The program found in the head of an average poet, after all, was written by the poet's civilization, and that civilization was in turn programmed by the civilization that preceded it, and so on to the very Dawn of Time, when those bits of information that concerned the poet-to-be were still swirling about in the primordial chaos of the cosmic deep. Hence in order to program a poetry machine, one would first have to repeat the enter Universe from the beginning — or at least a good piece of it.
Towards the end of the twentieth century the machine began to tremble, first sideways, then lengthwise — for no apparent reason. This alarmed Trurl; he brought out cement and grappling irons just in case. But fortunately these weren't needed; instead of jumping its mooring, the machine settled down and soon had left the twentieth century far behind. Civilizations came and went thereafter in fifty-thousand-year intervals: these were the fully intelligent beings from whom Trurl himself stemmed. Spool upon spool of computerized history was filled and ejected into storage bins; soon there were so many spools, that even if you stood at the top of the machine with high-powered binoculars, you wouldn't see the end of them. And all to construct some versifier! But then, such is the way of scientific fanaticism. At last the programs were ready; all that remained was to pick out the most applicable — else the electropoet's education would take several million years at the very least.
During the next two weeks Trurl fed general instructions into his future electropoet, then set up all the necessary logic circuits, emotive elements, semantic centers. He was about to invite Klapaucius to attend a trial run, but thought better of it and started the machine himself. It immediately proceeded to deliver a lecture on the grinding of crystallographical surfaces as an introduction to the study of submolecular magnetic anomalies. Trurl bypassed half the logic circuits and made the emotive more electromotive; the machine sobbed, went into hysterics, then finally said, blubbering terribly, what a cruel, cruel world this was. Trurl intensified the semantic fields and attached a strength of character component; the machine informed him that from now on he would carry out its every wish and to begin with add six floors to the nine it already had, so it could better meditate upon the meaning of existence. Trurl installed a philosophical throttle instead; the machine fell silent and sulked. Only after endless pleading and cajoling was he able to get it to recite something: "I had a little froggy." That appeared to exhaust its repertoire. Trurl adjusted, modulated, expostulated, disconnected, ran checks, reconnected, reset, did everything he could think of, and the machine presented him with a poem that made him thank heaven Klapaucius wasn't there to laugh — imagine, simulating the whole Universe from scratch, not to mention Civilization in every particular, and to end up with such dreadful doggerel! Trurl put in six cliché filters, but they snapped like matches; he had to make them out of pure corundum steel. This seemed to work, so he jacked the semanticity up all the way, plugged in an alternating rhyme generator — which nearly ruined everything, since the machine resolved to become a missionary among destitute tribes on far-flung planets. But at the very last minute, just as he was ready to give up and take a hammer to it, Trurl was struck by an inspiration; tossing out all the logic circuits, he replaced them with self-regulating egocentripetal narcissistors. The machine simpered a little, whimpered a little, laughed bitterly, complained of an awful pain on its third floor, said that in general it was fed up, through, life was beautiful but men were such beasts and how sorry they'd all be when it was dead and gone. Then it asked for pen and paper.
— from "The First Sally (A) or Trurl's Electronic Bard," in The Cyberiad, by Stanisław Lem.