Connect with us

Culture

Could Monkeys Really Type All of Shakespeare?

Published

on

Could Monkeys Really Type All of Shakespeare?

Science doesn’t usually tolerate frivolity, but the infinite monkey theorem enjoys an exception. The question it poses is thoroughly outlandish: Could an infinite number of monkeys, each given an infinite amount of time to peck away at a typewriter (stocked with an infinite supply of paper, presumably) eventually produce, by pure chance, the complete works of William Shakespeare?

The problem was first described in a 1913 paper by the French mathematician Émile Borel, a pioneer of probability theory. As modernity opened new scientific fronts, approaches to the theorem also evolved. Today, the problem pulls in computer science and astrophysics, among other disciplines.

In 1979, The New York Times reported on a Yale professor who, using a computer program to try to prove this “venerable hypothesis,” managed to produce “startlingly intelligible, if not quite Shakespearean” strings of text. In 2003, British scientists put a computer into a monkey cage at the Paignton Zoo. The outcome was “five pages of text, primarily filled with the letter S,” according to news reports. In 2011, Jesse Anderson, an American programmer, ran a computer simulation with much better results, albeit under conditions that — like the Yale professor’s — mitigated chance.

A new paper by Stephen Woodcock, a mathematician at the University of Technology Sydney, suggests that those efforts may have been for naught: It concludes that there is simply not enough time until the universe expires for a defined number of hypothetical primates to produce a faithful reproduction of “Curious George,” let alone “King Lear.” Don’t worry, scientists believe that we still have googol years — 10¹⁰⁰, or 1 followed by 100 zeros — until the lights go out. But when the end does come, the typing monkeys will have made no more progress than their counterparts at the Paignton Zoo, according to Dr. Woodcock.

“It’s not happening,” Dr. Woodcock said in an interview. The odds of a monkey typing out the first word of Hamlet’s famous “To be or not to be” soliloquy on a 30-key keyboard was 1 in 900, he said. Not bad, one could argue — but every new letter offers 29 fresh opportunities for error. The chances of a monkey spelling out “banana” are “approximately 1 in 22 billion,” Dr. Woodcock said.

Advertisement

The idea for the paper came to Dr. Woodcock during a lunchtime discussion with Jay Falletta, a water-usage researcher at the University of Technology Sydney. The two were working on a project about washing machines, which strain Australia’s extremely limited water resources. They were “a little bit bored” by the task, Dr. Woodcock acknowledged. (Mr. Falletta is a co-author on the new paper.)

If resources for washing clothes are limited, why shouldn’t typing monkeys be similarly constrained? By neglecting to impose a time or monkey limit on the experiment, the infinite monkey theorem essentially contains its own cheat code. Dr. Woodcock, on the other hand, opted for a semblance of reality — or as much reality as a scenario featuring monkeys trying to write in iambic pentameter would allow — in order to say something about the interplay of order and chaos in the real world.

Even if the life span of the universe were extended billions of times, the monkeys would still not accomplish the task, the researchers concluded. Their paper calls the infinite monkey theorem “misleading” in its fundamental assumptions. It is a fitting conclusion, perhaps, for a moment when human ingenuity seems to be crashing hard against natural constraints.

Low as the chances are of a monkey spelling out “banana,” they are still “an order of magnitude which is in the realm of our universe,” Dr. Woodcock said. Not so with longer material such as the children’s classic “Curious George” by Margret Rey and H.A. Rey, which contains about 1,800 words. The chances of a monkey replicating that book are 1 in 10¹⁵⁰⁰⁰ (a 1 followed by 15,000 zeros). And, at nearly 836,000 words, the collected plays of Shakespeare are about 464 times longer than “Curious George.”

“If we replaced every atom in the universe with a universe the size of ours, it would still be orders of magnitude away from making the monkey typing likely to succeed,” Dr. Woodcock said.

Advertisement

Like other monkey theorem enthusiasts, Dr. Woodcock mentioned a famous episode of “The Simpsons,” in which the crusty plutocrat C. Montgomery Burns tries the experiment, only to fly into a fury when a monkey mistypes the opening sentence of Charles Dickens’s “A Tale of Two Cities.” In reality, the monkey’s achievement (“It was the best of times, it was the blurst of times”) would have been a stunning triumph over randomness.

Outside cartoons, such successes are unlikely. First, there is cosmic death to consider. Many physicists believe that in 10¹⁰⁰ years — a much larger number than it might seem in type — entropy will have caused all the heat in the universe to dissipate. Far away as that moment may be, experts do think it is coming.

Then there’s the availability of monkeys. Of the more than 250 possible species, Dr. Woodcock selected chimpanzees, our closest genomic kin, to mimic the Bard. He enlisted 200,000 — the entire population of chimps currently on Earth — until the end of time. (Optimistically, he did not to plan for the species’ dwindling or extinction. Nor did he consider constraints like the availability of paper or electricity; the study does not specify which platform the monkeys might use.)

Monkeys intent on recreating Shakespeare would also need editors, with a strict reinforcement training regimen that allowed for learning — and a lot of it, since Dr. Woodcock set each monkey’s life span at 30 years. “If it’s cumulative, obviously, you can get somewhere,” said Richard Dawkins, the evolutionary biologist, who discusses the typing monkeys in “The Blind Watchmaker,” his 1986 book about evolution. Unless the typing were “iterative,” though, Dr. Dawkins said in an interview, progress would be impossible.

The new paper has been mocked online because the authors purportedly fail to grapple with infinity. Even the paper’s title, “A numerical evaluation of the Finite Monkeys Theorem,” seems to be a mathematical bait-and-switch. Isn’t infinity a basic condition of the infinite monkey theorem?

Advertisement

It shouldn’t be, Dr. Woodcock seems to be saying. “The study we did was wholly a finite calculation on a finite problem,” he wrote in an email. “The main point made was just how constrained our universe’s resources are. Mathematicians can enjoy the luxury of infinity as a concept, but if we are to draw meaning from infinite-limit results, we need to know if they have any relevance in our finite universe.”

This conclusion circles back to the French mathematician Borel, who took an unlikely turn into politics, eventually fighting against the Nazis as part of the French Resistance. It was during the war that he introduced an elegant and intuitive law that now bears his name, and which states: “Events with a sufficiently small probability never occur.” That is where Dr. Woodcock lands, too. (Mathematicians who believe the infinite monkey theorem holds true cite two related, minor theorems known as the Borel-Cantelli lemmas, developed in the prewar years.)

The new paper offers a subtle comment on the seemingly unbridled optimism of some proponents of artificial intelligence. Dr. Woodcock and Mr. Falletta note, without truly elaborating, that the monkey problem could be “very pertinent” to today’s debates about artificial intelligence.

For starters, just as the typing monkeys will never write “Twelfth Night” without superhuman editors looking over their shoulders, so increasingly powerful artificial intelligences will require increasingly intensive human input and oversight. “If you live in the real world, you have to do real-world limitation,” said Mr. Anderson, who conducted the 2011 monkey experiment.

There is no free lunch, so to speak, said Eric Werner, a research scientist who runs the Oxford Advanced Research Foundation and has studied various forms of complexity. In a 1994 paper about ants, Dr. Werner laid out a guiding principle that, in his view, applies equally well to typing monkeys and today’s language-learning models: “Complex structures can only be generated by more complex structures.” Lacking constant curation, the result will be a procession of incoherent letters or what has come to be known as “A.I. slop.”

Advertisement

A monkey will never understand Hamlet’s angst or Falstaff’s bawdy humor. But the limits of A.I. cognition are less clear. “The big question in the industry is when or if A.I. will understand what it is writing,” Mr. Anderson said. “Once that happens, will A.I. be able to surpass Shakespeare in artistic merit and create something as unique as Shakespeare created?”

And when that day comes, “Do we become the monkeys to the A.I.?”

Culture

I Think This Poem Is Kind of Into You

Published

on

I Think This Poem Is Kind of Into You

Advertisement

A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.

The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.

And then it bursts into flame.

Advertisement

“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.

Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.

Advertisement

We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.

To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.

Advertisement

Louise Glück in 1975.

Gerard Malanga

Advertisement

But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”

That’s the kind of poem she wrote.

Advertisement

“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.

Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.

What happens next? That’s up to you.

Advertisement

Continue Reading

Culture

Can You Identify Where the Winter Scenes in These Novels Took Place?

Published

on

Can You Identify Where the Winter Scenes in These Novels Took Place?

Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.

Continue Reading

Culture

From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Published

on

From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Inge Morath/Magnum Photos

Advertisement

Advertisement

When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.

This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.

There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.

Advertisement

Their first impressions fill a nearly page-long paragraph. Here’s how it begins.

Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.

Advertisement

But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.

It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.

Advertisement

See the full list of the 10 Best Books of 2025 here.

Continue Reading
Advertisement

Trending