“The plate did not drop, but floated about among the persons present, and then settled gently on the table. Augusta and her mother fainted; and these fainting fits were succeeded by violent nervous fever. The colonel forced himself to retain his self-control, but the profound impression which this extraordinary occurrence made on him was evident in his agitated and disturbed condition.
“The French lady had fallen on her knees and prayed in silence with her face turned to the floor, and both she and Adelgunda remained free from evil consequences. The mother very soon died. Augusta survived the fever; but it would have been better had she died. She who, when I first saw her, was an embodiment of vigorous, magnificent youthful happiness, is now hopelessly insane, and that in a form which seems to me the most terrible and gruesome of all the forms of idée fixe ever heard of. For she thinks she is the invisible phantom which haunts Adelgunda; and therefore she avoids everyone, or, at all events, refrains from speaking, or moving if anybody is present. She scarce dares to breathe, because she firmly believes that if she betrays her presence in any way everyone will die. Doors are opened for her, and her food is set down, she slinks in and out, eats in secret, and so forth. Can a more painful condition be imagined?
“The colonel, in his pain and despair, followed the colours to the next campaign, and fell in the victorious engagement at V——. It is remarkable, most remarkable that since then Adelgunda has never seen the phantom. She nurses her sister with the utmost care, and the French lady helps her. Only this very day Sylvester told me that the uncle of these poor girls is here, taking the advice of our celebrated R——, as to the means of cure to be tried in Augusta’s case. God grant that the cure may succeed, improbable as it seems.”
When Cyprian finished, the friends all kept silence, looking meditatively before them. At last Lothair said, “It is certainly a very terrible ghost story. I must admit it makes me shudder, although the incident of the hovering plate is rather trifling and childish.”
“Not so fast, my dear Lothair,” Ottmar interrupted. “You know my views about ghost stories, and the manner in which I swagger towards visionaries; maintaining, as I do, that often as I have thrown down my glove to the spirit world challenging it to enter the lists with me, it has never taken the trouble to punish me for my presumption and irreverence. But Cyprian’s story suggests another consideration. Ghost stories may often be mere chimeras; but, whatever may have been at the bottom of Adelgunda’s phantom, and the hovering plate, this much is certain: that on that evening, in the family of Colonel Von P——something happened which produced in three of the persons present such a shock to the system that the result was the death of one and the insanity of another; if we do not ascribe at least indirectly the colonel’s death to it, too. For I happen to remember that I heard from officers who were on the spot, that he suddenly dashed into the thick of the enemy’s fire as if impelled by the furies. Then the incident of the plate differs so completely from anything in the ordinary mise en scène of supernatural stories. The hour when it happened is so remote from ordinary supernatural use and wont, and the event so simple that its improbability acquires probability, and thereby becomes gruesome to me. But if one were to assume that Adelgunda’s imagination carried along those of her father, mother and sister—that it was only within her brain that the plate moved about—would not this vision of the imagination striking three people dead in a moment, like a shock of electricity, be the most terrible supernatural event imaginable ? ”
“Certainly,” said Theodore, “and I share with you, Ottmar, your opinion that the very horror of the incident lies in its utter simplicity. I can imagine myself enduring fairly well the sudden alarm produced by some fearful apparition; but the weird actions of some invisible thing would infallibly drive me mad. The sense of the most utter, most helpless powerlessness must grind the spirit to dust. I remember that I could hardly resist the profound terror which made me afraid to sleep in my room alone, like a silly child, when I once read of an old musician who was haunted in a terrible manner for a long time (almost driving him out of his mind) by an invisible being which used to play on his piano in the night, compositions of the most extraordinary kind, with the power and the technique of the most accomplished master. He heard every note, saw the keys going up and down, but never any form of a player.”
“Really,” Lothair said, “the way in which this class of subject is flourishing among us is becoming unendurable, I have admitted that the incident of that accursed plate produced the profoundest impression on me. Ottmar is right; if events are to be judged by their results, this is the most terrible supernatural story conceivable. Therefore I pardon the disturbed condition which Cyprian displayed earlier in the evening, and which has passed away considerably now. But not another word on the subject of supernatural horrors. I have seen a manuscript peeping out of Ottmar’s breast-pocket for some time, as if craving for release; let him release it.”
“No, no,” said Theodore, “the flood which has been rolling along in such stormy billows must be gently led away. I have a manuscript well adapted for that end, which some peculiar circumstances led to my writing at one time. Although it deals pretty largely with the mystical, and contains plenty of psychic marvels and strange hypotheses, it is tied on pretty closely to affairs of everyday life.” He read:
AUTOMATA
The Talking Turk was attracting universal attention, and setting the town in commotion. The hall where this automaton was exhibited was thronged by a continual stream of visitors, of all sorts and conditions, from morning till night, all eager to listen to the oracular utterances which were whispered to them by the motionless lips of this wonderful quasi-human figure. The manner of the construction and arrangement of this automaton distinguished it very much from ordinary mechanical figures. It was, in fact, a very remarkable automaton. In the center of a room of moderate size, containing only a few indispensable articles of furniture, sat this figure, about the size of a human being, handsomely formed, dressed in a rich and tasteful Turkish costume, on a low seat shaped like a tripod. The exhibitor would move this seat if desired, to show that there was no means of communication between it and the ground.
The Turk’s left hand was placed in an easy position on its knee, and its right rested on a small movable table. Its appearance, as has been said, was that of a well-proportioned, handsome man, but the most remarkable part of it was its head. A face expressing a genuine Oriental astuteness gave it an appearance of life rarely seen in wax figures, even when they represent the characteristic countenances of talented men.
A light railing surrounded the figure, to prevent the spectators from crowding too closely about it; and only those who wished to inspect the construction of it (so far as the exhibitor could allow this to be seen without divulging his secret), and the person whose turn it was to put a question to it, were allowed to go inside this railing, and close up to the Turk. The usual procedure was to whisper the question you wished to ask into the Turk’s right ear; on which he would turn, first his eyes, and then his whole head, towards you; and since you were aware of a gentle stream of air, like breath coming from his lips, you assumed that the low reply which was given to you really did proceed from the interior of the figure.
From time to time, after a few answers had been given, the exhibitor would apply a key to the Turk’s left side, and wind up some clockwork with a good deal of noise. Here, also, he would, if desired, open a sort of lid, so that inside the figure you could see a complicated mechanism consisting of a number of wheels; and although you might not think it probable that this had anything to do with the automaton’s speech, it was still evident that it occupied so much space that no human being could possibly be concealed inside, even if he were no bigger than Augustus’s dwarf who was served up in a pasty. Besides the movement of the head, which always took place before an answer was given, the Turk would sometimes also raise his right hand, and either make a warning gesture with a finger, or, as it were, brush the questi
on aside with his whole hand. Whenever this happened, nothing but repeated urging by the questioner could extract an answer, which was then generally ambiguous or angry. It might have been that the wheelwork was connected with, or answerable for, those motions of the head and hands, although even in this the agency of a sentient being seemed essential. People wearied themselves with conjectures concerning the source and agent of this marvellous intelligence. The walls, the adjoining room, the furniture, everything connected with the exhibition, were carefully examined and scrutinized, all completely in vain. The figure and its exhibitor were watched and scanned most closely by the eyes of the most expert in mechanical science; but the more close and minute the scrutiny, the more easy and unconstrained were the actions and proceedings of both. The exhibitor laughed and joked in the farthest corner of the room with the spectators, leaving the figure to make its gestures and give its replies as a wholly independent thing, having no need of any connection with him. Indeed he could not wholly restrain a slightly ironical smile when the table and the figure and tripod were being overhauled and peered at in every direction, taken as close to the light as possible, and inspected by powerful magnifying glasses. The upshot of it all was, that the mechanical geniuses said the devil himself could make neither head nor tail of the confounded mechanism. And a hypothesis that the exhibitor was a clever ventriloquist, and gave the answers himself (the breath being conveyed to the figure’s mouth through hidden valves) fell to the ground, for the exhibitor was to be heard talking loudly and distinctly to people among the audience at the very time when the Turk was making his replies.
Despite the puzzling, mysterious nature of this exhibition, perhaps the interest of the public might soon have grown fainter, if it had not been kept alive by the nature of the answers which the Turk gave. These were sometimes cold and severe, while occasionally they were sparkling and witty—even broadly so at times; at others they evinced strong sense and deep astuteness, and in some instances they were to a high degree painful and tragic. But they were always strikingly apposite to the character and affairs of the questioner, who would frequently be startled by a mystical reference to the future, only possible, as it would seem, to one cognizant of the hidden thoughts and feelings which dictated the question. And it often happened that the Turk, questioned in German, would reply in some other language known to the questioner, in which case it would be found that the answer could not have been expressed with equal point, force, and conciseness in any other language than that selected. In short, no day passed without some fresh instance of a striking and ingenious answer of the wise Turk’s becoming the subject of general remark.
It chanced, one evening, that Lewis and Ferdinand, two college friends, were in a company where the Talking Turk was the subject of conversation. People were discussing whether the strangest feature of the matter was the mysterious and unexplained human influence which seemed to endow the figure with life, or the wonderful insight into the individuality of the questioner, or the remarkable talent of the answers. Lewis and Ferdinand were both rather ashamed to confess that they had not seen the Turk as yet, for it was de rigueur to see him, and everyone had some tale to tell of a wonderful answer to some skilfully devised question.
“All figures of this sort,” said Lewis, “which can scarcely be said to counterfeit humanity so much as to travesty it—mere images of living death or inanimate life—are most distasteful to me. When I was a little boy, I ran away crying from a waxwork exhibition I was taken to, and even to this day I never can enter a place of the sort without a horrible, eerie, shuddery feeling. When I see the staring, lifeless, glassy eyes of all the potentates, celebrated heroes, thieves, murderers, and so on, fixed upon me, I feel disposed to cry with Macbeth
Thou hast no speculation in those eyes
Which thou dost glare with.
And I feel certain that most people experience the same feeling, though perhaps not to the same extent. For you may notice that scarcely anyone talks, except in a whisper, in waxwork museums. You hardly ever hear a loud word. But it is not reverence for the Crowned Heads and other great people that produces this universal pianissimo; it is the oppressive sense of being in the presence of something unnatural and gruesome; and what I detest most of all is the mechanical imitation of human motions. I feel sure this wonderful, ingenious Turk will haunt me with his rolling eyes, his turning head, and his waving arm, like some necromantic goblin, when I lie awake nights; so, the truth is I should very much prefer not going to see him. I should be quite satisfied with other people’s accounts of his wit and wisdom.”
“You know,” said Ferdinand, “I fully agree with you about the disagreeable feeling produced by the sight of such imitations of human beings. But they are not all alike. Much depends on their workmanship, and on what they do. Now there was Ensler’s rope dancer, one of the finest automata I have ever seen. There was a vigour about his movements which was most effective, and when he suddenly sat down on his rope, and bowed in an affable manner, he was utterly delightful. I do not suppose anyone ever experienced the gruesome feeling you speak of in looking at him. As for the Turk, I consider his case different altogether. The figure (which everyone says is a handsome-looking one, with nothing ludicrous or repulsive about it)—the figure really plays a very subordinate part in the business, and I think there can be little doubt that the turning of the head and eyes, and so forth, are intended to divert our attention for the very reason that it is elsewhere that the key to the mystery is to be found. That the breath comes out of the figure’s mouth is very likely, perhaps certain; those who have been there say it does. It by no means follows that this breath is set in motion by the words which are spoken. There cannot be the smallest doubt that some human being is so placed as to be able, by means of acoustical and optical contrivances which we do not trace, to see and hear the persons who ask questions, and whisper answers back to them. Not a soul, even among our most ingenious mechanicians, has the slightest inkling of the process and this shows that it is a remarkably ingenious one; and that, of course, is one thing which renders the exhibition very interesting. But much the most wonderful part of it, in my opinion, is the spiritual power of this unknown human being, who seems to read the very depths of the questioner’s soul. The answers often display an acuteness and sagacity, and, at the same time, a species of dread half-light, half-darkness, which really entitle them to be styled ‘oracular’ in the highest sense of the term. Several of my friends have told me instances of the sort which have fairly astounded me, and I can no longer refrain from putting the wonderful seer-gift of this unknown person to the test. I intend to go there tomorrow forenoon; and you must lay aside your repugnance to ‘living puppets,’ and come with me.”
Although Lewis did his best to get off, he was obliged to yield, on pain of being considered eccentric, so many were the entreaties to him not to spoil a pleasant party by his absence, for a party had been made up to go the next forenoon, and, so to speak, take the miraculous Turk by the very beard. They went accordingly, and although there was no denying that the Turk had an unmistakable air of Oriental grandezza, and that his head was handsome and effective, as soon as Lewis entered the room, he was struck with a sense of the ludicrous about the whole affair. When the exhibitor put the key to the figure’s side, and the wheels began their whirring, he made some rather silly joke to his friends about “the Turkish gentleman’s having a roasting-jack inside him.” Everyone laughed; and the exhibitor—who did not seem to appreciate the joke very much—stopped winding up the machinery. Whether it was that the hilarious mood of the company displeased the wise Turk, or that he chanced not to be “in the vein” on that particular day, his replies—though some were to very witty and ingenious questions—seemed empty and poor; and Lewis, in particular, had the misfortune to find that he was scarcely ever properly understood by the oracle, so that he received for the most part crooked answers. The exhibitor was clearly out of temper, and the audience were on the point of going away, ill-ple
ased and disappointed, when Ferdinand said, “Gentlemen, none of us seems to be much satisfied with the wise Turk, but perhaps we may be partly to blame ourselves; perhaps our questions may not have been altogether to his taste; the fact that he is turning his head at this moment, and raising his arm” (the figure was really doing so), “seems to indicate that I am not mistaken. A question has occurred to me to put to him; and if he gives one of his apposite answers to it, I think he will have quite redeemed his character.”
Ferdinand went up to the Turk, and whispered a word or two in his ear. The Turk raised his arm as if unwilling to answer. Ferdinand persisted, and then the Turk turned his head towards him.
Lewis saw that Ferdinand instantly turned pale; but after a few seconds he asked another question, to which he got an answer at once. It was with a most constrained smile that Ferdinand, turning to the audience, said, “I can assure you, gentlemen, that as far as I am concerned the Turk has redeemed his character. I must beg you to pardon me if I conceal the question and the answer from you; of course the secrets of the Oracle may not be divulged.”
Though Ferdinand strove hard to hide what he felt, it was evident from his efforts to be at ease that he was very deeply moved, and the cleverest answer could not have produced in the spectators the strange sensation, amounting to a sort of awe, which his unmistakable emotion gave rise to in them. The fun and the jests were at an end; hardly another word was spoken, and the audience dispersed in uneasy silence.
“My dear Lewis,” said Ferdinand, as soon as they were alone together, “I must tell you all about this. The Turk has broken my heart; for I believe I shall never get over the blow he has given me until I die to fulfil his terrible prophecy.”
The Best Tales of Hoffmann Page 15
