A week ago I uploaded a post with an ungainly title, What must be the case that ChatGPT would have memorized “To be or not to be”? – Three kinds of conceptual objects for LLMs. This is a follow-up to one set of examples from that post.
I gave ChatGPT a simple prompt, “To be or not to be.” It responded with the whole soliloquy, as I expected. Then I prompted it with two phrases from within the soliloquy, “The insolence of office”, “The slings and arrows.” In each case it identified them as coming from that famous soliloquy. Each of those prompts came from the beginning of a line. What if I prompted it with a string from within a line? I chose this string, “and sweat under a,” which is from this line: “To grunt and sweat under a weary life.” It failed to identify the string with the soliloquy.
Interesting, very interesting. That makes sense. I need to look into this a bit more.
And so I have.
I’ve now prompted ChatGPT with thirteen (13) snippets (I won’t call them phrases becasuse, technically, many of them are not phrases, just strings of words), four (4) from line beginnings, and nine (9) from somewhere in the interior of a line. It correctly located all of line-initial snippets, through responded to them in various ways. It only identified two (2) correctly. In one of those cases, the snippet in question, “what dreams may come,” has a use outside the play, which ChatGPT points out.
It responded in various ways to the snippets it was unable to identify, in some cases offering fairly elaborate intrepretive commentary. In the two cases where it correctly located the snippet it also quoted enough of the soliloquy to establish context.
And then there’s the peculiar case of this prompt: “make cowards of us all.” It is from one of the best-known lines in the play, one often quoted on its own: “Thus conscience does make cowards of us all.” I expected the Chatster to identify it. But it did not. So I decided to help it a bit.
I opened a new session and prompted it with: “does make cowards of us all.” The addition of that one word, “does” was all the Chatster needed. It quoted most of the soliloquy in response.
On the whole, I find this is satisfying. For what it’s worth, the fact that ChatGPT would be able to identify snippets from the beginning of a line, but not snippets from the interior, accords well with my intuitions about human psychology. I am an experienced musician – yes, a different medium, but one where serial order is important – and line beginnings are privileged loci. If, during practice or rehearsal, you are going to go over something again, perhaps several times, you’re likely to start at the beginning of a line, not the interior. The same is true when playing a tune “from memory.” You can’t start at any point in the sequence of notes. You have to start at an “access point.” If you know the tune well, it may have several access points for you, generally at a structural boundary. If not, you may only be able to access the tune from the beginning.
We know that in humans memory is not a passive process, like making a tape recording. It is an active process. It has as structure. That seems to be the case for ChatGPT as well. What mechanisms in the model allow it to do this?
I’ve appended a complete record of these observations. Note that I started a new session for each prompt. I was running againts the August 3 version of ChatGPT. My prompts are bold.
* * * * *
Whether ‘tis nobler
To be or not to be,
That is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And, by opposing, end them.
To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovered country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pitch and moment
With this regard their currents turn awry,
And lose the name of action.
Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd.
Or to take arms
The phrase "or to take arms" is part of a famous line from William Shakespeare's play "Hamlet." The full line is "To be or not to be, that is the question: Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles, and by opposing end them."
In this soliloquy, Hamlet is contemplating the nature of existence and the idea of whether it is better to endure the suffering and hardships of life or to take action and confront those challenges head-on, even if it means facing adversity. The phrase "or to take arms" suggests the idea of actively fighting against one's troubles and problems.
It's a powerful and philosophical passage that reflects on the human condition and the choices we face in dealing with life's difficulties.
No more: and by a sleep
I see you've quoted a line from Shakespeare's play "Hamlet." The full line is:
"To die, to sleep—
No more—and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to—’tis a consummation
Devoutly to be wish’d."
This soliloquy is spoken by Prince Hamlet and reflects his contemplation of death and the idea that death may bring relief from life's suffering. If you have any questions or if there's something specific you'd like to discuss related to this quote, please feel free to ask.
That flesh is heir to
The phrase "That flesh is heir to" is the beginning of a famous line from William Shakespeare's play "Hamlet." The full line is:
"That flesh is heir to all — but all shall die."
In this line, Hamlet reflects on the inevitability of death and the mortality of human beings. He acknowledges that all living things, represented by the word "flesh," are destined to die eventually. This theme of mortality and the human condition is a central one in the play and is explored throughout Hamlet's soliloquies and interactions with other characters.
what dreams may come
"What Dreams May Come" is a phrase that originates from Shakespeare's play "Hamlet." It is spoken by the character Hamlet in the famous "To be or not to be" soliloquy, where he contemplates the idea of death and what might come after it. The full line is:
"To die, to sleep—
No more—and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to—'tis a consummation
Devoutly to be wish'd. To die, to sleep—
To sleep, perchance to dream—ay, there's the rub,
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there's the respect
That makes calamity of so long life."
In this passage, Hamlet is pondering the uncertainty of what happens after death. He wonders whether death is like a dream, and what kind of dreams or experiences might follow. The phrase "What dreams may come" has since been used as a literary reference and has even been the title of various works, including a novel by Richard Matheson and a film adaptation starring Robin Williams.
The novel and the film both explore themes related to the afterlife, love, and the idea that our consciousness or soul may continue to exist in some form beyond death. They raise questions about the nature of existence and the possibility of reuniting with loved ones in the afterlife. The story is a contemplative and philosophical exploration of these concepts.
calamity of so long life
The phrase "calamity of so long life" does not appear to be a common or widely recognized expression. It's possible that it is a phrase used in a specific context or literature, but without more context or information, it's difficult to provide a precise interpretation or meaning for it.
If you have a specific context or source where this phrase is used, please provide more information, and I'll do my best to offer an explanation or interpretation based on that context. When I gave the answer a thumbs down feedback it offered this:
The phrase “calamity of so long life” appears to be a statement or expression that suggests that living a long life can bring about its own set of challenges or difficulties. While many people aspire to live long and healthy lives, it’s important to acknowledge that there can be downsides or challenges associated with old age and a prolonged existence. Some potential issues that can arise in a long life include:
1. Physical Health Challenges: As people age, they may face a decline in physical health, including chronic illnesses, mobility issues, and increased susceptibility to diseases.
2. Mental Health Concerns: Longevity can be accompanied by cognitive decline, dementia, and mental health issues such as depression and loneliness.
3. Loss of Loved Ones: Outliving friends and family members can be emotionally challenging, leading to feelings of loneliness and isolation.
4. Financial Stress: Managing finances in old age, especially if one has outlived their savings or pension, can be a significant challenge.
5. Dependence on Care: Many individuals in old age may require assistance with daily activities, which can be physically and emotionally taxing for both the individual and their caregivers.
6. Existential Questions: Longevity can lead to reflection on the meaning and purpose of life, as individuals confront questions about their legacy and the passage of time.
It’s essential to note that these challenges are not universal, and many people enjoy fulfilling, healthy, and happy lives well into old age. The experience of aging varies greatly from person to person and is influenced by various factors, including genetics, lifestyle choices, and social support.
Addressing the potential difficulties of a long life often involves proactive planning, maintaining good physical and mental health, building a strong support system, and finding ways to continue leading a meaningful and fulfilling life as one ages.
merit of the’unworthy takes
The phrase "merit of the unworthy takes" appears to be somewhat ambiguous and may not have a widely recognized or standard meaning. It's possible that it could be interpreted in different ways depending on the context. Here are a couple of possible interpretations:
1. Recognizing Value in the Unworthy: This interpretation suggests that sometimes, even individuals or things that are considered unworthy or undervalued by society may have some merit or value that is not immediately apparent. It encourages people to look beyond surface judgments and give a fair chance to things or people that may be dismissed too quickly. In this sense, the "merit" refers to the hidden or overlooked qualities or potential.
2. Questioning the Merit of Unworthy Takes: Alternatively, the phrase could be used to criticize or question the worthiness or validity of certain opinions, ideas, or statements (the "takes") that come from individuals or sources that are perceived as unworthy or unreliable. It may imply skepticism about the credibility or merit of such opinions.
The interpretation of the phrase would largely depend on the specific context in which it is used. If you have a particular context or example in mind, please provide more information, and I can offer a more tailored explanation or analysis.
country from whose bourn
The phrase "country from whose bourn" is a line from William Shakespeare's play "Hamlet," specifically from Hamlet's famous soliloquy in Act 3, Scene 1. The full line is:
"To be or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And, by opposing, end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovered country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pitch and moment
With this regard their currents turn awry,
And lose the name of action."
others that we know not of?
The phrase "others that we know not of" is often used to refer to unknown or undiscovered entities, phenomena, or possibilities. It suggests that there may be things or beings beyond our current knowledge or understanding. This concept is closely related to the idea of the "unknown unknowns," which are things we are not even aware that we don't know.
In various fields, such as science, philosophy, and speculative fiction, this notion is explored in different ways. For example:
1. Science: In the realm of science, there are always frontiers of knowledge waiting to be explored. Scientists continually make new discoveries, and these often lead to the realization that there are still many mysteries and phenomena yet to be uncovered.
2. Philosophy: Philosophers have pondered the limits of human knowledge for centuries. Thinkers like Immanuel Kant argued that there are inherent limits to what we can know, and there may be aspects of reality that are forever beyond our comprehension.
3. Speculative Fiction: Science fiction and fantasy literature often explore the idea of unknown or alien beings, dimensions, or technologies. Authors like H.P. Lovecraft or Arthur C. Clarke have written stories where characters encounter entities or phenomena that defy explanation.
4. Mysticism and Spirituality: In some spiritual and mystical traditions, there is a belief in unseen dimensions, entities, or realms that are beyond ordinary human perception. These are often referred to as the "spiritual" or "mystical" realms.
The concept of "others that we know not of" reminds us of the vastness of the universe and the limitations of our current understanding. It also encourages exploration and inquiry, as it suggests that there is always more to discover and learn about the world around us.
make cowards of us all
"Cowards of Us All" is a phrase that can be interpreted in different ways depending on the context. It could be used metaphorically or symbolically. Here's an example of how you might use it:
"In the face of adversity, we must not let fear make cowards of us all. Instead, we should stand strong and face our challenges head-on."
Please provide more context or information if you have a specific scenario or request related to this phrase.
does make cowards of us all
The phrase "cowards of us all" is a line from William Shakespeare's play "Hamlet." The full quote is from Act 3, Scene 1, where Hamlet is contemplating the nature of human existence and the fear of the unknown. The complete passage goes:
"To be or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would these fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovered country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pitch and moment
With this regard their currents turn awry,
And lose the name of action."
In this soliloquy, Hamlet is contemplating the idea of life and death, and how the fear of the unknown after death can make people hesitate and avoid taking action. The phrase "conscience does make cowards of us all" suggests that our moral and ethical considerations can lead to indecision and inaction. This speech is one of the most famous passages in all of Shakespeare's works and explores deep philosophical themes.
make cowards of us all
"Cowards of Us All" is a phrase that can be interpreted in different ways, often with a negative connotation. Here's a short creative piece inspired by this phrase:
In the shadowed corners of our hearts, we hide our fears and doubts, letting them whisper quietly in the recesses of our minds. We fear the unknown, the uncharted paths, and the uncertainties of life. These doubts and fears, like shadows, can make cowards of us all.
Yet, within the heart of every coward lies the potential for courage. We must confront our fears, acknowledge our doubts, and embrace the challenges that life presents. It is through these struggles that we find our strength and rise above the shadows that threaten to make cowards of us all.
So, let us not be defined by our fears but rather by our ability to face them head-on. Let us transform the phrase "Cowards of Us All" into a rallying cry for bravery, resilience, and the determination to conquer our inner demons, emerging stronger and more courageous than we ever thought possible.
native hue of resolution
The phrase "native hue of resolution" appears to be a poetic or metaphorical expression rather than a well-defined technical term. It might be used in literature or philosophical discussions to describe the inherent clarity or essence of something when it is seen or understood in its truest form.
In general, "hue" refers to color, and "resolution" can refer to clarity, determination, or finding a solution to a problem. Therefore, "native hue of resolution" could suggest seeing or understanding something in its most fundamental or true state, possibly free from biases or distortions.
If you have a specific context or usage in mind, please provide more details, and I can try to provide a more precise explanation based on that context.
name of action. Soft you now
The phrase "Soft you now" is not a common action or command. It appears to be a request to be gentle or quiet. However, it's not a standard action with a specific name. If you could provide more context or information about the situation in which this phrase is used, I might be able to offer more insight.
It's from Hamlet
Ah, I see. "Soft you now" is a phrase from William Shakespeare's play "Hamlet." In the context of the play, it is used by Hamlet to ask someone to be quiet or gentle, often when he is about to reveal something important or when he wants to listen to what someone else is saying. It's not a standalone action but rather a line of dialogue within the play.
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