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A few days before the Caltech lecture there was a big splurge in the New York Times, which reported that a new codex had been discovered. There were only three codices (two of which are hard to get anything out of) known to exist at the time-hundreds of thousands had been burned by Spanish priests as “works of the Devil.” My cousin was working for the AP, so she got me a glossy picture copy of what the New York Times had published and I made a slide of it to include in my talk.
This new codex was a fake. In my lecture I pointed out that the numbers were in the style of the Madrid codex, but were 236, 90, 250, 8—rather a coincidence! Out of the hundred thousand books originally made we get another fragment, and it has the same thing on it as the other fragments! It was obviously, again, one of these put-together things which had nothing original in it.
These people who copy things never have the courage to make up something really different. If you find something that is really new, it’s got to have something different. A real hoax would be to take something like the period of Mars, invent a mythology to go with it, and then draw pictures associated with this mythology with numbers appropriate to Mars—not in an obvious fashion; rather, have tables of multiples of the period with some mysterious “errors,” and so on. The numbers should have to be worked out a little bit. Then people would say, “Geez! This has to do with Mars!” In addition, there should be a number of things in it that are not understandable, and are not exactly like what has been seen before. That would make a good fake.
I got a big kick out of giving my talk on “Deciphering Mayan Hieroglyphics.” There I was, being something I’m not, again. People filed into the auditorium past these glass cases, admiring the color reproductions of the Dresden Codex and the authentic Mayan artifacts watched over by an armed guard in uniform; they heard a two-hour lecture on Mayan mathematics and astronomy from an amateur expert in the field (who even told them how to spot a fake codex), and then they went out, admiring the cases again. Murray Gell-Ma
Found Out in Paris
I gave a series of lectures in physics that the Addison-Wesley Company made into a book, and one time at lunch we were discussing what the cover of the book should look like, I thought that since the lectures were a combination of the real world and mathematics, it would be a good idea to have a picture of a drum, and on top of it some mathematical diagrams—circles and lines for the nodes of the oscillating drumheads, which were discussed in the book.
The book came out with a plain, red cover, but for some reason, in the preface, there’s a picture of me playing a drum. I think they put it in there to satisfy this idea they got that “the author wants a drum somewhere.” Anyway, everybody wonders why that picture of me playing drums is in the preface of the Feynman Lectures, because it doesn’t have any diagrams on it, or any other things which would make it clear. (It’s true that I like drumming, but that’s another story.)
At Los Alamos things were pretty tense from all the work, and there wasn’t any way to amuse yourself: there weren’t any movies, or anything like that. But I discovered some drums that the boys’ school, which had been there previously, had collected: Los Alamos was in the middle of New Mexico, where there are lots of Indian villages. So I amused myself—sometimes alone, sometimes with another guy—just making noise, playing on these drums. I didn’t know any particular rhythm, but the rhythms of the Indians were rather simple, the drums were good, and I had fun.
Sometimes I would take the drums with me into the woods at some distance, so I wouldn’t disturb anybody, and would beat them with a stick, and sing. I remember one night walking around a tree, looking at the moon, and beating the drum, making believe I was an Indian.
One day a guy came up to me and said, “Around Thanksgiving you weren’t out in the woods beating a drum, were you?”
“Yes, I was,” I said.
“Oh! Then my wife was right!” Then he told me this story:
One night he heard some drum music in the distance, and went upstairs to the other guy in the duplex house that they lived in, and the other guy heard it too. Remember, all these guys were from the East. They didn’t know anything about Indians, and they were very interested: the Indians must have been having some kind of ceremony, or something exciting, and the two men decided to go out to see what it was.
As they walked along, the music got louder as they came nearer, and they began to get nervous. They realized that the Indians probably had scouts out watching so that nobody would disturb their ceremony. So they got down on their bellies and crawled along the trail until the sound was just over the next hill, apparently. They crawled up over the hill and discovered to their surprise that it was only one Indian, doing the ceremony all by himself—dancing around a tree, beating the drum with a stick, chanting. The two guys backed away from him slowly, because they didn’t want to disturb him: He was probably setting up some kind of spell, or something.
They told their wives what they saw, and the wives said, “Oh, it must have been Feynman—he likes to beat drums.”
“Don’t be ridiculous!” the men said. “Even Feynman wouldn’t be that crazy!”
So the next week they set about trying to figure out who the Indian was. There were Indians from the nearby reservation working at Los Alamos, so they asked one Indian, who was a technician in the technical area, who it could be. The Indian asked around, but none of the other Indians knew who it might be, except there was one Indian whom nobody could talk to. He was an Indian who knew his race: He had two big braids down his back and held his head high; whenever he walked anywhere he walked with dignity, alone; and nobody could talk to him. You would be afraid to go up to him and ask him anything; he had too much dignity. He was a furnace man. So nobody ever had the nerve to ask this Indian, and they decided it must have been him. (I was pleased to find that they had discovered such a typical Indian, such a wonderful Indian, that I might have been. It was quite an honor to be mistaken for this man.)
So the fella who’d been talking to me was just checking at the last minute—husbands always like to prove their wives wrong—and he found out, as husbands often do, that his wife was quite right.
I got pretty good at playing the drums, and would play them when we had parties. I didn’t know what I was doing; I just made rhythms—and I got a reputation: Everybody at Los Alamos knew I liked to play drums.
When the war was over, and we were going back to “civilization,” the people there at Los Alamos teased me that I wouldn’t be able to play drums any more because they made too much noise. And since I was trying to become a dignified professor in Ithaca, I sold the drum that I had bought sometime during my stay at Los Alamos.
The following summer I went back out to New Mexico to work on some report, and when I saw the drums again, I couldn’t stand it. I bought myself another drum, and thought, “I’ll just bring it back with me this time so I can look at it.”
That year at Cornell I had a small apartment inside a bigger house. I had the drum in there, just to look at, but one day I couldn’t quite resist: I said, “Well, I’ll just be very quiet …”
I sat on a chair and put the drum between my legs and played it with my fingers a little bit: bup, bup, bup, buddle bup. Then a little bit louder—after all, it was tempting me! I got a little bit louder and BOOM!—the telephone rang.