Under the Sea to the North Pole (27 page)

Even Bishop Francis Godwin with his fantastic Moon-bound swans was compelled to add such materialistic and realistic details as the construction of the birds’ harnesses and the framework that bound them together. He even computed their top speed. Cyrano de Bergerac, although writing a burlesque, felt constrained to limit himself to pseudoscientific methods of spaceflight. Though he was striving for strictly comic effects, it is important to note that none of his methods depended upon magic or the supernatural. He took a great deal of care in describing the fantastic devices he used in his attempts to travel to the Sun and Moon, even managing to stumble, however accidentally, upon the use of rockets.

These and many other authors of the time were discovering
verisimilitude—
the evocation of a sense of reality by the use of masses of convincing detail . . . or convincing-sounding detail, at least.

Still, the writers of space travel stories before the end of the 1700s were groping in the dark: there simply was no method by which a human being could leave the surface of the Earth. In all the history of mankind no one had ever left the Earth any farther than human muscles could push.

III
The Invention of the Spaceship

The invention of the lighter-than-air manned balloon was a major revolution, and revelation, in mankind’s perception of his capabilities of exploring the universe. On two counts: For the first time in history a human being had gotten further away from the Earth than the distance one could jump. And it was not accomplished by magic or occult means but by the use of a man-made machine, a device of science. Although by the end of the eighteenth century balloons had drifted everywhere across the landscapes of France, England and other European countries, they seldom reached an altitude of more than a few thousand feet. The Moon was a great deal farther away than that, to say nothing of the planets. Nevertheless it seemed to the most enthusiastic and imaginative dreamers that if it were possible for a human being to lift himself from the surface of the Earth even half a mile, then a flight to the Moon was merely a matter of magnitude. This is the altered perception that is most important to realize: that by means of a manmade instrumentality, employing well understood physical principles, it was possible to leave the Earth. Therefore the problem of traveling to the other worlds that shared the universe with the Earth ought to also be surmountable by means of science and mechanics. That is, even if the wiser heads were aware that it was unlikely that anyone would ever travel to the Moon in a balloon—hot air, gas or otherwise— they were also cognizant that the idea of traveling there
somehow
was no longer a matter relegated to pure fantasy.

As the nineteenth century progressed, it began to seem that there might, quite literally, be nothing that was beyond the abilities of science and engineering. Between 1800 and 1865, an astounded public saw the introduction of electric batteries, steam trains and steamboats, ironclad warships, photographs, gas lighting, telegraphy, high-speed rotary printing presses, and color printing, electric motors, calculating machines, blast furnaces, anaesthetics, revolvers, electric lighting, typewriters, sewing machines, Bessemer converters and transatlantic telegraph cables, among literally thousands of other inventions and discoveries in technology and science.

Meanwhile, engineers were building vast iron bridges, cutting canals through deserts and jungles and spanning continents with railroads. At this same time, explorers were opening the hitherto unknown territories of Africa and the Poles. For the first time, engineers, explorers and scientists were considered public heroes; they were held in an esteem previously reserved for generals and admirals.

By the arrival of the latter half of the nineteenth century there seemed to be little that science and technology could not accomplish.

In the field of space literature, Edgar Allan Poe introduced scientific verisimilitude. His novelette
Hans Pfaal*,
in spite of its satiric and comic overtones, was packed with realistic and well-researched details; so much so that his description of a high altitude balloon flight reads almost interchangeably with one of the stratosphere balloon flights of the 1930s or 1950s.

Poe was the first author since Kepler to take the scientific basis of a fictional story seriously and consequently was a major influence on a Frenchman who was a great admirer of Poe and his works and was an erstwhile author of scientific romances himself. If Edgar Allan Poe was the grandfather of realistic space fiction, Jules Verne was surely the father. Verne has had more positive influence on the development of astronautics than possibly any other author of fiction or nonfiction, at least until the early decades of this century; and even these latter authors—such as Hermann Oberth, Konstantin Tsiolkovsky, and others—owed their introduction to spaceflight to Jules Verne.

Whenever space travel was the subject, it was assumed that it would be accomplished by some sort of mechanical device; Jules Verne’s classic
From the Earth to the Moon
(1865)* is a literal paean to the engineering arts and American enterprise.

The first author to provide an unambiguous description of a rocket-propelled spacecraft was Elbert Perce. In his 1852 novel,
Gulliver Joi*
, he wrote of a torpedo-shaped projectile provided with a padded passenger compartment, instruments and a combustion chamber and nozzle. Only a decade later, Jules Verne became the first author to treat space travel as a problem in mathematics and engineering.

Before the publication of
From the Earth to the Moon*
(1865), no one had ever applied Newton’s laws of motion to the problem of space flight—not even Newton himself. With the help of a cousin who taught math at the Sorbonne, Verne became the first to calculate the escape velocity needed to leave Earth and the trajectory needed to reach the Moon. He even appreciated the need to place the launch site as near the equator as possible. Much has been made of Verne’s use of giant cannon to launch his spacecraft—which would have been disastrous for both the projectile and its occupants—but it is clear that Verne realized the problems involved. Among the several reasons he had for choosing a cannon (not the least of which was his need to parody the American military-industrial complex, which existed even then) was the simple fact that rockets in the mid-nineteenth century were little advanced from fireworks. Nevertheless, Verne use rockets to steer his spacecraft and act as retrorockets—and was the first writer to appreciate the fact that rockets would work in a vacuum.

However, while it seemed perfectly clear what a spaceship must be like in order to survive the ordeals of interplanetary space and, most importantly, allow its passengers to survive as well, it was far from clear what would be the most plausible method of getting the spaceship from the surface of the Earth and into space. In fact, while there were numerous proposals for reaction-powered aircraft during the nineteenth century, there were less than half a dozen suggestions made that rockets might be useful in space travel. Most writers realized, as Verne did, that the state of the art of rocketry was utterly inadequate for the task.

By and large, the propulsive method of choice for the last century (and, for that matter, well into this one) was antigravity, which was, in reality, only the magic and occultism of previous centuries given a pseudoscientific guise. The important difference is that it was felt necessary to put on that guise. And no matter what the method of propulsion ultimately chosen, writers still had to deal with the known reality of conditions beyond the Earth’s atmosphere and on other planets. The airlessness of the interplanetary void, its extremes of cold and heat, the danger of meteorites, the problem of providing food and oxygen . . . all had to be dealt with believably, especially since the facts of astronomy were quite well known to the science-knowledgeable nineteenth century reader. Between the time of Jules Verne’s two lunar novels and the flight of the first liquid-fueled rocket in 1926, most of the theoretical groundwork for spaceflight was laid, and most of the possibilities had been imagined. To mention a very few:

Edward Everett Hale described the first artificial manned satellite in his novelette
The Brick Moon
(1869)*, in which he listed nearly every function applied to modern satellites. The story describes the launch of a 200-foot sphere (made of brick to withstand the heat generated by atmospheric friction—and thereby anticipating the ceramic heat shields of today’s spacecraft). Once in orbit, the artificial moon acted as a navigational aid while its passengers transmitted observations regarding weather, crops, etc. back to the Earth.

In 1881 Hermann Ganswindt first described his interplanetary spaceship. While never quite grasping the principles of rocket propulsion, Ganswindt did take into consideration the possible need for artificial gravity. He created this by spinning his spacecraft; he anticipated Hermann Oberth by nearly forty years by suggesting that two spacecraft could be joined by a cable and spun around their common center. Although he made errors in detail, he was one of the first to suggest the use of rockets in spaceflight, and the drawing he commissioned to illustrate his invention is one of the few nineteenth century depictions of a manned rocket operating in space.

The year 1880 saw the appearance in
St. Nicholas
magazine of the charming short story “A Christmas Dinner With the Man in the Moon”* by Washington Gladden. The giant spaceliner
Meteor
traveled to the Moon on the “great electric currents” that passed between the Earth and its satellite. The iron hull of the spaceship was magnetized to take advantage of the currents. The
Meteor
was spindle-shaped and equipped with giant paddle wheels that raised it to the upper atmosphere. Because of the thinning atmosphere, Gladden equipped his passengers with respirators.

A sign of the changing times came with the publication, in 1880, of Percy Greg’s two-volume novel,
Across the Zodiac*.
In the story, a mysterious force called “apergy” was used to negate gravity, providing the means for a voyage through space to Mars. The spaceship
Astronaut
was a monstrous affair with 3-foot thick metal walls. The deck and keel were described as “absolutely flat, and each one hundred feet in length and fifty in breadth, the height of the vessel being about twenty feet.” The apergy receptacle was placed above the generator, both located in the center of the ship, and from there “descended right through the floor a conducting bar in an antapergetic sheath, so divided that without separating it from the upper portion the lower might revolve in any direction through an angle of twenty minutes.” This sheath was used to direct a “stream of repulsive force” against the Sun or any other body.

Greg’s “apergy” was apparently such an appealing element that it appeared in several other novels, notably John Jacob Astor’s
A Journey in Other Worlds
(1894)*. It is not particularly important what happened on Mars, which was reached in a little over 40 days. What is important is that the red planet was beginning to receive the attention of writers of space fiction that it astronomically deserves. By the onset of World War I more than one hundred novels and stories had been published, all dealing with flights to Mars. All of this was a result of increasing observational knowledge about the planet itself and the development of some meticulously worked-out concepts of the origin of the Solar System, of which Mars was an especially interesting component. It was the period of the discovery of canali on Mars by Giovanni Virginio Schiaparelli (who interpreted them as naturally occurring channels or grooves) and their popularization—or perhaps sensationalization—by Percival Lowell (to whom they were artificially constructed canals), the discovery in 1877 of Mars’s two small Moons by Asaph Hall (which up-to-date Greg described), and of other phenomena that seemed to suggest that Mars might be much like the Earth, only older. For years, Lowell excited professionals and laymen alike with his proposition that Mars was inhabited by an advanced race of intelligent beings.

Kurd Lasswitz’s
Auf zwei Planeten
carried the Mars theme several notches higher in the literary scale. Published in 1897 (but not translated into English until 1971 as
Two Planets),
it took a very logical look at the supposition that since Mars was the happy abode of a higher intelligence than Earth, it would not be Earthmen who would first go to Mars, but rather the opposite. Thus, it was Martian space travelers who flew to the Earth and set up a base on the North Pole. Why they chose such a seemingly inconvenient location is explained in the dialogue: “You must realize . . . that the Martians can only land on Earth in the areas of the north or south poles. Their spaceships try, as soon as they have reached the outer border of the atmosphere, to approach in the direction of the axis of the Earth. But it is dangerous for them to enter the atmosphere. Therefore, everyone agreed with the suggestion my father had made to build a station outside the atmosphere but in the direction of the axis of the Earth, on which the ships would remain and from where they would descend to the Earth in a different manner.” The method of crossing space relied on a gravity-nullifying material, although the actual propulsion was provided by rockets. Lasswitz’s novel was enormously influential on the growing interest in rocketry and spaceflight then taking place in Germany.

Capitalizing on the growing popularity of Mars, H. G. Wells wrote his acclaimed
War of the Worlds*,
serialized in magazine form in 1897 and published as a book in 1898. The story dealt with the hair-raising tale of a Martian invasion of our planet. What appeared initially to be a successful conquest of the Earth ended in failure as Wells had the Martians die from terrestrial diseases against which their organisms had no defense. In a retaliatory vein, American astronomer Garrett P. Serviss wrote
Edison’s Conquest of Mars,
which began serialization even before the last installment of the Wells novel saw print! In this story, Serviss created the first-ever scenes of massed fleets of interplanetary spaceships. Serviss was an experienced astronomer and science writer, and while he was eventually to write far better-polished fiction, this, his first novel, has a much more sound scientific basis than even the Wells original.