Амброз Бирс - We, Robots

Here, it might well be thought that, were these last conjectures as to the foundling’s secrets not erroneous, then must he have been hopelessly infected with the craziest chimeras of his age; far outgoing Albert Magus and Cornelius Agrippa. But the contrary was averred. However marvelous his design, however apparently transcending not alone the bounds of human invention, but those of divine creation, yet the proposed means to be employed were alleged to have been confined within the sober forms of sober reason. It was affirmed that, to a degree of more than skeptic scorn, Bannadonna had been without sympathy for any of the vainglorious irrationalities of his time. For example, he had not concluded, with the visionaries among the metaphysicians, that between the finer mechanic forces and the ruder animal vitality some germ of correspondence might prove discoverable. As little did his scheme partake of the enthusiasm of some natural philosophers, who hoped, by physiological and chemical inductions, to arrive at a knowledge of the source of life, and so qualify themselves to manufacture and improve upon it. Much less had he aught in common with the tribe of alchemists, who sought by a species of incantations to evoke some surprising vitality from the laboratory. Neither had he imagined, with certain sanguine theosophists, that, by faithful adoration of the Highest, unheard-of powers would be vouchsafed to man. A practical materialist, what Bannadonna had aimed at was to have been reached, not by logic, not by crucible, not by conjuration, not by altars, but by plain vise-bench and hammer. In short, to solve nature, to steal into her, to intrigue beyond her, to procure someone else to bind her to his hand—these, one and all, had not been his objects, but, asking no favors from any element or any being, of himself to rival her, outstrip her, and rule her. He stooped to conquer. With him, common sense was theurgy; machinery, miracle; Prometheus, the heroic name for machinist; man, the true God.

Nevertheless, in his initial step, so far as the experimental automaton for the belfry was concerned, he allowed fancy some little play, or, perhaps, what seemed his fancifulness was but his utilitarian ambition collaterally extended. In figure, the creature for the belfry should not be likened after the human pattern, nor any animal one, nor after the ideals, however wild, of ancient fable, but equally in aspect as in organism be an original production—the more terrible to behold, the better.

Such, then, were the suppositions as to the present scheme, and the reserved intent. How, at the very threshold, so unlooked-for a catastrophe overturned all, or rather, what was the conjecture here, is now to be set forth.

It was thought that on the day preceding the fatality, his visitors having left him, Bannadonna had unpacked the belfry image, adjusted it, and placed it in the retreat provided—a sort of sentry box in one corner of the belfry; in short, throughout the night, and for some part of the ensuing morning, he had been engaged in arranging everything connected with the domino: the issuing from the sentry box each sixty minutes; sliding along a grooved way, like a railway; advancing to the clock bell with uplifted manacles; striking it at one of the twelve junctions of the four-and-twenty hands; then wheeling, circling the bell, and retiring to its post, there to bide for another sixty minutes, when the same process was to be repeated; the bell, by a cunning mechanism, meantime turning on its vertical axis, so as to present, to the descending mace, the clasped hands of the next two figures, when it would strike two, three, and so on, to the end. The musical metal in this time bell being so managed in the fusion, by some art perishing with its originator, that each of the clasps of the four-and-twenty hands should give forth its own peculiar resonance when parted.

But on the magic metal, the magic and metallic stranger never struck but that one stroke, drove but that one nail, served but that one clasp, by which Bannadonna clung to his ambitious life. For, after winding up the creature in the sentry box, so that, for the present, skipping the intervening hours, it should not emerge till the hour of one, but should then infallibly emerge, and, after deftly oiling the grooves whereon it was to slide, it was surmised that the mechanician must then have hurried to the bell, to give his final touches to its sculpture. True artist, he here became absorbed, and absorption still further intensified, it may be, by his striving to abate that strange look of Una, which, though, before others, he had treated with such unconcern, might not, in secret, have been without its thorn.

And so, for the interval, he was oblivious of his creature, which, not oblivious of him, and true to its creation, and true to its heedful winding up, left its post precisely at the given moment, along its well-oiled route, slid noiselessly towards its mark, and, aiming at the hand of Una to ring one clangorous note, dully smote the intervening brain of Bannadonna, turned backwards to it, the manacled arms then instantly upspringing to their hovering poise. The falling body clogged the thing’s return, so there it stood, still impending over Bannadonna, as if whispering some post-mortem terror. The chisel lay dropped from the hand, but beside the hand; the oil-flask spilled across the iron track.

In his unhappy end, not unmindful of the rare genius of the mechanician, the republic decreed him a stately funeral. It was resolved that the great bell—the one whose casting had been jeopardized through the timidity of the ill-starred workman—should be rung upon the entrance of the bier into the cathedral. The most robust man of the country round was assigned the office of bell ringer.

But as the pallbearers entered the cathedral porch, naught but a broken and disastrous sound, like that of some lone Alpine landslide, fell from the tower upon their ears. And then all was hushed.

Glancing backwards, they saw the groined belfry crashed sideways in. It afterwards appeared that the powerful peasant who had the bell rope in charge, wishing to test at once the full glory of the bell, had swayed down upon the rope with one concentrate jerk. The mass of quaking metal, too ponderous for its frame, and strangely feeble somewhere at its top, loosed from its fastening, tore sideways down, and, tumbling in one sheer fall three hundred feet to the soft sward below, buried itself inverted and half out of sight.

Upon its disinterment, the main fracture was found to have started from a small spot in the ear, which, being scraped, revealed a defect, deceptively minute, in the casting, which defect must subsequently have been pasted over with some unknown compound.

The remolten metal soon reassumed its place in the tower’s repaired superstructure. For one year the metallic choir of birds sang musically in its belfry boughwork of sculptured blinds and traceries. But on the first anniversary of the tower’s completion—at early dawn, before the concourse had surrounded it—an earthquake came; one loud crash was heard. The stone pine, with all its bower of songsters, lay overthrown upon the plain.

So the blind slave obeyed its blinder lord, but, in obedience, slew him. So the creator was killed by the creature. So the bell was too heavy for the tower. So the bell’s main weakness was where man’s blood had flawed it. And so pride went before the fall.

(1855)

Born in Königsberg, East Prussia, in 1931, Algirdas Jonas Budrysarrived in America with his parents in 1936. His writing career wasn’t exactly plain sailing. His first novel False Night (1954) was horribly hacked about by its editor, then his publisher ran out of money, stalling his second novel for years. When eventually it did appear, Who? was snapped up for a movie – quite a good one – starring Elliott Gould and Trevor Howard. The sentient artificial intelligence in Michaelmas , housed worldwide through a network of distributed computers, is a prescient creation indeed in a novel published in 1977. Budrys (AJ to his friends) was also an editor and publisher. Tomorrow Speculative Fiction was his, running from 1993 to 2000. But it’s as a writer of tough, cool, existential short stories that he’ll be best remembered.