of the _pamphlet to _which Sir David Brewster alludes in his letters on Natural Magic, and which he has no hesitation in declaring a thorough and satisfactory explanation. The _results _of the analysis are undoubtedly, in the main, just; but we can only account for Brewster's pronouncing the Essay a thorough and satisfactory explanation, by supposing him to have bestowed upon it a very cursory and inattentive perusal. In the compendium of the Essay, made use of in the Letters on Natural Magic, it is quite impossible to arrive at any distinct conclusion in regard to the adequacy or inadequacy of the analysis, on account of the gross misarrangement and deficiency of the letters of reference employed. The same fault is to be found in the '`Attempt &c.," as we originally saw it. The solution consists in a series of minute explanations, (accompanied by wood-cuts, the whole occupying many pages) in which the object is to show the _possibility _of _so shifting the partitions _of the box, as to allow a human being, concealed in the interior, to move portions of his body from one part of the box to another, during the exhibition of the mechanism--thus eluding the scrutiny of the spectators. There can be no doubt, as we have before observed, and as we will presently endeavor to show, that the principle, or rather the result, of this solution is the true one. Some person is concealed in the box during the whole time of exhibiting the interior. We object, however, to the whole verbose description of the _manner _in which the partitions are shifted, to accommodate the movements of the person concealed. We object to it as a mere theory assumed in the first place, and to which circumstances are afterwards made to adapt themselves. It was not, and could not have been, arrived at by any inductive reasoning. In whatever way the shifting is managed, it is of course concealed at every step from observation. To show that certain movements might possibly be effected in a certain way, is very far from showing that they are actually so effected. There may be an infinity of other methods by which the same results may be obtained. The probability of the one assumed proving the correct one is then as unity to infinity. But, in reality, this particular point, the shifting of the partitions, is of no consequence whatever. It was altogether unnecessary to devote seven or eight pages for the purpose of proving what no one in his senses would deny--viz: that the wonderful mechanical genius of Baron Kempelen could invent the necessary means for shutting a door or slipping aside a pannel, with a human agent too at his service in actual contact with the pannel or the door, and the whole operations carried on, as the author of the Essay himself shows, and as we shall attempt to show more fully hereafter, entirely out of reach of the observation of the spectators.

In attempting ourselves an explanation of the Automaton, we will, in the first place, endeavor to show how its operations are effected, and afterwards describe, as briefly as possible, the nature of the _observations _from which we have deduced our result.

It will be necessary for a proper understanding of the subject, that we repeat here in a few words, the routine adopted by the exhibiter in disclosing the interior of the box--a routine from which he _never _deviates in any material particular. In the 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 eve 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