Lord Byron (1788–1824), Ada’s father, in Albanian dress, painted by Thomas Phillips in 1835.

Charles Babbage (1791–1871), photograph taken circa 1837.

CHAPTER ONE

ADA, COUNTESS OF LOVELACE

POETICAL SCIENCE

In May 1833, when she was seventeen, Ada Byron was among the young women presented at the British royal court. Family members had worried about how she would acquit herself, given her high-strung and independent nature, but she ended up behaving, her mother reported, “tolerably well.” Among those Ada met that evening were the Duke of Wellington, whose straightforward manner she admired, and the seventy-nine-year-old French ambassador Talleyrand, who struck her as “an old monkey.”¹

The only legitimate child of the poet Lord Byron, Ada had inherited her father’s romantic spirit, a trait that her mother tried to temper by having her tutored in mathematics. The combination produced in Ada a love for what she took to calling “poetical science,” which linked her rebellious imagination to her enchantment with numbers. For many, including her father, the rarefied sensibilities of the Romantic era clashed with the techno-excitement of the Industrial Revolution. But Ada was comfortable at the intersection of both eras.

So it was not surprising that her debut at court, despite the glamour of the occasion, made less impression on her than her attendance a few weeks later at another majestic event of the London season, at which she met Charles Babbage, a forty-one-year-old widowed science and math eminence who had established himself as a luminary on London’s social circuit. “Ada was more pleased with a party she was at on Wednesday than with any of the assemblages in the grand monde,” her mother reported to a friend. “She met there a few scientific people—amongst them Babbage, with whom she was delighted.”²

Babbage’s galvanizing weekly salons, which included up to three hundred guests, brought together lords in swallow-tail coats and ladies in brocade gowns with writers, industrialists, poets, actors, statesmen, explorers, botanists, and other “scientists,” a word that Babbage’s friends had recently coined.³ By bringing scientific scholars into this exalted realm, said one noted geologist, Babbage “successfully asserted the rank in society due to science.”⁴

The evenings featured dancing, readings, games, and lectures accompanied by an assortment of seafood, meat, fowl, exotic drinks, and iced desserts. The ladies staged tableaux vivants, in which they dressed in costume to re-create famous paintings. Astronomers set up telescopes, researchers displayed their electrical and magnetic contrivances, and Babbage allowed guests to play with his mechanical dolls. The centerpiece of the evenings—and one of Babbage’s many motives for hosting them—was his demonstration of a model portion of his Difference Engine, a mammoth mechanical calculating contraption that he was building in a fireproof structure adjacent to his home. Babbage would display the model with great drama, cranking its arm as it calculated a sequence of numbers and, just as the audience began to get bored, showed how the pattern could suddenly change based on instructions that had been coded into the machine.⁵ Those who were especially intrigued would be invited through the yard to the former stables, where the complete machine was being constructed.

Babbage’s Difference Engine, which could solve polynomial equations, impressed people in different ways. The Duke of Wellington commented that it could be useful in analyzing the variables a general might face before going into battle.⁶ Ada’s mother, Lady Byron, marveled that it was a “thinking machine.” As for Ada, who would later famously note that machines could never truly think, a friend who went with them to the demonstration reported, “Miss Byron, young as she was, understood its working, and saw the great beauty of the invention.”⁷

Ada’s love of both poetry and math primed her to see beauty in a computing machine. She was an exemplar of the era of Romantic science, which was characterized by a lyrical enthusiasm for invention and discovery. It was a period that brought “imaginative intensity and excitement to scientific work,” Richard Holmes wrote in The Age of Wonder. “It was driven by a common ideal of intense, even reckless, personal commitment to discovery.”⁸

In short, it was a time not unlike our own. The advances of the Industrial Revolution, including the steam engine, mechanical loom, and telegraph, transformed the nineteenth century in much the same way that the advances of the Digital Revolution—the computer, microchip, and Internet—have transformed our own. At the heart of both eras were innovators who combined imagination and passion with wondrous technology, a mix that produced Ada’s poetical science and what the twentieth-century poet Richard Brautigan would call “machines of loving grace.”

LORD BYRON

Ada inherited her poetic and insubordinate temperament from her father, but he was not the source of her love for machinery. He was, in fact, a Luddite. In his maiden speech in the House of Lords, given in February 1812 when he was twenty-four, Byron defended the followers of Ned Ludd, who were rampaging against mechanical weaving machines. With sarcastic scorn Byron mocked the mill owners of Nottingham, who were pushing a bill that would make destroying automated looms a crime punishable by death. “These machines were to them an advantage, inasmuch as they superseded the necessity of employing a number of workmen, who were left in consequence to starve,” Byron declared. “The rejected workmen, in the blindness of their ignorance, instead of rejoicing at these improvements in arts so beneficial to mankind, conceived themselves to be sacrificed to improvements in mechanism.”

Two weeks later, Byron published the first two cantos of his epic poem Childe Harold’s Pilgrimage, a romanticized account of his wanderings through Portugal, Malta, and Greece, and, as he later remarked, “awoke one morning and found myself famous.” Beautiful, seductive, troubled, brooding, and sexually adventurous, he was living the life of a Byronic hero while creating the archetype in his poetry. He became the toast of literary London and was feted at three parties each day, most memorably a lavish morning dance hosted by Lady Caroline Lamb.

Lady Caroline, though married to a politically powerful aristocrat who was later prime minister, fell madly in love with Byron. He thought she was “too thin,” yet she had an unconventional sexual ambiguity (she liked to dress as a page boy) that he found enticing. They had a turbulent affair, and after it ended she stalked him obsessively. She famously declared him to be “mad, bad, and dangerous to know,” which he was. So was she.

At Lady Caroline’s party, Lord Byron had also noticed a reserved young woman who was, he recalled, “more simply dressed.” Annabella Milbanke, nineteen, was from a wealthy and multi-titled family. The night before the party, she had read Childe Harold and had mixed feelings. “He is rather too much of a mannerist,” she wrote. “He excels most in the delineation of deep feeling.” Upon seeing him across the room at the party, her feelings were conflicted, dangerously so. “I did not seek an introduction to him, for all the women were absurdly courting him, and trying to deserve the lash of his Satire,” she wrote her mother. “I am not desirous of a place in his lays. I made no offering at the shrine of Childe Harold, though I shall not refuse the acquaintance if it comes my way.”⁹