For example, if this limit were three minutes, the
      moves of the Automaton might be made at any given intervals
      longer than three minutes. The fact then of irregularity, when
      regularity might have been so easily attained, goes to prove that
      regularity is unimportant to the action of the Automaton—in other
      words, that the Automaton is not a _pure machine._

      2. When the Automaton is about to move a piece, a distinct motion
      is observable just beneath the left shoulder, and which motion
      agitates in a slight degree, the drapery covering the front of
      the left shoulder. This motion invariably precedes, by about two
      seconds, the movement of the arm itself—and the arm never, in any
      instance, moves without this preparatory motion in the shoulder. Now let the antagonist move a piece, and let the corresponding
      move be made by Maelzel, as usual, upon the board of the
      Automaton. Then let the antagonist narrowly watch the Automaton,
      until he detect the preparatory motion in the shoulder. Immediately upon detecting this motion, and before the arm itself
      begins to move, let him withdraw his piece, as if perceiving an
      error in his manœuvre. It will then be seen that the movement of
      the arm, which, in all other cases, immediately succeeds the
      motion in the shoulder, is withheld—is not made—although Maelzel
      has not yet performed, on the board of the Automaton, any move
      corresponding to the withdrawal of the antagonist. In this case,
      that the Automaton was about to move is evident—and that he did
      not move, was an effect plainly produced by the withdrawal of the
      antagonist, and without any intervention of Maelzel. This fact fully proves, 1—that the intervention of Maelzel, in
      performing the moves of the antagonist on the board of the
      Automaton, is not essential to the movements of the Automaton,
      2—that its movements are regulated by _mind—_by some person who
      sees the board of the antagonist, 3—that its movements are not
      regulated by the mind of Maelzel, whose back was turned towards
      the antagonist at the withdrawal of his move. 3. The Automaton does not invariably win the game. Were the
      machine a pure machine this would not be the case—it would always
      win. The _principle _being discovered by which a machine can be
      made to _play _a game of chess, an extension of the same
      principle would enable it to win a game—a farther extension would
      enable it to win _all _games—that is, to beat any possible game
      of an antagonist. A little consideration will convince any one
      that the difficulty of making a machine beat all games, Is not in
      the least degree greater, as regards the principle of the
      operations necessary, than that of making it beat a single game. If then we regard the Chess-Player as a machine, we must suppose,
      (what is highly improbable,) that its inventor preferred leaving
      it incomplete to perfecting it—a supposition rendered still more
      absurd, when we reflect that the leaving it incomplete would
      afford an argument against the possibility of its being a pure
      machine—the very argument we now adduce. 4. When the situation of the game is difficult or complex, we
      never perceive the Turk either shake his head or roll his eyes. It is only when his next move is obvious, or when the game is so
      circumstanced that to a man in the Automaton’s place there would
      be no necessity for reflection. Now these peculiar movements of
      the head and eyes are movements customary with persons engaged in
      meditation, and the ingenious Baron Kempelen would have adapted
      these movements (were the machine a pure machine) to occasions
      proper for their display—that is, to occasions of complexity. But
      the reverse is seen to be the case, and this reverse applies
      precisely to our supposition of a man in the interior. When
      engaged in meditation about the game he has no time to think of
      setting in motion the mechanism of the Automaton by which are
      moved the head and the eyes. When the game, however, is obvious,
      he has time to look about him, and, accordingly, we see the head
      shake and the eyes roll. 5. When the machine is rolled round to allow the spectators an
      examination of the back of the Turk, and when his drapery is
      lifted up and the doors in the trunk and thigh thrown open, the
      interior of the trunk is seen to be crowded with machinery. In
      scrutinizing this machinery while the Automaton was in motion,
      that is to say while the whole machine was moving on the castors,
      it appeared to us that certain portions of the mechanism changed
      their shape and position in a degree too great to be accounted
      for by the simple laws of perspective; and subsequent
      examinations convinced us that these undue alterations were
      attributable to mirrors in the interior of the trunk. The
      introduction of mirrors among the machinery could not have been
      intended to influence, in any degree, the machinery itself. Their
      operation, whatever that operation should prove to be, must
      necessarily have reference to the eye of the spectator. We at
      once concluded that these mirrors were so placed to multiply to
      the vision some few pieces of machinery within the trunk so as to
      give it the appearance of being crowded with mechanism. Now the
      direct inference from this is that the machine is not a pure
      machine. For if it were, the inventor, so far from wishing its
      mechanism to appear complex, and using deception for the purpose
      of giving it this appearance, would have been especially desirous
      of convincing those who witnessed his exhibition, of the
      _simplicity _of the means by which results so wonderful were
      brought about. 6. The external appearance, and, especially, the deportment of
      the Turk, are, when we consider them as imitations of _life, _but
      very indifferent imitations. The countenance evinces no
      ingenuity, and is surpassed, in its resemblance to the human
      face, by the very commonest of wax-works. The eyes roll
      unnaturally in the head, without any corresponding motions of the
      lids or brows. The arm, particularly, performs its operations in
      an exceedingly stiff, awkward, jerking, and rectangular manner. Now, all this is the result either of inability in Maelzel to do
      better, or of intentional neglect—accidental neglect being out of
      the question, when we consider that the whole time of the
      ingenious proprietor is occupied in the improvement of his
      machines.