Earth Is Room Enough
Chapter Twenty-One
"What's the answer?" asked Meyerhof. "I want Multivac's remarks, not yours."
"All right. Take it. Multivac states that, once even a single human discovers the truth of this method of psychological analysis of the human mind, it will become useless as an objective technique to those extraterrestrial powers now using it."
"You mean there won't be any more jokes handed out to humanity?" asked Trask faintly. "Or what do you mean?"
"No more jokes," said Whistler, "now! Multivac says now! The experiment is ended now! A new technique will have to be introduced."
They stared at each other. The minutes passed.
Meyerhof said slowly, "Multivac is right."
Whistler said haggardly, "I know."
Even Trask said in a whisper, "Yes. It must be."
It was Meyerhof who put his finger on the proof of it, Meyerhof the accomplished jokester. He said, "It's over, you know, all over. I've been trying for five minutes now and I can't think of one single joke, not one! And if I read one in a book, I wouldn't laugh. I know."
"The gift of humor is gone," said Trask drearily. "No man will ever laugh again."
And they remained there, staring, feeling the world shrink down to the dimensions of an experimental rat cage-with the maze removed and something, something about to be put in its place.
The Immortal Bard
"Oh, yes," said Dr. Phineas Welch, "I can bring back the spirits of the illustrious dead."
He was a little drunk, or maybe he wouldn't have said it. Of course, it was perfectly all right to get a little drunk at the annual Christmas party.
Scott Robertson, the school's young English instructor, adjusted his glasses and looked to right and left to see if they were overheard. "Really, Dr. Welch."
"I mean it. And not just the spirits. I bring back the bodies, too."
"I wouldn't have said it were possible," said Robertson primly.
"Why not? A simple matter of temporal transference."
"You mean time travel? But that's quite-uh-unusual."
"Not if you know how."
"Well, how, Dr. Welch?"
"Think I'm going to tell you?" asked the physicist gravely. He looked vaguely about for another drink and didn't find any. He said, "I brought quite a few back. Archimedes, Newton, Galileo. Poor fellows."
"Didn't they like it here? I should think they'd have been fascinated by our modern science," said Robertson. He was beginning to enjoy the conversation.
"Oh, they were. They were. Especially Archimedes. I thought he'd go mad with joy at first after I explained a little of it in some Greek I'd boned up on, but no-no-"
"What was wrong?"
"Just a different culture. They couldn't get used to our way i life. They got terribly lonely and frightened. I had to send them back."
"That's too bad."
"Yes. Great minds, but not flexible minds. Not universal. So I tried Shakespeare."
"What?" yelled Robertson. This was getting closer to home.
"Don't yell, my boy," said Welch. "It's bad manners."
"Did you say you brought back Shakespeare?"
"I did. I needed someone with a universal mind; someone who knew people well enough to be able to live with them centuries way from his own time. Shakespeare was the man. I've got his signature. As a memento, you know."
"On you?" asked Robertson, eyes bugging.
"Right here." Welch fumbled in one vest pocket after another. "Ah, here it is."
A little piece of pasteboard was passed to the instructor. On one side it said: "L. Klein amp; Sons, Wholesale Hardware." On the other side, in straggly script, was written, "Willm Shakesper."
A wild surmise filled Robertson. "What did he look like?"
"Not like his pictures. Bald and an ugly mustache. He spoke in a thick brogue. Of course, I did my best to please him with our times. I told him we thought highly of his plays and still put them on the boards. In fact, I said we thought they were the greatest pieces of literature in the English language, maybe in any language."
"Good. Good," said Robertson breathlessly.
"I said people had written volumes of commentaries on his plays. Naturally he wanted to see one and I got one for him from the library."
"And?"
"Oh, he was fascinated. Of course, he had trouble with the current idioms and references to events since 1600, but I helped out. Poor fellow. I don't think he ever expected such treatment. He kept saying, 'God ha' mercy! What cannot be racked from words in five centuries? One could wring, methinks, a flood from a damp clout!' "
"He wouldn't say that."
"Why not? He wrote his plays as quickly as he could. He said he had to on account of the deadlines. He wrote Hamlet in less than six months. The plot was an old one. He just polished it up."
"That's all they do to a telescope mirror. Just polish it up," said the English instructor indignantly.
The physicist disregarded him. He made out an untouched cocktail on the bar some feet away and sidled toward it. "I told the immortal bard that we even gave college courses in Shakespeare."
"I give one."
"I know. I enrolled him in your evening extension course. I never saw a man so eager to find out what posterity thought of him as poor Bill was. He worked hard at it."
"You enrolled William Shakespeare in my course?" mumbled Robertson. Even as an alcoholic fantasy, the thought staggered him. And was it an alcoholic fantasy? He was beginning to recall a bald man with a queer way of talking...
"Not under his real name, of course," said Dr. Welch. "Never mind what he went under. It was a mistake, that's all. A big mistake. Poor fellow." He had the cocktail now and shook his head at it.
"Why was it a mistake? What happened?"
"I had to send him back to 1600," roared Welch indignantly. "How much humiliation do you think a man can stand?"
"What humiliation are you talking about?"
Dr. Welch tossed off the cocktail. "Why, you poor simpleton, you flunked him."
Someday
Niccolo Mazetti lay stomach down on the rug, chin buried in the palm of one small hand, and listened to the Bard disconsolately. There was even the suspicion of tears in his dark eyes, a luxury an eleven-year-old could allow himself only when alone.
The Bard said, "Once upon a time in the middle of a deep wood, there lived a poor woodcutter and his two motherless daughters, who were each as beautiful as the day is long. The older daughter had long hair as black as a feather from a raven's wing, but the younger daughter had hair as bright and golden as the sunlight of an autumn afternoon.
"Many times while the girls were waiting for their father to come home from his day's work in the wood, the older girl would sit before a mirror and sing-"
What she sang, Niccolo did not hear, for a call sounded from outside the room: "Hey, Nickie."
And Niccolo, his face clearing on the moment, rushed to the window and shouted, "Hey, Paul."
Paul Loeb waved an excited hand. He was thinner than Niccolo and not as tall, for all he was six months older. His face was full of repressed tension which showed itself most clearly in the rapid blinking of his eyelids. "Hey, Nickie, let me in. I've got an idea and a half. Wait till you hear it." He looked rapidly about him as though to check on the possibility of eavesdroppers, but the front yard was quite patently empty. He repeated, in a whisper, "Wait till you hear it."
"All right. I'll open the door."
The Bard continued smoothly, oblivious to the sudden loss of attention on the part of Niccolo. As Paul entered, the Bard was saying. "... Thereupon, the lion said, 'If you will find me the lost egg of the bird which flies over the Ebony Mountain once every ten years, I will-' "
Paul said, "Is that a Bard you're listening to? I didn't know you had one."
Niccolo reddened and the look of unhappiness returned to his face. "Just an old thing I had when I was a kid. It ain't much good." He kicked at the Bard with his foot and caught the somewhat scarred and discolored plastic covering a glancing blow.
The Bard hiccupped as its speaking attachment was jarred out of contact a moment, then it went on: "-for a year and a day until the iron shoes were worn out. The princess stopped at the side of the road..."
Paul said, "Boy, that is an old model," and looked at it critically.
Despite Niccolo's own bitterness against the Bard, he winced at the other's condescending tone. For the moment, he was sorry he had allowed Paul in, at least before he had restored the Bard to its usual resting place in the basement. It was only in the desperation of a dull day and a fruitless discussion with his father that he had resurrected it. And it turned out to be just as stupid as he had expected.
Nickie was a little afraid of Paul anyway, since Paul had special courses at school and everyone said he was going to grow up to be a Computing Engineer.
Not that Niccolo himself was doing badly at school. He got adequate marks in logic, binary manipulations, computing and elementary circuits; all the usual grammar-school subjects. But that was it! They were just the usual subjects and he would grow up to be a control-board guard like everyone else.
Paul, however, knew mysterious things about what he called electronics and theoretical mathematics and programing. Especially programing. Niccolo didn't even try to understand when Paul bubbled over about it.
Paul listened to the Bard for a few minutes and said, "You been using it much?"
"No!" said Niccolo, offended. "I've had it in the basement since before you moved into the neighborhood. I just got it out today-" He lacked an excuse that seemed adequate to himself, so he concluded, "I just got it out."
Paul said, "Is that what it tells you about: woodcutters and princesses and talking animals?"
Niccolo said, "It's terrible. My dad says we can't afford a new one. I said to him this morning-" The memory of the morning's fruitless pleadings brought Niccolo dangerously near tears, which he repressed in a panic. Somehow, he felt that Paul's thin cheeks never felt the stain of tears and that Paul would have only contempt for anyone else less strong than himself.
Niccolo went on, "So I thought I'd try this old thing again, but it's no good."
Paul turned off the Bard, pressed the contact that led to a nearly instantaneous reorientation and recombination of the vocabulary, characters, plot lines and climaxes stored within it. Then he reactivated it.
The Bard began smoothly, "Once upon a time there was a little boy named Willikins whose mother had died and who lived with a stepfather and a stepbrother. Although the stepfather was very well-to-do, he begrudged poor Willikins the very bed he slept in so that Willikins was forced to get such rest as he could on a pile of straw in the stable next to the horses-"
"Horses!" cried Paul.
"They're a kind of animal," said Niccolo. "I think."
"I know that! I just mean imagine stories about horses."
"It tells about horses all the time," said Niccolo. "There are things called cows, too. You milk them but the Bard doesn't say how."
"Well, gee, why don't you fix it up?"
"I'd like to know how."
The Bard was saying, "Often Willikins would think that if only he were rich and powerful, he would show his stepfather and stepbrother what it meant to be cruel to a little boy, so one day he decided to go out into the world and seek his fortune."
Paul, who wasn't listening to the Bard, said, "It's easy. The Bard has memory cylinders all fixed up for plot lines and climaxes and things. We don't have to worry about that. It's just vocabulary we've got to fix so it'll know about computers and automation and electronics and real things about today. Then it can tell interesting stories, you know, instead of about princesses and things."
Niccolo said despondently, "I wish we could do that."
Paul said, "Listen, my dad says if I get into special computing school next year, he'll get me a real Bard, a late model. A big one with an attachment for space stories and mysteries. And a visual attachment, too!"
"You mean see the stories?"
"Sure. Mr. Daugherty at school says they've got things like that, now, but not for just everybody. Only if I get into computing school, Dad can get a few breaks."
Niccolo's eyes bulged with envy. "Gee. Seeing a story."
"You can come over and watch anytime, Nickie."
"Oh, boy. Thanks."
"That's all right. But remember, I'm the guy who says what kind of story we hear."
"Sure. Sure." Niccolo would have agreed readily to much more onerous conditions.
Paul's attention returned to the Bard.
It was saying, " 'If that is the case,' said the king, stroking his beard and frowning till clouds filled the sky and lightning flashed, 'you w'" see to it that my entire land is freed of flies by this time day after tomorrow or-' "
"All we've got to do," said Paul, "is open it up-" He shut the Bard off again and was prying at its front panel as he spoke.
"Hey," said Niccolo, in sudden alarm. "Don't break it."
"I won't break it," said Paul impatiently. "I know all about these things." Then, with sudden caution, "Your father and mother home?"
"No."
"All right, then." He had the front panel off and peered in. "Boy, this is a one-cylinder thing."
He worked away at the Bard's innards. Niccolo, who watched with painful suspense, could not make out what he was doing.
Paul pulled out a thin, flexible metal strip, powdered with dots. "That's the Bard's memory cylinder. I'll bet its capacity for stories is under a trillion."
"What are you going to do, Paul?" quavered Niccolo.
"All right. Take it. Multivac states that, once even a single human discovers the truth of this method of psychological analysis of the human mind, it will become useless as an objective technique to those extraterrestrial powers now using it."
"You mean there won't be any more jokes handed out to humanity?" asked Trask faintly. "Or what do you mean?"
"No more jokes," said Whistler, "now! Multivac says now! The experiment is ended now! A new technique will have to be introduced."
They stared at each other. The minutes passed.
Meyerhof said slowly, "Multivac is right."
Whistler said haggardly, "I know."
Even Trask said in a whisper, "Yes. It must be."
It was Meyerhof who put his finger on the proof of it, Meyerhof the accomplished jokester. He said, "It's over, you know, all over. I've been trying for five minutes now and I can't think of one single joke, not one! And if I read one in a book, I wouldn't laugh. I know."
"The gift of humor is gone," said Trask drearily. "No man will ever laugh again."
And they remained there, staring, feeling the world shrink down to the dimensions of an experimental rat cage-with the maze removed and something, something about to be put in its place.
The Immortal Bard
"Oh, yes," said Dr. Phineas Welch, "I can bring back the spirits of the illustrious dead."
He was a little drunk, or maybe he wouldn't have said it. Of course, it was perfectly all right to get a little drunk at the annual Christmas party.
Scott Robertson, the school's young English instructor, adjusted his glasses and looked to right and left to see if they were overheard. "Really, Dr. Welch."
"I mean it. And not just the spirits. I bring back the bodies, too."
"I wouldn't have said it were possible," said Robertson primly.
"Why not? A simple matter of temporal transference."
"You mean time travel? But that's quite-uh-unusual."
"Not if you know how."
"Well, how, Dr. Welch?"
"Think I'm going to tell you?" asked the physicist gravely. He looked vaguely about for another drink and didn't find any. He said, "I brought quite a few back. Archimedes, Newton, Galileo. Poor fellows."
"Didn't they like it here? I should think they'd have been fascinated by our modern science," said Robertson. He was beginning to enjoy the conversation.
"Oh, they were. They were. Especially Archimedes. I thought he'd go mad with joy at first after I explained a little of it in some Greek I'd boned up on, but no-no-"
"What was wrong?"
"Just a different culture. They couldn't get used to our way i life. They got terribly lonely and frightened. I had to send them back."
"That's too bad."
"Yes. Great minds, but not flexible minds. Not universal. So I tried Shakespeare."
"What?" yelled Robertson. This was getting closer to home.
"Don't yell, my boy," said Welch. "It's bad manners."
"Did you say you brought back Shakespeare?"
"I did. I needed someone with a universal mind; someone who knew people well enough to be able to live with them centuries way from his own time. Shakespeare was the man. I've got his signature. As a memento, you know."
"On you?" asked Robertson, eyes bugging.
"Right here." Welch fumbled in one vest pocket after another. "Ah, here it is."
A little piece of pasteboard was passed to the instructor. On one side it said: "L. Klein amp; Sons, Wholesale Hardware." On the other side, in straggly script, was written, "Willm Shakesper."
A wild surmise filled Robertson. "What did he look like?"
"Not like his pictures. Bald and an ugly mustache. He spoke in a thick brogue. Of course, I did my best to please him with our times. I told him we thought highly of his plays and still put them on the boards. In fact, I said we thought they were the greatest pieces of literature in the English language, maybe in any language."
"Good. Good," said Robertson breathlessly.
"I said people had written volumes of commentaries on his plays. Naturally he wanted to see one and I got one for him from the library."
"And?"
"Oh, he was fascinated. Of course, he had trouble with the current idioms and references to events since 1600, but I helped out. Poor fellow. I don't think he ever expected such treatment. He kept saying, 'God ha' mercy! What cannot be racked from words in five centuries? One could wring, methinks, a flood from a damp clout!' "
"He wouldn't say that."
"Why not? He wrote his plays as quickly as he could. He said he had to on account of the deadlines. He wrote Hamlet in less than six months. The plot was an old one. He just polished it up."
"That's all they do to a telescope mirror. Just polish it up," said the English instructor indignantly.
The physicist disregarded him. He made out an untouched cocktail on the bar some feet away and sidled toward it. "I told the immortal bard that we even gave college courses in Shakespeare."
"I give one."
"I know. I enrolled him in your evening extension course. I never saw a man so eager to find out what posterity thought of him as poor Bill was. He worked hard at it."
"You enrolled William Shakespeare in my course?" mumbled Robertson. Even as an alcoholic fantasy, the thought staggered him. And was it an alcoholic fantasy? He was beginning to recall a bald man with a queer way of talking...
"Not under his real name, of course," said Dr. Welch. "Never mind what he went under. It was a mistake, that's all. A big mistake. Poor fellow." He had the cocktail now and shook his head at it.
"Why was it a mistake? What happened?"
"I had to send him back to 1600," roared Welch indignantly. "How much humiliation do you think a man can stand?"
"What humiliation are you talking about?"
Dr. Welch tossed off the cocktail. "Why, you poor simpleton, you flunked him."
Someday
Niccolo Mazetti lay stomach down on the rug, chin buried in the palm of one small hand, and listened to the Bard disconsolately. There was even the suspicion of tears in his dark eyes, a luxury an eleven-year-old could allow himself only when alone.
The Bard said, "Once upon a time in the middle of a deep wood, there lived a poor woodcutter and his two motherless daughters, who were each as beautiful as the day is long. The older daughter had long hair as black as a feather from a raven's wing, but the younger daughter had hair as bright and golden as the sunlight of an autumn afternoon.
"Many times while the girls were waiting for their father to come home from his day's work in the wood, the older girl would sit before a mirror and sing-"
What she sang, Niccolo did not hear, for a call sounded from outside the room: "Hey, Nickie."
And Niccolo, his face clearing on the moment, rushed to the window and shouted, "Hey, Paul."
Paul Loeb waved an excited hand. He was thinner than Niccolo and not as tall, for all he was six months older. His face was full of repressed tension which showed itself most clearly in the rapid blinking of his eyelids. "Hey, Nickie, let me in. I've got an idea and a half. Wait till you hear it." He looked rapidly about him as though to check on the possibility of eavesdroppers, but the front yard was quite patently empty. He repeated, in a whisper, "Wait till you hear it."
"All right. I'll open the door."
The Bard continued smoothly, oblivious to the sudden loss of attention on the part of Niccolo. As Paul entered, the Bard was saying. "... Thereupon, the lion said, 'If you will find me the lost egg of the bird which flies over the Ebony Mountain once every ten years, I will-' "
Paul said, "Is that a Bard you're listening to? I didn't know you had one."
Niccolo reddened and the look of unhappiness returned to his face. "Just an old thing I had when I was a kid. It ain't much good." He kicked at the Bard with his foot and caught the somewhat scarred and discolored plastic covering a glancing blow.
The Bard hiccupped as its speaking attachment was jarred out of contact a moment, then it went on: "-for a year and a day until the iron shoes were worn out. The princess stopped at the side of the road..."
Paul said, "Boy, that is an old model," and looked at it critically.
Despite Niccolo's own bitterness against the Bard, he winced at the other's condescending tone. For the moment, he was sorry he had allowed Paul in, at least before he had restored the Bard to its usual resting place in the basement. It was only in the desperation of a dull day and a fruitless discussion with his father that he had resurrected it. And it turned out to be just as stupid as he had expected.
Nickie was a little afraid of Paul anyway, since Paul had special courses at school and everyone said he was going to grow up to be a Computing Engineer.
Not that Niccolo himself was doing badly at school. He got adequate marks in logic, binary manipulations, computing and elementary circuits; all the usual grammar-school subjects. But that was it! They were just the usual subjects and he would grow up to be a control-board guard like everyone else.
Paul, however, knew mysterious things about what he called electronics and theoretical mathematics and programing. Especially programing. Niccolo didn't even try to understand when Paul bubbled over about it.
Paul listened to the Bard for a few minutes and said, "You been using it much?"
"No!" said Niccolo, offended. "I've had it in the basement since before you moved into the neighborhood. I just got it out today-" He lacked an excuse that seemed adequate to himself, so he concluded, "I just got it out."
Paul said, "Is that what it tells you about: woodcutters and princesses and talking animals?"
Niccolo said, "It's terrible. My dad says we can't afford a new one. I said to him this morning-" The memory of the morning's fruitless pleadings brought Niccolo dangerously near tears, which he repressed in a panic. Somehow, he felt that Paul's thin cheeks never felt the stain of tears and that Paul would have only contempt for anyone else less strong than himself.
Niccolo went on, "So I thought I'd try this old thing again, but it's no good."
Paul turned off the Bard, pressed the contact that led to a nearly instantaneous reorientation and recombination of the vocabulary, characters, plot lines and climaxes stored within it. Then he reactivated it.
The Bard began smoothly, "Once upon a time there was a little boy named Willikins whose mother had died and who lived with a stepfather and a stepbrother. Although the stepfather was very well-to-do, he begrudged poor Willikins the very bed he slept in so that Willikins was forced to get such rest as he could on a pile of straw in the stable next to the horses-"
"Horses!" cried Paul.
"They're a kind of animal," said Niccolo. "I think."
"I know that! I just mean imagine stories about horses."
"It tells about horses all the time," said Niccolo. "There are things called cows, too. You milk them but the Bard doesn't say how."
"Well, gee, why don't you fix it up?"
"I'd like to know how."
The Bard was saying, "Often Willikins would think that if only he were rich and powerful, he would show his stepfather and stepbrother what it meant to be cruel to a little boy, so one day he decided to go out into the world and seek his fortune."
Paul, who wasn't listening to the Bard, said, "It's easy. The Bard has memory cylinders all fixed up for plot lines and climaxes and things. We don't have to worry about that. It's just vocabulary we've got to fix so it'll know about computers and automation and electronics and real things about today. Then it can tell interesting stories, you know, instead of about princesses and things."
Niccolo said despondently, "I wish we could do that."
Paul said, "Listen, my dad says if I get into special computing school next year, he'll get me a real Bard, a late model. A big one with an attachment for space stories and mysteries. And a visual attachment, too!"
"You mean see the stories?"
"Sure. Mr. Daugherty at school says they've got things like that, now, but not for just everybody. Only if I get into computing school, Dad can get a few breaks."
Niccolo's eyes bulged with envy. "Gee. Seeing a story."
"You can come over and watch anytime, Nickie."
"Oh, boy. Thanks."
"That's all right. But remember, I'm the guy who says what kind of story we hear."
"Sure. Sure." Niccolo would have agreed readily to much more onerous conditions.
Paul's attention returned to the Bard.
It was saying, " 'If that is the case,' said the king, stroking his beard and frowning till clouds filled the sky and lightning flashed, 'you w'" see to it that my entire land is freed of flies by this time day after tomorrow or-' "
"All we've got to do," said Paul, "is open it up-" He shut the Bard off again and was prying at its front panel as he spoke.
"Hey," said Niccolo, in sudden alarm. "Don't break it."
"I won't break it," said Paul impatiently. "I know all about these things." Then, with sudden caution, "Your father and mother home?"
"No."
"All right, then." He had the front panel off and peered in. "Boy, this is a one-cylinder thing."
He worked away at the Bard's innards. Niccolo, who watched with painful suspense, could not make out what he was doing.
Paul pulled out a thin, flexible metal strip, powdered with dots. "That's the Bard's memory cylinder. I'll bet its capacity for stories is under a trillion."
"What are you going to do, Paul?" quavered Niccolo.
