Shadows of Forgotten Ancestors

[A]s you may have seen in the grottoes and the fountains in royal gardens, the force with which the water issues from its reservoir is sufficient to move various machines, and even to make them play instruments, or pronounce words according to the different disposition of the pipes which lead the water …

The external objects which, by their mere presence, act upon the organs of the senses; and which, by this means, determine the corporal machine to move in many different ways, according as the parts of the brain are arranged, are like the strangers who, entering into some of the grottoes of these waterworks, unconsciously cause the movements which take place in their presence. For they cannot enter without treading upon certain planks so arranged that, for example, if they approach a bathing Diana, they cause her to hide among the reeds; and if they attempt to follow her, they see approaching a Neptune, who threatens them with his trident; or if they try some other way, they cause some other monster, who vomits water into their faces, to dart out; or like contrivances, according to the fancy of the engineers who have made them. And lastly, when the rational soul

is lodged in this-machine, it will have its principal seat in the brain, and will take the place of the engineer, who ought to be in that part of the works with which all the pipes are connected, when he wishes to increase, or to slacken, or in some way to alter their movements …

All the functions which I have attributed to this machine (the body), as the digestion of food, the pulsation of the heart and of the arteries; the nutrition and the growth of the limbs; respiration, wakefulness, and sleep; the reception of light, sounds, odours, flavours, heat, and such like qualities, in the organs of the external senses; the impression of the ideas of these in the organ of common sense and in the imagination; the retention, or the impression, of these ideas on the memory; the internal movements of the appetites and the passions; and lastly, the external movements of all the limbs, which follow so aptly, as well as the action of the objects which are presented to the senses, as the impressions which meet in the memory, that they imitate as nearly as possible those of a real man: I desire, I say, that you should consider that these functions in the machine naturally proceed from the mere arrangement of its organs, neither more nor less than do the movements of a clock, or other automaton, from that of its weights and its wheels; so that, so far as these are concerned, it is not necessary to conceive any other vegetative or sensitive soul, nor any other principle of motion, or of life.¹⁴

An Eighteenth-Century View: Voltaire:

What a pitiful, what a sorry thing to have said that animals are machines bereft of understanding and feeling, which perform their operations always in the same way, which learn nothing, perfect nothing, etc.!

What! that bird which makes its nest in a semi-circle when it is attaching it to a wall, which builds it in a quarter circle when it is in an angle, and in a circle upon a tree; that bird acts always in the same way? That hunting-dog which you have disciplined for three months, does it not know more at the end of this time than it knew before your lessons? Does the canary to which you teach a tune repeat it at once? Do you not have to spend a considerable time in teaching it? Have you not seen that it has made a mistake and that it corrects itself?

Is it because I speak to you, that you judge that I have feeling, memory, ideas? Well, I do not speak to you; you see me going home looking disconsolate, seeking a paper anxiously, opening the desk where I remember having shut it, finding it, reading it joyfully. You judge that I have experienced the feeling of distress and that of pleasure, that I have memory and understanding.

Bring the same judgment to bear on this dog which has lost its master, which has sought him on every road with sorrowful cries, which enters the house agitated, uneasy, which goes down the stairs, up the stairs, from room to room, which at last finds in his study the master it loves, and which shows him its joy by its cries of delight, by its leaps, by its caresses.¹⁵

A Nineteenth-Century View: Huxley: