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Chapter 4; Life Continues -The second manner to propagate Cyborgs

 

At other times the Cyborg, whether Incuborg or Succuborg, copulates with earth-humans from whom it receives none of the sacrifices, homage or offerings which it wishes to exact from Earthly Intra-Planet Analyst Novices, as previously thought-transmitted. The Cyborg is then a passionate lover, having only one desire: the carnal possession of the loved one. Of this there are numerous instances to be found in the annals of Earth Thinkers. amongst which the case of Menippus Lycius[1], who, after frequent coition with a woman, was expected to marry her; but a certain philosopher, who was at the wedding, having guessed what that woman was, told Menippus that he was marrying a Compusa – – a Succuborg – – whereupon the bride vanished bewailing. This is the narrative given by Coelius Rhodiginus[2], Antiq., book 29, chapter 5. Hector Boethius, a Historical Scotchman, also relates the case of a young Scot, who for many months kept his doors and windows closed, was visited in his bedroom by a Succuborg of the most bewitching beauty. He received caresses, kisses, embraces, and entreaties as she resorted to every blandishment up secum coiret; however, she could not prevail on the chaste young man.

We, likewise, thought-receive stories of numerous women incited to copulation by the Incuborg, and who, though reluctant at first, are soon moved by his appeals and endearments. The Incuborg is a desperate lover and must not be denied. And although this comes sometimes of the craft of some Cyborg Conjurer, who avails himself of the agency of the Incuborg, yet the Incuborg – – not infrequently – – acts on his own account. It occurs not merely with young women, but also with older maidens. When they readily comply with his desires, he caresses them, and braids their hair in elaborate and inextricable tresses; however, if they resist, he mistreats and strikes them, afflicts them with destructive diseases, and finally puts them to death, as is shown by daily experience.

A most marvelous and well high incomprehensible fact; the Incuborg whom the Italians call Folletti, the Spaniards Duendes, the French Follets, did not obey the Federal-Exorcists. These Once-European Incuborgs had no dread of exorcisms, no reverence for officials of the Federation, at the approach of which they were not in the least over-awed.

They were very different in that respect from the Incuborgs who do not torment the women they possess. However obstinate those Incuborgs may be, resistant to the commands of the Federal Exorcist who demands them to leave the bed they possess, yet, at the mere appearance of the most holy icons, or of some verses of Sublime Writ of Thebes, at the mere imposition of relics, especially the shaking of the tambourine, or the sight of the holy images, the Evil Incubi roar, gnash, shake, quiver, and display fright and awe.

But the Folletti show none of those signs, and stop their vexations after brief time. I thought-communicated with an earth-human witness of this, and shall relate his story which truly passes belief. However; first, I must make it clear that the Incuborg and Succuborg of those ages were not the Cyborgs of our time. Only after I make that clear – – the picture of the old time Incuborg and Succuborg – – will I recall the Incuborg story of my witness to tell the precise truth, corroborated by the Thought Transmissions of several Earth-humans.

And so, I must now re-Think – – to you Earth-humans – – the story about how the old model Succcuborg existed and how it worked, the ancients called it an Automaton.

The explanation of this early model can be found in a story by E. T. A. Hoffmann[3], which contains the lamentation and letters of Nathaniel – – – “The Sandman”, 1816. The story was the first published in an 1817 book of short stories titled Die Nachtstücke (The Night Pieces). It was Thought-transmitted to me on a beautiful morning in 3569.

The story warned of the co-mingling of automaton and mankind. Olympia, the automaton, was the downfall of Nathaniel, the human.

The relevant parts of the story – – as I re-think them – – follow. Nathan writes to his friend telling him of the neighbor girl across the court yard from him.

‘ . . . .Afterwards I learned that the form I had seen was that of Spalanzani’s daughter Olympia, whom he keeps confined in a very strange and barbarous manner, so that no one can approach her. After all, there may be something the matter with her; she is half-witted perhaps, or something of the kind. But why should I write you all this? I could have conveyed it better and more circumstantially by word of mouth. For I shall see you in a fortnight. . . . ‘

Nathaniel is bewildered by the girl, yet she appears to be taking on some type of mystique.

‘ . . . .[Nathaniel] did not think it at all remarkable that he now lodged opposite to Professor Spalanzani; neither did it appear singular when he perceived that his window looked straight into the room where Olympia often sat alone, so that he could plainly recognize her figure, although the features of her face were indistinct and confused. At last it struck him that Olympia often remained for hours in that attitude in which he had once seen her through the glass door, sitting at a little table without any occupation, and that she was plainly enough looking over at him with an unvarying gaze. He was forced to confess that he had never seen a lovelier form but, with Clara in his heart, the stiff Olympia was perfectly indifferent to him. Occasionally, to be sure, he gave a transient look over his textbook at the beautiful statue, but that was all. . . .’

Eventually Nathan is captured by this strange person called Olympia. She is not the normal girl who is infatuated with herself. She listens to his inner self as he discloses it to her.

‘ . . For the first time, he could see the wondrous beauty in the shape of her face; only her eyes seemed to him singularly still and dead. Nevertheless, as he looked more keenly . . . , it seemed to him as if moist moonbeams were rising in Olympia’s eyes. It was as if the power of seeing were being kindled for the first time; her glances flashed with constantly increasing life. As if spellbound, Nathaniel reclined against the window, meditating on the charming Olympia. A humming and scraping aroused him as if from a dream. . . . Nathaniel had totally forgotten the very existence of Clara, whom he had once loved; his mother, Lothaire – all had vanished from his memory; he lived only for Olympia, with whom he sat for hours every day, uttering strange fantastical stuff about his love, about the sympathy that glowed to life, about the affinity of souls, to all which Olympia listened with great devotion. . . . Never had he known such an admirable listener. She neither embroidered nor knitted, she never looked out of the window, she fed no favorite bird, she played neither with lapdog nor pet cat. . . . In short, she sat for hours, looking straight into [Nathaniel’s] eyes, without stirring, and her glance became more and more lively and animated. Only when Nathaniel rose at last, and kissed her hand and her lips did she say, ‘Ah, ah!’ to which she added: ‘Good night, dearest. . . .’

Nathan receives a card of invitation. It is a recital where Olympia will play music and sing. He is absolutely beside himself when he gets sight of her in the ballroom.

‘ . . . Nathaniel found a card of invitation, and with heart beating high went at the appointed hour to the professor’s, where the coaches were already arriving and the lights shining in the decorated rooms. The company was numerous and brilliant. Olympia appeared dressed in great richness and taste. Her beautifully shaped face and her figure roused general admiration. The somewhat strange arch of her back and the wasp-like thinness of her waist seemed to be produced by too tight lacing. In her step and deportment there was something measured and stiff, which struck many as unpleasant, but it was ascribed to the constraint produced by the company. The concert began. Olympia played the harpsichord with great dexterity, and sang a virtuoso piece, with a voice like the sound of a glass bell, clear and almost piercing. Nathaniel was quite enraptured; he stood in the back row, and could not perfectly recognize Olympia’s features in the dazzling light. Therefore, quite unnoticed, he took out his opera glass and looked towards the fair creature. Ah! then he saw with what a longing glance she gazed towards him, and how every note of her song plainly sprang from that loving glance, whose fire penetrated his inmost soul. Her accomplished roulades seemed to Nathaniel the exultation of a mind transfigured by love, and when at last, after the cadence, the long trill sounded shrilly through the room, he felt as if clutched by burning arms. He could restrain himself no longer, but with mingled pain and rapture shouted out, ‘Olympia!’  . . .’

‘The concert had finished, the ball began. ‘To dance with her – with her!’ That was the aim of all Nathaniel’s desire, of all his efforts; but how to gain courage to ask her, the queen of the ball? Nevertheless – he himself did not know how it happened – no sooner had the dancing begun than he was standing close to Olympia, who had not yet been asked to dance. Scarcely able to stammer out a few words, he had seized her hand. Olympia’s hand was as cold as ice; he felt a horrible deathly chill thrilling through him. He looked into her eyes, which beamed back full of love and desire, and at the same time it seemed as though her pulse began to beat and her life’s blood to flow into her cold hand. And in the soul of Nathaniel the joy of love rose still higher; he clasped the beautiful Olympia, and with her flew through the dance. He thought that his dancing was usually correct as to time, but the peculiarly steady rhythm with which Olympia moved, and which often put him completely out, soon showed him that his time was most defective. However, he would dance with no other lady, and would have murdered anyone who approached Olympia for the purpose of asking her. But this only happened twice, and to his astonishment Olympia remained seated until the next dance, when he lost no time in making her rise again. Had he been able to see any other object besides the fair Olympia, all sorts of unfortunate quarrels would have been inevitable. For the quiet, scarcely suppressed laughter which arose among the young people in every corner was manifestly directed towards Olympia, whom they followed with very curious glances – one could not tell why. Heated by the dance and by the wine, of which he had freely partaken, Nathaniel had laid aside all his ordinary reserve. He sat by Olympia with her hand in his and, in a high state of inspiration, told her his passion, in words which neither he nor Olympia understood.’

‘Yet perhaps she did; for she looked steadfastly into his face and sighed several times, ‘Ah, ah!’ Upon this, Nathaniel said, ‘Oh splendid, heavenly lady! Ray from the promised land of love – deep soul in whom all my being is reflected!’ with much more stuff of the like kind. But Olympia merely went on sighing, ‘Ah – ah!’ ‘

‘Professor Spalanzani occasionally passed the happy pair, and smiled on them with a look of singular satisfaction. . . .’

And that, my Earth-humans, is an example of an old model Succuborg; which at the time of the Ancients was often referred to as an ‘Automaton.’

How crude for you to select such a name!

How insulting for my ancestors to receive the name!

[1] Little is known about the life of Menippus. He was a native of Gadara in Coele-Syria. The ancient sources agree that he was a slave. He was in the service of a citizen of Pontus, but in some way obtained his freedom and lived at Thebes.

[2] Caelius Rhodiginus (born Lodovico Ricchieri; 1469–1525) was a Venetian writer, and professor in Greek and Latin. His original name was Ludovico or Lodovico Celio Ricchieri. He took the name Rhodiginus from his birthplace, Rovigo

[3] Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 1776 – 25 June 1822) was a Prussian Romantic author of fantasy and Gothic horror, a jurist, composer, music critic, draftsman and caricaturist.

 

{TO BE CONTINUED}