“Love and tensor algebra? Have you taken leave of your senses?” Trurl began, but stopped, for his electronic bard was already declaiming:

Come, let us hasten to a higher plane, Where dyads tread the fairy fields of Venn, Their indices bedecked from one to n, Commingled in an endless Markov chain! Come, every frustum longs to be a cone, And every vector dreams of matrices. Hark to the gentle gradient of the breeze: It whispers of a more ergodic zone. In Riemann, Hilbert or in Banach space Let superscripts and subscripts go their ways Our asymptotes no longer out of phase, We shall encounter, counting, face to face. I’ll grant thee random access to my heart, Thou’ll tell me all the constants of thy love; And so we two shall all love’s lemmas prove, And in our bound partition never part. For what did Cauchy know, or Christoffel, Or Fourier, or any Boole or Euler, Wielding their compasses, their pens and rulers, Of thy supernal sinusoidal spell? Cancel me not—for what then shall remain? Abscissas, some mantissas, modules, modes, A root or two, a torus and a node: The inverse of my verse, a null domain. Ellipse of bliss, converge, O lips divine! The product of our scalars is defined! Cyberiad draws nigh, and the skew mind Cuts capers like a happy haversine. I see the eigenvalue in thine eye, I hear the tender tensor in thy sigh. Bernoulli would have been content to die, Had he but known such a2cos 2 O!

This concluded the poetic competition, since Klapaucius suddenly had to leave, saying he would return shortly with more topics for the machine; but he never did, afraid that in so doing, he might give Trurl more cause to boast. Trurl of course let it be known that Klapaucius had fled in order to hide his envy and chagrin. Klapaucius meanwhile spread the word that Trurl had more than one screw loose on the subject of that so-called mechanical versifier.

Not much time went by before news of Trurl’s computer laureate reached the genuine—-that is, the ordinary—poets. Deeply offended, they resolved to ignore the machine’s existence. A few, however, were curious enough to visit Trurl’s electronic bard in secret. It received them courteously, in a hall piled high with closely written paper (for it worked day and night without pause). Now these poets were all avant-garde, and Trurl’s machine wrote only in the traditional manner; Trurl, no connoisseur of poetry, had relied heavily on the classics in setting up its program. The machine’s guests jeered and left in triumph. The machine was self-programming, however, and in addition had a special ambition-amplifying mechanism with glory-seeking circuits, and very soon a great change took place. Its poems became difficult, ambiguous, so intricate and charged with meaning that they were totally incomprehensible. When the next group of poets came to mock and laugh, the machine replied with an improvisation that was so modern, it took their breath away, and the second poem seriously weakened a certain sonneteer who had two State awards to his name, not to mention a statue in the city park. After that, no poet could resist the fatal urge to cross lyrical swords with Trurl’s electronic bard. They came from far and wide, carrying trunks and suitcases full of manuscripts. The machine would let each challenger recite, instantly grasp the algorithm of his verse, and use it to compose an answer in exactly the same style, only two hundred and twenty to three hundred and forty-seven times better.

The machine quickly grew so adept at this, that it could cut down a first-class rhapsodist with no more than one or two quatrains. But the worst of it was, all the third-rate poets emerged unscathed; being third-rate, they didn’t know good poetry from bad and consequently had no inkling of their crushing defeat. One of them, true, broke his leg when, on the way out, he tripped over an epic poem the machine had just completed, a prodigious work beginning with the words:

Arms, and machines I sing, that, forc’d by fate,

And haughty Homo’s unrelenting hate,

Expell’d and exil’d, left the Terran shore…

The true poets, on the other hand, were decimated by Trurl’s electronic bard, though it never laid a finger on them. First an aged elegiast, then two modernists committed suicide, leaping off a cliff that unfortunately happened to lie hard by the road leading from Trurl’s place to the nearest train station.

There were many poet protests staged, demonstrations, demands that the machine be served an injunction to cease and desist. But no one else appeared to care. In fact, magazine editors generally approved: Trurl’s electronic bard, writing under several thousand different pseudonyms at once, had a poem for every occasion, to fit whatever length might be required, and of such high quality that the magazine would be torn from hand to hand by eager readers. On the street one could see enraptured faces, bemused smiles, sometimes even hear a quiet sob. Everyone knew the poems of Trurl’s electronic bard, the air rang with its delightful rhymes. Not infrequently, those citizens of a greater sensitivity, struck by a particularly marvelous metaphor or assonance, would actually fall into a faint. But this colossus of inspiration was prepared even for that eventuality; it would immediately supply the necessary number of restorative rondelets.

Trurl himself had no little trouble in connection with his invention. The classicists, generally elderly, were fairly harmless; they confined themselves to throwing stones through his windows and smearing the sides of his house with an unmentionable substance. But it was much worse with the younger poets. One, for example, as powerful in body as his verse was in imagery, beat Trurl to a pulp. And while the constructor lay in the hospital, events marched on. Not a day passed without a suicide or a funeral; picket lines formed around the hospital; one could hear gunfire in the distance —instead of manuscripts in their suitcases, more and more poets were bringing rifles to defeat Trurl’s electronic bard. But the bullets merely bounced off its calm exterior. After his return from the

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