Chapter 5

_Endless repetition or repeating a sentence to be memorised over and over again_ is the usual process. After one perusal, however, the mind in such a case has sated its curiosity in regard to the meaning of the sentence and each subsequent repetition for the purpose of fixing it in the memory merely makes an impression upon the eye or ear or both, and the intellect, being unoccupied, naturally wanders away. Hence, learning by _rote_ promotes _mind-wandering_: for the Attention always wanders unless wooed to its work by all-engrossing interest in the subject which in case of a weak power of Attention is rarely sufficient, or by =the stimulating character of the process of acquirement= which is made use of. In the Method about to be given, the intellect is agreeably occupied, and thereby a Habit of Attention is promoted.

The justification for this Method is found in the Psychological maxim that the intellect can assimilate a simple idea more easily than a complex idea, and a few ideas at a time than many ideas.

The process of this New Method of Decomposition and Recomposition is as follows:--Find the _shortest sentence or phrase that makes sense_ in the sentence to be memorised. Add to this short sentence or phrase, _modifiers_ found in the original sentence, always italicising each new addition--one at a time--until the original sentence is finally restored. Suppose we wish to memorise Bacon's definition of education: "_Education is the cultivation of a just and legitimate familiarity betwixt the mind and things._" Begin with the briefest sentence and then go on: 1. Education is cultivation. 2. Education is _the_ cultivation _of a familiarity_. 3. Education is the cultivation of a familiarity _betwixt the mind and things_. 4. Education is the cultivation of a _just_ familiarity betwixt the mind and things. 5. Education is the cultivation of a just _and legitimate_ familiarity betwixt the mind and things. In this process, the sentence is first taken to pieces, and then reconstructed. Finding the lowest terms, "Education is cultivation," we proceed step by step to add modifiers until the original sentence is fully restored.

Each time we make an addition, we recite _so much_ of the original sentence as has hitherto been used, in connection with the _new modifiers_ laying _special emphasis_ on the new matter as represented by the italic words. The intellect is thus kept compulsorily and delightfully occupied from the start to the finish. It seeks the shortest phrase or sentence and adds successively all the modifiers, making no omissions. This analyzing and synthesizing process--_this taking to pieces and then gradually building up_ the original sentence, makes a deep and lasting First Impression.

Every time this method is used the Attention ought to be strengthened and mind-wandering diminished and the natural Memory strengthened in both its Stages.

This process admits usually of several applications in the case of a long sentence. In the foregoing example, it might have proceeded thus: 1. Education is a familiarity. 2. Education is the familiarity _betwixt the mind and things_. 3. Education is the _cultivation_ of a familiarity betwixt the mind and things. 4. Education is the cultivation of _just_ familiarity betwixt the mind and things. 5. Education is the cultivation of a just _and legitimate_ familiarity betwixt the mind and things. Or we might have taken this course: 1. Education is a familiarity. 2. Education is a familiarity _betwixt the mind and things_. 3. Education is a _just_ familiarity betwixt the mind and things. 4. Education is a just _and legitimate_ familiarity betwixt the mind and things. 5. Education is _the cultivation_ of a just and legitimate familiarity betwixt the mind and things.

1. To keep the mind in an assimilating condition, what method is furnished? 2. What is the usual process of memorising prose and poetry? 3. After one perusal in such a process what takes place? 4. Does learning by rote promote mind-wandering? 5. Does not the attention always wander unless wooed to its work by great interest in the subject dealt with, or by the method of learning which is given? 6. How is the intellect occupied by using my method? 7. Is the habit of Attention also promoted? 8. Where is the justification of this method found? 9. Can the intellect assimilate a simple idea more easily than a complex idea? 10. Describe the process of learning by the Analytic Synthetic Method.

ANOTHER EXAMPLE FULLY WORKED OUT.

"Attention is the will directing the intellect into some particular channel and keeping it there." 1. Attention is the will. 2. Attention is the will _directing the intellect_. 3. Attention is the will directing the intellect _into a channel_. 4. Attention is the will directing the intellect into _some_ channel. 5. Attention is the will directing the intellect into some _particular_ channel. 6. Attention is the will directing the intellect into some particular channel _and keeping it there_. Or we may take this course: 1. Attention is directing the intellect. 2. Attention is directing the intellect _into a channel_. 3. Attention is directing the intellect into _some_ channel. 4. Attention is directing the intellect into some _particular_ channel. 5. Attention is directing the intellect into some particular channel _and keeping it there_. 6. Attention is the _will_ directing the intellect into some particular channel and keeping it there.

A LONG LEGAL DEFINITION.

"An estate upon condition is one which depends upon the happening or not happening of some uncertain event whereby the estate may be either originally created or enlarged or finally defeated."

1. An estate is one. 2. An estate _upon condition_ is one. 3. An estate upon condition is one _which depends upon the happening of some event_. 4. An estate upon condition is one which depends upon the happening _or not happening_ of some event. 5. An estate upon condition is one which depends upon the happening or not happening of some _uncertain_ event. 6. An estate upon condition is one which depends upon the happening or not happening of some uncertain event _whereby the estate may be created or enlarged or defeated_. 7. An estate upon condition is one which depends upon the happening or not happening of some uncertain event whereby the estate may be _either_ created or enlarged or defeated. 8. An estate upon condition is one which depends upon the happening or not happening of some uncertain event whereby the estate may be either _originally_ created or enlarged or defeated. 9. An estate upon condition is one which depends upon the happening or not happening of some uncertain event whereby the estate may be either originally created or enlarged or _finally_ defeated.

1. In this process, what is first done with a sentence? 2. After a sentence is thus taken to pieces, what is then done with it? 3. How do we proceed after finding the lowest terms? 4. Do we revive any part of the original sentence each time we make an addition? 5. How much of it? 6. Is the intellect kept occupied in this way? 7. Does this not make a deep and lasting first impression? 8. Every time this is used what should be the result? 9. Should the natural Memory be strengthened in both stages? 10. Does this process admit of more than one application in the case of a long sentence?

MODERATION ADVISED.

The practice of the above method is so attractive to a beginner when it is applied to single sentences, that he is apt to work at it too long at a time. Let him not at the outset analyse and reconstruct more than from 3 to 4 sentences at one sitting or lesson, but let him do what he attempts in the most thorough manner, and after a time he will not find it necessary to apply this method in future memorisations.

EXAMPLES FOR PRACTICE.

1. A bachelor is a wild goose that tame geese envy.

2. Law is a trap baited with promise of benefit or revenge.

3. Conversation is the idle man's business and the business man's recreation.

4. Attention is adjusting the observer to the object in order to seize it in its unity and diversity.

5. Assimilative Memory is the Habit of so receiving and absorbing impressions and ideas that they or their representatives shall be ready for revival or recall whenever wanted.

INTERROGATIVE ANALYSIS USED FOR SHORT SENTENCES.

Interrogative Analysis or intellectual Inquisition is another and most effective mode of inciting the intellect to pass from a passive into an active =assimilating= condition when trying to learn by heart as well as to help create the habit of the intellect staying with the senses. The process consists of two parts: (1) _To not only ask a question on every important word in the sentence to be memorised_, but, (2) _to repeat the entire sentence in reply to each question, while specially emphasising_ that word of the sentence which constitutes the _answer_ to the question. Take the passage from Byron:--

"Man! Thou pendulum 'twixt a smile and tear."

1. _Who_ is a pendulum 'twixt a smile and tear? "_Man!_ thou pendulum 'twixt a smile and tear." 2. What function does man perform 'twixt a smile and tear? "Man! thou _pendulum_ 'twixt a smile and tear." 3. 'Twixt a tear and what else is man said to be a pendulum? "Man! thou pendulum 'twixt a _smile_ and tear." 4. 'Twixt a smile and what else is man said to be a pendulum? "Man! thou pendulum 'twixt a smile _and tear_." 5. By what word is the relation between "pendulum" and "a smile and tear" described? "Man! thou pendulum _'twixt_ a smile and tear." 6. Is the pendulum which man is said to be 'twixt a smile and tear addressed in the first, second, or third person? "Man! _thou_ pendulum 'twixt a smile and tear."

The pupils will see that the above method is fundamentally unlike the ordinary question and answer method. In the latter procedure, a question is asked and the answer is given by "yes" or "no," or by the use of one or more words of the sentence. To illustrate: What is "man" called in this passage? Ans. A pendulum. What swings betwixt a smile and tear? Ans. A pendulum, &c., &c.

1. Define Interrogative Analysis. 2. What does it incite the intellect to do? 3. What does the process consist of? What are they?

But in my Method the aim is _to repeat as much of the sentence as is possible informing the question and the whole of it in each reply_; and in _question and reply_ the _word_ that _constitutes the point of both_ is to be especially _emphasized_, and in this way _the mind is exercised on each word of the sentence twice_ (once in question and once in answer), and _each word of the sentence is emphasized in reference to the whole of the sentence_. And in all these separate steps it is impossible for the mind to remain in a passive state, but must be _active_ and _absorbing_ throughout, and thereby a most vivid =first impression= is secured, and the remembrance of it assured.

Besides the habit of exhaustively considering and weighing a sentence which is created by this method, it not only secures the faithful recollection of the passages to which it is applied, but it gives another great advantage. What usually makes a person dull in conversation? Setting aside timidity, we find that well-informed persons are sometimes good listeners, but no talkers. Why is this? In conversation their minds are apt to remain in a _recipient passive_ state. Hence no trains of thought arise in their own minds. And having nothing in their minds which seeks utterance, they remain quiet. Now the practice of Interrogative Analysis compels such persons to interrogate--to propose questions--to think. And when such mental activity becomes strong, it will break out in conversations by interrogatories and critical and often original interesting remarks.

1. Is this method like the ordinary question and answer method? 2. How are answers given in the latter procedure? 3. What is the aim in my method? 4. How much of the sentence is repeated in each reply given to the question? 5. What word is to be especially emphasised? 6. How often is the mind exercised on each word of the sentence? 7. In all of these separate steps, is it possible for the mind to remain in a passive state? Must it not be active and absorbing throughout?

Teachers often complain that they can never induce some of their pupils to ask questions on their tasks. The reason is that their pupils remain in a passive state of mind. Had they been thoroughly drilled in Interrogative Analysis as I teach it, they would quickly have questions to ask on all subjects.

I show them _how_ to interrogate. They cannot help practising this method. They commence with the first word of a sentence and go on to the last. And from the numerous examples I give, they see exactly how this is to be done in all other cases. But if I had merely told them to ask questions on the sentence to be learned, they would have had no guide or rule of procedure to follow. As I fully illustrate my Method the pupil at once knows how to proceed, and he gains confidence in his ability to use the method every time he tries it, and at length the Habit of active thinking has been formed, and he is almost sure to be an interrogator and thinker on all subjects.

1. What is thereby secured? 2. Is the remembrance of the first impression assured? 3. What other great advantage does the method of Interrogative Analysis give? 4. Are all well-informed persons good talkers? 5. If not, why? 6. In conversation, in what state are their minds apt to remain? 7. Do any trains of thought arise in their own minds? 8. What does the practice of Interrogative Analysis compel such persons to do? 9. What do teachers often complain of? 10. What is the cause? 11. What does my method show them? 12. Can they help practising it? 13. Do I not fully illustrate my method? 14. Does not the pupil gain confidence by practising this method? 15. Does not the habit of active thinking thereby grow upon him?

The following sentence will be made use of as an example for practice. I deal with it by the Analytic-Synthetic, and also by the Interrogative Analysis methods.

"The Devil hath not, in all his quiver's choice, An arrow for the heart like a sweet voice!"

1. The Devil hath an arrow. 2. The Devil hath _not_ an arrow. 3. The Devil hath not an arrow _for the heart_. 4. The Devil hath not an arrow for the heart _like a voice_. 5. The Devil hath not an arrow for the heart like a _sweet_ voice. 6. The Devil hath not, _in his choice_, an arrow for the heart like a sweet voice. 7. The Devil hath not, in his _quiver's_ choice, an arrow for the heart like a sweet voice. 8. The Devil hath not, in _all_ his quiver's choice, an arrow for the heart like a sweet voice.

THE SAME BY INTERROGATIVE ANALYSIS.

1. _Who_ hath not in all his quiver's choice an arrow for the heart like a sweet voice? The _Devil_ hath not, in all his quiver's choice, an arrow for the heart like a sweet voice. 2. Hath the Devil in all his quiver's choice an arrow for the heart like a sweet voice? The Devil hath _not_, in all his quiver's choice, an arrow for the heart like a sweet voice. 3. What hath not the Devil in all his quiver's choice for the heart? The Devil hath not, in all his quiver's choice, _an arrow_ for the heart like a sweet voice. 4. For what hath not the Devil in all his quiver's choice an arrow like a sweet voice? The Devil hath not, in all his quiver's choice, an arrow _for the heart_ like a sweet voice. 5. Like what sweet thing hath not the Devil in all his quiver's choice an arrow for the heart? The Devil hath not, in all his quiver's choice, an arrow for the heart _like a sweet voice_. 6. Like what kind of a voice hath not the Devil in all his quiver's choice an arrow for the heart? The Devil hath not, in all his quiver's choice, an arrow for the heart like a _sweet voice_.

"A bad workman blames his tools."

Who blames his tools? A _bad workman_ blames his tools. What kind of a workman blames his tools? A _bad_ workman blames his tools. What bad man blames his tools? A bad _workman_ blames his tools. How does a bad workman treat his tools? A bad workman _blames_ his tools. Whose tools does a bad workman blame? A bad workman blames _his_ tools. What things belonging to a bad workman does he blame? A bad workman blames his _tools_.

"Judgments draw interest at six per cent."

What draw interest? _Judgments_ draw interest at six per cent. How do judgments operate on interest? Judgments _draw_ interest at six per cent. What do judgments draw? Judgments draw _interest_ at six per cent. At what rate do judgments draw interest? Judgments draw interest at _six_ per cent. A part of what sum is the interest of six dollars which judgments draw? Judgments draw interest at six _per cent_.

"Effort is the price of success."

What is the price of success? _Effort_ is the price of success. Was effort the price of success? Effort _is_ the price of success. What bearing has effort on success? Effort is _the price_ of success. Effort is the price of what? Effort is the price of _success_.

"Truth seldom goes without a scratched face."

What seldom goes without a scratched face? _Truth_ seldom goes without a scratched face. Does truth ever go without a scratched face? Truth _seldom_ goes without a scratched face. What does truth seldom do without a scratched face? Truth seldom _goes_ without a scratched face. Does truth seldom go with a scratched face? Truth seldom goes _without_ a scratched face. Truth seldom goes without what? Truth seldom goes without a _scratched face_. What kind of a face is spoken of? Truth seldom goes without a _scratched_ face. Without what scratched thing does truth seldom go? Truth seldom goes without a scratched _face_.

EXAMPLES FOR PRACTICE.

1. Instinct is inherited memory. 2. Books are embalmed minds. 3. Words are the fortresses of thought. 4. A name denotes objects and connotes attributes. 5. Force is depersonalised will. 6. A somnambule only acts his dream. 7. Attention is fixation of consciousness. 8. Science is organised common sense.

The student of Interrogative Analysis can apply this method to the examples given under the Analytic-Synthetic Method. This will give the needful additional practice. But let him not attempt too much at any one time. Three to four examples thoroughly studied are quite sufficient for one session or sitting.

POEMS LONG OR SHORT EASILY LEARNED BY HEART.

POE'S "BELLS."

1. Before attempting to memorize any selections of Prose or Poetry, never fail _first to read it carefully_ to ascertain what it is all about, to learn its aim and _mode of development_ and its _peculiarities_, and not least of all, to look up and note down in writing the _meaning of unfamiliar_ words.

2. In this poem the average reader might have to consult the dictionary for the precise meaning of "Crystalline" [clear, unalloyed], "Runic" [old-fashioned, mystical], "Tintinnabulation" [bell-ringing], "Monody" [a monotonous sound], "Ghouls" [imaginary evil beings supposed to prey upon human bodies], and "Pæan" [a song of triumph]. The pupil should understand that except in the rare cases where mere sound helps us, we learn wholly through the _meaning_ of the words and their _relations_ between the meanings, and therefore if he fails to know the import of any word or words in a selection, he cannot receive the full benefit of the methods taught in this System.

3. The reader finds that there are four stanzas in this poem, each dealing with a different kind of bell, _viz._: Silver, Golden, Brazen and Iron bells.

4. It is always best to fix in memory the order of paragraphs or of stanzas the moment the opportunity occurs for that purpose, and here, before attempting to memorise the stanzas themselves, let the order of them be fixed.

5. The order of the bells is first "silver," second "golden," third "brazen," and fourth "iron." How establish this order in mind? Silver and gold are the precious metals used for coins. They occur here in the order of their value, "silver" being first and the cheaper, and "gold" the second and the most valuable of all. Next we have "brazen," which resembles "gold" in colour, and fourth and last we have "iron," the cheapest of the four--silver, gold, brass and iron. If this analysis of the order of the subject-matter of the stanzas is retained, the student is ready to take account of other things which his first perusal of the poem has taught him.

6. Before doing so, however, let us notice a method of the old Mnemonics, which is still taught and which should never be resorted to. It is their story-telling method. A story or narrative is invented for the purpose of helping the student, as it is claimed, to memorise it. In this poem we find there are four stanzas, each occupied with a different kind of bell. To help remember that the order of the bells is silver, gold, brass and iron, the old Mnemonics advises us to invent a story--the following will answer: A couple of lovers once took a sleigh-ride, the horses carrying _silver_ bells. After a time they marry, when wedding or _golden_ bells are used. Later on their house is on fire, when alarm or _brazen_ bells are brought into requisition, and last of all, one of the couple dies, when the _iron_ bells were tolled.

Whilst such a method is a novelty to the student, he might tolerate it as such, but as a memory-aid it is always unreliable, since it is something _in addition_ to the matter to be remembered and forming no part of it, the invented story, if remembered at all, is apt to be recalled as an integral part of the selection itself.

7. In this first perusal the reader has noticed that there is a _certain uniformity of construction_ in the first line of each stanza, as in the first stanza we have: "Hear the sledges with the bells--silver bells;" in the second, "Hear the mellow wedding bells--golden bells;" in the third, "Hear the loud alarum bells--brazen bells;" and in the fourth and last, "Hear the tolling of the bells--iron bells."

8. The reader has also observed that the second line in each stanza contains a reflection in the form of an exclamation on the function or result of the uses of the bells spoken of, as in the second line of the first stanza we see: "What a world of merriment their melody foretells;" in the second stanza the second line gives us, "What a world of happiness their harmony foretells;" the second line of the third stanza reads as follows: "What a tale of terror, now, their turbulency tells;" and in the fourth stanza the second line runs thus: "What a world of solemn thought their monody compels."

9. Other points of resemblance [In.], or of unlikeness [Ex.], were noticed in the reader's first perusal of this poem, and these, as well as those already remarked upon, will greatly facilitate his learning the exact language of each stanza.

10. Now comes the _test_. It is often said that habit is "second" nature. The Duke of Wellington more truly said: "Habit is _ten times_ nature." The reader early acquired the habit of learning prose and poetry by the _rote_ method--the method of repeating the sentences over and over again almost endlessly till ear or eye retains the exact language.