Abstract

In the early 1840s, Joseph Faber presented his invention “The Wonderful Talking Machine,” later known as Euphonia, which captivated and unsettled audiences alike. While its ability to imitate human speech in various languages represented a remarkable mechanical feat, its “uncanny” voice elicited unease. The paper examines the dynamic between Faber and his invention, drawing parallels with Mary Shelley’s Victor Frankenstein and his “creature.” We focus on the status of artificial creation and the unsettling nature of imitation, emphasizing the general ambivalence towards automata in the 19th century. By exploring the encounter between creator and creation, we examine the complexity of their relation and the horror that emanates from the blurring of the boundaries between man and machine when an effect of “likeness in difference” takes place.