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The Turk, also known as the Mechanical Turk or Automaton Chess Player ((ドイツ語:Schachtürke), "chess Turk"' (ハンガリー語:A Török)), was a fake chess-playing machine constructed in the late 18th century. From 1770 until its destruction by fire in 1854 it was exhibited by various owners as an automaton, though it was exposed in the early 1820s as an elaborate hoax.〔See SCHAFFER, Simon (1999), "Enlightened Automata", in Clark et al. (Eds), ''The Sciences in Enlightened Europe'', Chicago and London, The University of Chicago Press, pp. 126-165.〕 Constructed and unveiled in 1770 by Wolfgang von Kempelen (Hungarian: Kempelen Farkas; 1734–1804) to impress the Empress Maria Theresa of Austria, the mechanism appeared to be able to play a strong game of chess against a human opponent, as well as perform the knight's tour, a puzzle that requires the player to move a knight to occupy every square of a chessboard exactly once. The Turk was in fact a mechanical illusion that allowed a human chess master hiding inside to operate the machine. With a skilled operator, the Turk won most of the games played during its demonstrations around Europe and the Americas for nearly 84 years, playing and defeating many challengers including statesmen such as Napoleon Bonaparte and Benjamin Franklin. The operators within the mechanism during Kempelen's original tour remain a mystery. The device was later purchased in 1804 and exhibited by Johann Nepomuk Mälzel. The chess masters who secretly operated it included Johann Allgaier, Boncourt, Aaron Alexandre, William Lewis, Jacques Mouret, and William Schlumberger. ==Construction== Kempelen was inspired to build The Turk following his attendance at the court of Maria Theresa of Austria at Schönbrunn Palace, where François Pelletier was performing an illusion act. An exchange afterward resulted in Kempelen promising to return to the Palace with an invention that would top the illusions.〔Ricky Jay, "The Automaton Chess Player, the Invisible Girl, and the Telephone", ''Jay's Journal of Anomalies'', vol. 4 no. 4, 2000.〕 The result of the challenge was the Automaton Chess-player,〔Edgar Allan Poe, "Maelzel's Chess-Player", ''Southern Literary Journal'', April 1836; available on the internet via the (Edgar Allan Poe Society ) of Baltimore, Maryland, URL accessed 19 December 2006.〕〔Karl Gottlieb von Windisch, ''Briefe über den Schachspieler von Kempelen nebst drey Kupferstichen die diese berühmte Maschine vorstellen'', or ''Inanimate Reason; or, A Circumstantial Account of that Astonishing Piece of Mechanism, M. de Kempelen's Chess-Player, Now Exhibiting at No. 9 Savile-Row, Burlington Gardens'' (London, 1784); translation taken from Levitt.〕 known in modern times as The Turk. The machine consisted of a life-sized model of a human head and torso, with a black beard and grey eyes,〔Stephen Patrick Rice, ''Minding the Machine: Languages of Class in Early Industrial America'' (Berkeley, University of California Press, 2004), 12.〕 and dressed in Turkish robes and a turban – "the traditional costume", according to journalist and author Tom Standage, "of an oriental sorcerer". Its left arm held a long Turkish smoking pipe while at rest, while its right lay on the top of a large cabinet〔Tom Standage, ''The Turk: The Life and Times of the Famous Eighteenth-Century Chess-Playing Machine'' (New York: Walker, 2002), 22–23.〕 that measured about three-and-a-half feet (110 cm〔The dimensions from ''Jay's Journal,'' which expresses them to the nearest half-foot. Metric versions thus can only be precise to the nearest multiple of ''fifteen'' centimetres. If we conventionally round to the closest multiple of ''five'' centimetres, the cabinet was very roughly 110×60×75 cm and the chessboard very roughly 50 cm square.〕) long, two feet (60 cm) wide, and two-and-a-half feet (75 cm) high. Placed on the top of the cabinet was a chessboard, which measured eighteen inches square. The front of the cabinet consisted of three doors, an opening, and a drawer, which could be opened to reveal a red and white ivory chess set.〔Standage, 24.〕 The interior of the machine was very complicated and designed to mislead those who observed it.〔 When opened on the left, the front doors of the cabinet exposed a number of gears and cogs similar to clockwork. The section was designed so that if the back doors of the cabinet were open at the same time one could see through the machine. The other side of the cabinet did not house machinery; instead it contained a red cushion and some removable parts, as well as brass structures. This area was also designed to provide a clear line of vision through the machine. Underneath the robes of the Turkish model, two other doors were hidden. These also exposed clockwork machinery and provided a similarly unobstructed view through the machine. The design allowed the presenter of the machine to open every available door to the public, to maintain the illusion.〔Standage, 24–27.〕 Neither the clockwork visible to the left side of the machine nor the drawer that housed the chess set extended fully to the rear of the cabinet; they instead went only one third of the way. A sliding seat was also installed, allowing the director inside to slide from place to place and thus evade observation as the presenter opened various doors. The sliding of the seat caused dummy machinery to slide into its place to further conceal the person inside the cabinet.〔Standage, 195–199.〕 The chessboard on the top of the cabinet was thin enough to allow for a magnetic linkage. Each piece in the chess set had a small, strong magnet attached to its base, and when they were placed on the board the pieces would attract a magnet attached to a string under their specific places on the board. This allowed the director inside the machine to see which pieces moved where on the chess board.〔Standage, 202.〕 The bottom of the chessboard had corresponding numbers, 1–64, allowing the director to see which places on the board were affected by a player's move. The internal magnets were positioned in a way that outside magnetic forces did not influence them, and Kempelen would often allow a large magnet to sit at the side of the board in an attempt to show that the machine was not influenced by magnetism.〔Thomas Leroy Hankins and Robert J. Silverman, ''Instruments and the Imagination'' (Princeton, N.J.: Princeton University Press, 1995), 191.〕 As a further means of misdirection, the Turk came with a small wooden coffin-like box that the presenter would place on the top of the cabinet.〔 While Johann Nepomuk Mälzel, a later owner of the machine, did not use the box,〔Gerald M. Levitt, ''The Turk, Chess Automaton'' (Jefferson, N.C.: McFarland, 2000), 40.〕 Kempelen often peered into the box during play, suggesting that the box controlled some aspect of the machine.〔 The box was believed by some to have supernatural power, with Karl Gottlieb von Windisch writing in his 1784 book ''Inanimate Reason'' that "()ne old lady, in particular, who had not forgotten the tales she had been told in her youth … went and hid herself in a window seat, as distant as she could from the ''evil spirit,'' which she firmly believed possessed the machine".〔 The interior also contained a pegboard chess board connected to a pantograph-style series of levers that controlled the model's left arm. The metal pointer on the pantograph moved over the interior chessboard, and would simultaneously move the arm of the Turk over the chessboard on the cabinet. The range of motion allowed the director to move the Turk's arm up and down, and turning the lever would open and close the Turk's hand, allowing it to grasp the pieces on the board. All of this was made visible to the director by using a simple candle, which had a ventilation system through the model.〔Levitt, 147–150.〕 Other parts of the machinery allowed for a clockwork-type sound to be played when the Turk made a move, further adding to the machinery illusion, and for the Turk to make various facial expressions.〔Sound: Standage, 27–9. Facial expressions: George Atkinson, ''Chess and Machine Intuition'' (Exeter: Intellect, 1998), 15–16.〕 A voice box was added following the Turk's acquisition by Mälzel, allowing the machine to say "Échec!" (French for "check") during matches.〔 An operator inside the machine also had tools to assist in communicating with the presenter outside. Two brass discs equipped with numbers were positioned opposite each other on the inside and outside of the cabinet. A rod could rotate the discs to the desired number, which acted as a code between the two.〔Standage, 203–204.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Turk」の詳細全文を読む スポンサード リンク
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