Can an artificial companion satisfy the need for companionship if it has no feelings of its own?
Yes1
- 1886l'Isle-Adam, Tomorrow's Eve
--La déduction est, en effet, spécieuse et profonde, murmura-t-il en souriant, mais je sens que je me trouverais toujours un peu trop _seul_ en compagnie de votre Ève inconsciente. --Moins seul qu'avec son modèle: c'est démontré.--D'ailleurs, milord, ce serait de votre faute, non de la sienne. Il faut se sentir un Dieu tout à fait, que diable! lorsqu'on ose VOULOIR _ce dont il est question ici_. --Puis, ajouta-t-il d'une voix bizarre, vous ne vous rendez pas bien compte, je suppose, de la _nouveauté_ d'impressions que vous éprouverez dès la première causerie, au grand soleil, avec l'andréide-Alicia se promenant auprès de vous et inclinant son ombrelle du côté des rayons, avec tout le _naturel_ de la vivante.
"The deduction is indeed specious and profound," he murmured, smiling, "but I feel that I would always find myself a little too alone in the company of your unconscious Eve." "Less alone than with her model: that has been demonstrated. Besides, my lord, it would be your fault, not hers. One must feel oneself wholly a God, devil take it, when one dares to WILL what is in question here." "Then," he added in a strange voice, "you do not quite realize, I suppose, the novelty of the impressions you will feel from the very first conversation, in broad sunlight, with the android-Alicia walking beside you and tilting her parasol toward the sun, with all the naturalness of the living woman."
machine translation
SummaryEdison argues that the android Hadaly, with recorded speech and no inner life of her own, will be better company for Ewald than the shallow woman she copies.
No4
- 1637Descartes, Discourse on Method
but if there were machines bearing the image of our bodies, and capable of imitating our actions as far as it is morally possible, there would still remain two most certain tests whereby to know that they were not therefore really men. Of these the first is that they could never use words or other signs arranged in such a manner as is competent to us in order to declare our thoughts to others: for we may easily conceive a machine to be so constructed that it emits vocables, and even that it emits some correspondent to the action upon it of external objects which cause a change in its organs; for example, if touched in a particular place it may demand what we wish to say to it; if in another it may cry out that it is hurt, and such like; but not that it should arrange them variously so as appositely to reply to what is said in its presence, as men of the lowest grade of intellect can do.
SummaryA machine might utter words in response to a touch, but it could never arrange words to answer the meaning of whatever is said to it, as even the dullest person can.
Part V
- 1778Goethe, The Triumph of Sensibility
Seht ihr nicht, daß, wenn wir diese Papiere verbrennten, der Zauber aufhören, und er seine Geliebte als ein hohles Bild der Phantasie gleich erkennen würde? Die Götter haben mir diesen Wink gegeben, und ich danke ihnen, daß ich sie nicht mißverstanden habe. O du liebliche, holde, geflickte Braut, möge die Kraft aller lügenhaften Träume auf dich herabsteigen! möge dein papiernes Herz, deine leinenen Gedärme so viel Kraft haben, den hoch und fein empfindenden Prinzen an sich zu ziehen, wie sonst magische Zeichen, geweihte Kerzen, Alraune und Todtenköpfe, Geister und Schätze an sich zu ziehen pflegen!
Do you not see that if we burned these papers the spell would end, and he would at once recognise his beloved as a hollow figment of fancy? The gods have given me this hint, and I thank them that I did not misunderstand it. O you lovely, gracious, patched-together bride, may the power of all lying dreams descend upon you! May your paper heart and your linen guts have power enough to draw the high and finely feeling Prince to you, as magic signs, consecrated candles, mandrakes and skulls, spirits and treasures are wont to draw!
machine translation
SummarySatire in which Prince Oronaro prefers a doll stuffed with sentimental novels to the real queen; the play mocks a love that needs nothing back.
- 1816Hoffmann, The Sandman
All these he read to Olimpia hour after hour without growing tired; but then he had never had such an exemplary listener. She neither embroidered, nor knitted; she did not look out of the window, or feed a bird, or play with a little pet dog or a favourite cat, neither did she twist a piece of paper or anything of that kind round her finger; she did not forcibly convert a yawn into a low affected cough--in short, she sat hour after hour with her eyes bent unchangeably upon her lover's face, without moving or altering her position, and her gaze grew more ardent and more ardent still. And it was only when at last Nathanael rose and kissed her lips or her hand that she said, "Ach! Ach!" and then "Good-night, dear." Arrived in his own room, Nathanael would break out with, "Oh! what a brilliant--what a profound mind! Only you--you alone understand me." And his heart trembled with rapture when he reflected upon the wondrous harmony which daily revealed itself between his own and his Olimpia's character; for he fancied that she had expressed in respect to his works and his poetic genius the identical sentiments which he himself cherished deep down in his own heart in respect to the same, and even as if it was his own heart's voice speaking to him. And it must indeed have been so; for Olimpia never uttered any other words than those already mentioned.
SummaryNathanael feels only Olimpia understands him though she answers only 'Ah, ah'; the story treats this companionship as delusion.
- 1914Rilke, Dolls: On the Wax Dolls of Lotte Pritzel
Dann schwieg sie, nicht aus Überlegenheit, schwieg, weil das ihre ständige Ausrede war, weil sie aus einem nichtsnutzigen, völlig unzurechnungsfähigen Stoffe bestand, – schwieg und kam nicht einmal auf den Gedanken, sich darauf etwas zugute zu tun, ob es ihr gleich zu großer Bedeutung verhelfen mußte in einer Welt, in der das Schicksal, ja Gott selber, vor allem dadurch berühmt geworden sind, daß sie uns anschweigen. Zu einer Zeit, wo noch alle bemüht waren, uns immer rasch und beschwichtigend zu antworten, war sie, die Puppe, die erste, die uns jenes überlebensgroße Schweigen antat, das uns später immer wieder aus dem Raume anhauchte, wenn wir irgendwo an die Grenze unseres Daseins traten. Ihr gegenüber, da sie uns anstarrte, erfuhren wir zuerst (oder irr ich mich?) jenes Hohle im Gefühl, jene Herzpause, in der einer verginge, wenn ihn dann nicht die ganze, sanft weitergehende Natur, wie ein Lebloses, über Abgründe hinüberhübe. Sind wir nicht wunderliche Geschöpfe, daß wir uns gehen und anleiten lassen, unsere erste Neigung dort anzulegen, wo sie aussichtslos bleibt? So daß überall in den Geschmack jener unüberlegtesten Zärtlichkeit die Bitternis sich verteilte, daß sie vergeblich war?
Then she was silent, not from superiority, silent because that was her constant excuse, because she was made of a good-for-nothing, wholly irresponsible stuff; silent, and it did not even occur to her to take any credit for it, though it was bound to give her great importance in a world in which fate, and God himself, have become famous above all for being silent to us. At a time when everyone was still eager to answer us quickly and soothingly, she, the doll, was the first to inflict on us that more-than-life-size silence that later breathed on us again and again out of space whenever we came to the edge of our existence. Facing her, as she stared at us, we first experienced (or am I wrong?) that hollowness in feeling, that pause of the heart in which one would perish if the whole of gently continuing nature did not lift one, like something lifeless, over the abyss. Are we not strange creatures, that we let ourselves be led to place our first affection where it remains hopeless? So that the bitterness that it was in vain spread through the taste of that most unconsidered tenderness?
machine translation
SummaryThe child's doll takes all the love given it and answers with silence, because it is made of stuff that cannot respond; Rilke treats this as the child's first experience of not being loved back.