A Scientific Experiment.

General Foy, anoratorand artillery officer, fond of literature, was born the same year [Concurrence] 1775, as theorator[Inclusion], Daniel O’Connell. He died in 1825, the same year [Concurrence] as Paul-Louis Courier, who was also an artillery officer [Inclusion], fond of literature [Inclusion], and moreover, like O’Connell, a violent pamphleteer [Inclusion].

Two illustrious, uncompromising characters [Inclusion], both brilliant composers [Inclusion], the one musical, the other literary, the one a representative of the music of the future, the other of the obsolete polemic of the past [Exclusion], Richard Wagner and Louis Veuillot, were born in the same year, 1813, and died in the same year, 1883. The last point is a double Concurrence.

Two foremost harbingers of modern thought [Inclusion], Voltaire and J. J. Rousseau, died in 1778—[Concurrence]. Both gained for themselves the reputation of having been the most reckless antagonists of Christianity [Inclusion]. And still the one dedicated a church to the service of God, whilst the other in his “Emile” wrote a vindication of Christianity [Exclusion as to each of them, Inclusion as to both of them].

A little practice makes the pupil prompt in dealing with any figures whatever. Take the height of Mount Everest, which is 29,002 feet. We have all heard that it is more than five miles high. Let us test this statement. There are 5,280 feet in a mile, multiply 5,280 by 5, and we have 26,400. Hence we see that Mount Everest being 29,002 feet high must be more than five miles high. Half of a mile is 5,280 feet divided by 2, or 2,640 feet. Add this to 26,400 and we have 29,040. Hence we see that Mount Everest is5½miles high lacking 38 feet, or that if we add 38 feet to its height of 29,002, it would then be exactly5½miles high. Can we then forget that it is exactly 29,002 feet high?

Shakespeare was born in 1564 and died in 1616. The First Folio Edition of his works was printed in 1623, the Second in 1632, the Third in 1664, and the Fourth in 1685. Can we fix these events infallibly in our memories?‌We can begin with whichever date we prefer. If we add together the figures of the year of his birth, 1564, they make 16. All the dates hereafter considered occurred in 1600,&c.We can thus disregard the first 16 and consider only the last two figures which constitute the fraction of a century.

Let us begin with his death in 1616 in thesixteens. Is not this a vivid collocation of figures? Can we forget it as applied to the great dramatist? Now if we double the last 16, it gives us the date of the second Folio in [16]32 and 32 reversed gives us the date of the first Folio. Again, seven years after his death [“seven ages of man”] his first Folio was published in 1623. The second Folio was published in 1632 or 23 reversed, and the third Folio in 1664, or 32 doubled, and just 100 years after his birth in 1564. His birth might also be remembered as occurring in the same year as that of the great astronomer Galileo. The fourth Folio appeared in 1685 or 21 years after the third Folio. This period measures the years that bring man’s majority or full age.

Attention to the facts of reading will be secured by increased power of Concentration, and a familiarity withIn.,Ex., andCon.will enable us to assimilate all dates and figures by numeric thinking with the greatest promptitude, especially the longer or larger series.

Try the case of Noah’s Flood, 2348B.C.Here the figures pass by a unit at a time from 2[3] to 4, and then by doubling the 4 we have the last figure 8—making altogether 2348. Another method of dealing with this date is very instructive. Read the account inGen. ch. vii., vv. 9, 13, and 15.Now we can proceed.

They went into the Ark bytwos. This gives the figure 2. Now let us find the other figures. Noah’s three sons and their wives make three pairs of persons, orthreefamilies. This gives the second figure 3. Then counting Noah and his wife, and his three sons and their wives, there were four pairs of human beings altogether. This gives the figure 4. Finally the total number of human beings who entered the ark were 4 pairs oreightpersons. This gives the figure 8. Thus we have the entire set of figures, 2348B.C.Take the date of the creation according‌to the accepted biblical chronology as 4004B.C.We could say the date hasfourfigures, that the expression of it begins and ends with the figure 4, and that the two intermediates are nought, or cyphers; or that the figures are expressed by 40 andforty reversedas 40-04—or 4004.

Having met several persons who claimed that they always remembered figures by reasoning about them [whatever that may have meant], and yet all such persons having shown an inability to remember many dates or numbers, I inferred that they were honestly mistaken in supposing that they could remember numbers, or else that such a method was not adapted to their idiosyncrasies. At that time, I did not suspect that their failure may have arisen from lack oftraininginIn.,Ex., andCon.From the circumstance that I myself could use this method with promptitude and certainty, I determined to test it in a strictly scientific way.

I made the experiment two years ago, and all my experience since has corroborated the conclusion then arrived at.

I experimented with the two groups of 20 pupils each. Neither knew any method of dealing with dates and numbers. The first group had had no training inIn.,Ex., andCon.; the second group had been well practised in those laws. I then gave each member of each group several very difficult cases of dates and numbers to be memorised—one example containing 24 figures. To save time and space in exposition, I have heretofore only mentioned 12 figures, or the half of the amount. All of the first group failed except one. He, however, could not memorise the 24 figures. All of the second group handled all the new examples with success, and only two of them met with much difficulty in dealing with the 24 figures.

Since this decisive experiment, I have heartily recommended the method of finding relations amongst the numbers themselves, to all who are proficient in the use ofIn.,Ex., andCon.

The example of 24 figures must conclude this exposition.‌They represent respectively the number of the day of the month in which the first Saturday in each month falls in 1895 and 1896. To one without practice in applying analysis to figures, there seems no hope of memorising this long group of figures except by endless repetition. The 24 figures are

522641637527417426415375.

Yet reflect a moment and all will be clear. Divide the 24 figures into 2 groups of 12 figures each and number the first group, divided into four sections, thus:—

Now bring the first and fourth groups into relation, and you see at once that the fourth group is larger than the first group by onlyfive. Bringing thesecondgroup into relation with thethirdgroup, we find they differ only byfour. Again: the third group is larger than the fourth by 100 and by 10, that is 527 becomes 637, the seven alone remaining steadfast. Beginning with the fourth group and passing to the third group we have the fourth group with 110 added. The second group is the third group with only four added, and the first group is the fourth group with only five subtracted. Thinking out these relations you can recall the groups as groups or the separate figures of each group or the entire 12 figures either forwards or backwards—and you have achieved this result byAttentionandThought.

The other twelve figures are easily disposed of. They are 417426415375. Divided into groups of three figures each we have

Bringing the first group into relation with the third group, we notice that it is larger by two—and considering the second group with the fourth group, we find that the second group is as much and one more above 400 as the fourth is below 400. Other minor matters could be noticed, as that the first two figures of each group are respectively 41—42—41—37, and that the last figure in each group is 7—6—5—5. But these relations are hardly worth observing.

Coming back to the first series, we know that each figure represents the number of the day of the month to which it belongs on which the first Saturday in that month falls.‌The figures for 1895 are 522—641—637—527. The first Saturday in January, 1895, falls on thefifthday of January, hence the second Saturday must be 5 + 7 = the 12th day of January; the third Saturday the 19th, and the fourth Saturday 26th. It is easy to know on what day of theweekany day in January falls. Suppose you ask on what week day the 25th of January falls? You know the 26th is Saturday, and hence the 25th must be the day preceding the 26th, to wit, Friday, the 25th. Suppose you ask on what week day the 9th of January falls. You know the 12th is Saturday (the second Saturday). You now count backward thus: 12 is Saturday, 11 must be Friday, 10 Thursday, 9 must be Wednesday. ThefirstSaturday in January, 1895, is the 5th; of February, the 2nd; of March, the 2nd; of April, the 6th; of May, the 4th,&c.,&c.And we can tell on what week day any day of any of the other months falls.

Howunobservantand whollyunreliantmany pupils are may be seen from the fact that notwithstanding my elaborate handling of the processes of learning prose and poetry by heart, I often receive requests to send some indication of how I would learn a particular chapter or selection by heart! But a chapter consists of paragraphs and paragraphs of sentences. Learning the desired passages by heart is done by applying the methods here so profusely illustrated to the successive sentences of the chapter or selection, until practice and training in these methods will make their further application unnecessary.

In pursuance of my plan to keep the mind in anAssimilatingcondition when trying to learn and to further aid in making the intellect stay and work with the senses, I proceed to furnish a Training Method for committing prose and poetry to memory.

Endless repetition or repeating a sentence to be memorised over and over againis 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 byrotepromotesmind-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 bythe stimulating character of the process of acquirement‌which 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 theshortest sentence or phrase that makes sensein the sentence to be memorised. Add to this short sentence or phrase,modifiersfound 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 isthecultivationof a familiarity. 3. Education is the cultivation of a familiaritybetwixt the mind and things. 4. Education is the cultivation of ajustfamiliarity betwixt the mind and things. 5. Education is the cultivation of a justand legitimatefamiliarity 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 reciteso muchof the original sentence as has hitherto been used, in connection with thenew modifierslayingspecial emphasison 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 upthe 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 in‌the case of a long sentence. In the foregoing example, it might have proceeded thus: 1. Education is a familiarity. 2. Education is the familiaritybetwixt the mind and things. 3. Education is thecultivationof a familiarity betwixt the mind and things. 4. Education is the cultivation ofjustfamiliarity betwixt the mind and things. 5. Education is the cultivation of a justand legitimatefamiliarity betwixt the mind and things. Or we might have taken this course: 1. Education is a familiarity. 2. Education is a familiaritybetwixt the mind and things. 3. Education is ajustfamiliarity betwixt the mind and things. 4. Education is a justand legitimatefamiliarity betwixt the mind and things. 5. Education isthe cultivationof a just and legitimate familiarity betwixt the mind and things.

“Attention is the will directing the intellect into some particular channel and keeping it there.” 1. Attention is the will. 2. Attention is the willdirecting the intellect. 3. Attention is the will directing the intellectinto a channel. 4. Attention is the will directing the intellect intosomechannel. 5. Attention is the will directing the intellect into someparticularchannel. 6. Attention is the will directing the intellect into some particular channeland keeping it there. Or we may take this course: 1. Attention is directing the intellect. 2. Attention is directing the intellectinto a channel. 3. Attention is directing the intellect intosomechannel. 4. Attention is directing the intellect into someparticularchannel. 5. Attention is directing the intellect into some particular channeland keeping‌it there. 6. Attention is thewilldirecting the intellect into some particular channel and keeping it there.

“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 estateupon conditionis one. 3. An estate upon condition is onewhich depends upon the happening of some event. 4. An estate upon condition is one which depends upon the happeningor not happeningof some event. 5. An estate upon condition is one which depends upon the happening or not happening of someuncertainevent. 6. An estate upon condition is one which depends upon the happening or not happening of some uncertain eventwhereby 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 beeithercreated 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 eitheroriginallycreated 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 orfinallydefeated.

The practice of the above method is so attractive to a beginner when it is applied to single sentences, that he is apt‌to 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.

Interrogative Analysis or intellectual Inquisition is another and most effective mode of inciting the intellect to pass from a passive into an activeassimilatingcondition 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 emphasisingthat word of the sentence which constitutes theanswerto the question. Take the passage from Byron:—

“Man!Thou pendulum ’twixt a smile and tear.”

1.Whois 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! thou‌pendulum’twixt a smile and tear.” 3. ’Twixt a tear and what else is man said to be a pendulum? “Man! thou pendulum ’twixt asmileand tear.” 4. ’Twixt a smile and what else is man said to be a pendulum? “Man! thou pendulum ’twixt a smileand tear.” 5. By what word is the relation between “pendulum” and “a smile and tear” described? “Man! thou pendulum’twixta 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!thoupendulum ’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.

But in my Method the aim isto repeat as much of the sentence as is possible informing the question and the whole of it in each reply; and inquestion and replythewordthatconstitutes the point of bothis to be especiallyemphasized, and in this waythe mind is exercised on each word of the sentence twice(once in question and once in answer), andeach 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 beactiveandabsorbingthroughout, and thereby a most vividfirst impressionis 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 sometimes‌good listeners, but no talkers. Why is this? In conversation their minds are apt to remain in arecipient passivestate. 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.

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 themhowto 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.

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 hathnotan arrow. 3. The Devil hath not an arrowfor the heart. 4. The Devil hath not an arrow for the heartlike a voice. 5. The Devil hath not an arrow for the heart like asweetvoice. 6. The Devil hath not,in his choice, an arrow for the heart like a sweet voice. 7. The Devil hath not, in hisquiver’schoice, an arrow for the heart like a sweet voice. 8. The Devil hath not, inallhis quiver’s choice, an arrow for the heart like a sweet voice.

1.Whohath not in all his quiver’s choice an arrow for the heart like a sweet voice? TheDevilhath 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 hathnot, 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 arrowfor 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 arrowfor the heartlike 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 heartlike 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 asweet voice.

“A bad workman blames his tools.”

Who blames his tools? Abad workmanblames his tools. What kind of a workman blames his tools? Abadworkman blames his tools. What bad man blames his tools? A badworkmanblames his tools. How does a bad workman treat his tools? A bad workmanblameshis tools. Whose tools does a bad workman blame? A bad workman‌blameshistools. What things belonging to a bad workman does he blame? A bad workman blames histools.

“Judgments draw interest at six per cent.”

What draw interest?Judgmentsdraw interest at six per cent. How do judgments operate on interest? Judgmentsdrawinterest at six per cent. What do judgments draw? Judgments drawinterestat six per cent. At what rate do judgments draw interest? Judgments draw interest atsixper cent. A part of what sum is the interest of six dollars which judgments draw? Judgments draw interest at sixper cent.

“Effort is the price of success.”

What is the price of success?Effortis the price of success. Was effort the price of success? Effortisthe price of success. What bearing has effort on success? Effort isthe priceof success. Effort is the price of what? Effort is the price ofsuccess.

“Truth seldom goes without a scratched face.”

What seldom goes without a scratched face?Truthseldom goes without a scratched face. Does truth ever go without a scratched face? Truthseldomgoes without a scratched face. What does truth seldom do without a scratched face? Truth seldomgoeswithout a scratched face. Does truth seldom go with a scratched face? Truth seldom goeswithouta scratched face. Truth seldom goes without what? Truth seldom goes without ascratched face. What kind of a face is spoken of? Truth seldom goes without ascratchedface. Without what scratched thing does truth seldom go? Truth seldom goes without a scratchedface.

‌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.

1. Before attempting to memorize any selections of Prose or Poetry, never failfirst to read it carefullyto ascertain what it is all about, to learn its aim andmode of developmentand itspeculiarities, and not least of all, to look up and note down in writing themeaning of unfamiliarwords.

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 themeaningof the words and theirrelationsbetween 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 of‌their 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 carryingsilverbells. After a time they marry, when wedding orgoldenbells are used. Later on their house is on fire, when alarm orbrazenbells are brought into requisition, and last of all, one of the couple dies, when theironbells 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 somethingin additionto 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 acertain uniformity of constructionin 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 world‌of 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 thetest. It is often said that habit is “second” nature. The Duke of Wellington more truly said: “Habit isten timesnature.” The reader early acquired the habit of learning prose and poetry by therotemethod—the method of repeating the sentences over and over again almost endlessly till ear or eye retains the exact language.

Now, if the reader has gained aclear conceptionof the Analytic-Synthetic and Interrogative Analysis methods, he is sure to be convinced of their undoubted superiority to therotemethod. And if he must needs learn Poe’s “Bells” before to-morrow night, he would probably spend most of the intervening time in trying to learn it by the discreditedrotemethod, and most likely fail in the attempt, while he is satisfied in theory that he could memorise it by one of my methods in three hours, or in half of that time. The difficulty in his case is to induce him to exert his willpower long enough to practise my methods in learning not a few detached sentences, but an entire poem of 50 or 200 lines; but if he does this in one instance, he effectually breaks down the old bad habit of endless unassimilating repetition and introduces a good habit instead. He will then learn Poe’s “Bells” by my methods in one-tenth, if not one-fiftieth, part of the time it would take him to do it by therotemethod.

11. I here produce the poem in the hope that every one who studies my System will learn it by the Analytic-Synthetic method, and when he has learned the first stanza he should then glance at my Analysis of it which follows the poem and compare his work with mine. Let him then learn the rest of the poem—and thereafter, as a genuine‌exercise of hisrevivingpower and as a training in attention, let him recall it as often as once a week for as many weeks as his desire for improvement continues, or until the recital of it becomes merely automatic.

THE BELLS.Hear the sledges with the bells—silver bells—What a world of merriment their melody foretells!How they tinkle, tinkle, tinkle, in the icy air of night!While the stars that oversprinkleAll the heavens seem to twinkle with a crystalline delight;Keeping time, time, time, in a sort of Runic rhyme,To the tintinnabulation that so musically wellsFrom the bells, bells, bells, bells, bells, bells, bells—From the jingling and the tinkling of the bells.Hear the mellow wedding-bells, golden bells!What a world of happiness their harmony foretells—Through the balmy air of night how they ring out their delight!From the molten-golden notes, and all in tune,What a liquid ditty floatsTo the turtle-dove that listens, while she gloats on the moon!Oh, from out the sounding cells,What a gush of euphony voluminously wells!How it swells! how it dwellsOn the Future! how it tells of the rapture that impelsTo the swinging and the ringing of the bells, bells, bells—Of the bells, bells, bells, bells, bells, bells, bells—To the rhyming and the chiming of the bells!Hear the loud alarum bells—brazen bells!What a tale of terror, now, their turbulency tells!In the startled ear of nightHow they scream out their affright!Too much horrified to speak,They can only shriek, shriek, out of tune,In a clamorous appealing to the mercy of the fire,In a mad expostulation with the deaf and frantic fireLeaping higher, higher, higher, with a desperate desire,And a resolute endeavor now—now to sit or never,By the side of the pale-faced moon. Oh, the bells, bells, bells!What a tale their terror tells of despair!How they clang, and clash, and roar! What a horror they outpourOn the bosom of the palpitating air!Yet the air, it fully knows,By the twanging and the clanging,How the danger ebbs and flows; yet the ear distinctly tellsIn the jangling and the wrangling,‌How the danger sinks and swells,By the sinking or the swelling in the anger of the bells—of the bells—Of the bells, bells, bells, bells, bells, bells, bells—In the clamor and the clangor of the bells!Hear the tolling of the bells—iron bells!What a world of solemn thought their monody compels!In the silence of the night,How we shiver with affrightAt the melancholy menace of their tone!For every sound that floatsFrom the rust within their throats is a groan.And the people—ah, the people—They that dwell up in the steeple, all alone!And who tolling, tolling, tolling, in that muffled monotone,Feel a glory in so rolling on the human heart a stone—They are neither man nor woman—They are neither brute nor human—they are Ghouls:And their king it is who tolls;And he rolls, rolls, rolls, rolls a pæan from the bells!And his merry bosom swells with the pæan of the bells!And he dances and he yells;Keeping time, time, time, in a sort of Runic rhyme,To the pæan of the bells—of the bells;Keeping time, time, time, in a sort of Runic rhyme,To the throbbing of the bells—of the bells, bells, bells,To the sobbing of the bells; keeping time, time, time,As he knells, knells, knells, in a happy Runic rhyme,To the rolling of the bells—of the bells, bells, bells—To the tolling of the bells, of the bells, bells, bells, bells, bells, bells, bells—To the moaning and the groaning of the bells.Edgar A. Poe.

Hear the sledges with the bells—silver bells—What a world of merriment their melody foretells!How they tinkle, tinkle, tinkle, in the icy air of night!While the stars that oversprinkleAll the heavens seem to twinkle with a crystalline delight;Keeping time, time, time, in a sort of Runic rhyme,To the tintinnabulation that so musically wellsFrom the bells, bells, bells, bells, bells, bells, bells—From the jingling and the tinkling of the bells.

Hear the mellow wedding-bells, golden bells!What a world of happiness their harmony foretells—Through the balmy air of night how they ring out their delight!From the molten-golden notes, and all in tune,What a liquid ditty floatsTo the turtle-dove that listens, while she gloats on the moon!Oh, from out the sounding cells,What a gush of euphony voluminously wells!How it swells! how it dwellsOn the Future! how it tells of the rapture that impelsTo the swinging and the ringing of the bells, bells, bells—Of the bells, bells, bells, bells, bells, bells, bells—To the rhyming and the chiming of the bells!

Hear the loud alarum bells—brazen bells!What a tale of terror, now, their turbulency tells!In the startled ear of nightHow they scream out their affright!Too much horrified to speak,They can only shriek, shriek, out of tune,In a clamorous appealing to the mercy of the fire,In a mad expostulation with the deaf and frantic fireLeaping higher, higher, higher, with a desperate desire,And a resolute endeavor now—now to sit or never,By the side of the pale-faced moon. Oh, the bells, bells, bells!What a tale their terror tells of despair!How they clang, and clash, and roar! What a horror they outpourOn the bosom of the palpitating air!Yet the air, it fully knows,By the twanging and the clanging,How the danger ebbs and flows; yet the ear distinctly tellsIn the jangling and the wrangling,‌How the danger sinks and swells,By the sinking or the swelling in the anger of the bells—of the bells—Of the bells, bells, bells, bells, bells, bells, bells—In the clamor and the clangor of the bells!

Hear the tolling of the bells—iron bells!What a world of solemn thought their monody compels!In the silence of the night,How we shiver with affrightAt the melancholy menace of their tone!For every sound that floatsFrom the rust within their throats is a groan.And the people—ah, the people—They that dwell up in the steeple, all alone!And who tolling, tolling, tolling, in that muffled monotone,Feel a glory in so rolling on the human heart a stone—They are neither man nor woman—They are neither brute nor human—they are Ghouls:And their king it is who tolls;And he rolls, rolls, rolls, rolls a pæan from the bells!And his merry bosom swells with the pæan of the bells!And he dances and he yells;Keeping time, time, time, in a sort of Runic rhyme,To the pæan of the bells—of the bells;Keeping time, time, time, in a sort of Runic rhyme,To the throbbing of the bells—of the bells, bells, bells,To the sobbing of the bells; keeping time, time, time,As he knells, knells, knells, in a happy Runic rhyme,To the rolling of the bells—of the bells, bells, bells—To the tolling of the bells, of the bells, bells, bells, bells, bells, bells, bells—To the moaning and the groaning of the bells.

Edgar A. Poe.

This method can be applied in several different ways according to the idiosyncrasies of different students. One way is as follows:—“Hear the sledges with the bells—silver bells.” Applying this method, we have—1. Hear the sledges; 2. Hear the sledgeswith the bells; 3. Hear the sledges with the bells—bells; 4. Hear the sledges with the bells—silverbells. Or, if we use the Interrogatory Analysis Method we could proceed thus: 1. What act of the mind do we exercise in regard to the sledges with the bells—silver bells? “Hearthe sledges with the bells—silver bells.”‌2. What kind of a vehicle do we hear with the bells? “Hearthe sledgeswith the bells—silver bells.” 3. What is it we hear in connection with the sledges? “Hear the sledges withthe bells—silverbells.” 4. What kind of bells do we hear? “Hear the sledges with the bells—silverbells.”

We advance to the second line, which is a reflection on the facts stated in the first line. The two lines are thus connected through the operation of cause, or occasion. [Con.] “What a world of merriment their melody foretells.” We will henceforth only use the Analytic-Synthetic Method. 1. Melody foretells. 2.Theirmelody foretells. 3.What merrimenttheir melody foretells. 4. Whata worldof merriment their melody foretells. Having seen that the second line grows out of the first, and having memorised both we can recall them together thus:

The third line runs thus: “How they tinkle, tinkle, tinkle in the icy air of night.” Melody means “a succession of agreeable musical sounds.” It is a general term—“tinkle, tinkle, tinkle,” means a species of musical sounds, the sounds of the bells. Thus we see that these two lines bear towards each other the relation of genus and species. This relation carefully noticed will tend to hold the lines together. Let us now apply our Method: 1. They tinkle. 2. They tinklein the night. 3.Howthey tinkle in the night. 4. How they tinkle,tinklein the night. 5. How they tinkle, tinkle,tinklein the night. 6. How they tinkle, tinkle, tinkle, in theair ofnight. 7. How they tinkle, tinkle, tinkle in theicyair of night. Now let us recall all the lines together, thus:

The fourth line being very short had better be memorised in connection with the fifth line, and in the expression of the Analysis, we can print the first word of the fifth line with a capital letter. The two lines are:

‌Before proceeding we may notice “night” of the third line is directly connected with “stars” of the fourth line by Concurrence. This observed relation will tend to cement the lines together. Using our Method we say: 1. Stars oversprinkle. 2.While thestars oversprinkle. 3. While the stars oversprinklethe heavens. 4. While the stars oversprinkleAll the heavens. 5. While the starsthatoversprinkle All the heavens. 6. While the stars that oversprinkle All the heavensseem to twinkle. 7. While the stars that oversprinkle All the heavens seem to twinklewith delight. 8. While the stars that oversprinkle All the heavens seem to twinkle with acrystallinedelight. So far we have learned the following lines:

Thesixthline is in these words: “Keeping time, time, time, in a sort of Runic rhyme.” We observe that as “time” is here repeated three times, so “tinkle” was repeated three times in the third line. We must have observed, too, that it is “stars” of the fourth line that are said to “twinkle” in the fifth line. The two lines are as closely connected as grammatical construction and the expression of thought could make them. And the sixth line is an obvious continuation of the description. Analytically we say: 1. Keeping time in a rhyme. 2. Keeping time,time, in a rhyme. 3. Keeping time, time,timein a rhyme. 4. Keeping time, time, time in asortof rhyme. 5. Keeping time, time, time in a sort ofRunicrhyme.

Let us now recall the six lines together.

The seventh line is the continuation of the sixth. Keeping time to what? “To the tintinnabulation that so musically‌wells.” 1. The tintinnabulation wells. 2. The tintinnabulationthatwells. 3. The tintinnabulation thatmusicallywells. 4. The tintinnabulation thatsomusically wells. 5.Tothe tintinnabulation that so musically wells. Wells from what? From the bells, bells—occurring altogether six times more. This makes the eighth line. But some pupils say at once, “I can never be sure in reciting the line to recall bells only seven times, no more or less.” These pupils will admit that they can be sure to say bellsfourtimes, as bells, bells, bells, bells. Then, of course, they can say bellsthreetimes more, making seven times altogether. Here, then, we have the seventh and eighth lines, as follows:

The ninth line is—“From the jingling and the tinkling of the bells.”

In the eighth line we have “bells” seven times repeated in all—bells being taken in their utmost generality, viz.,musicalaction. But in the ninth or last line we have the very specific action of the bells, to wit: “From thejinglingand thetinklingof the bells.” We can make a short analysis, which is always better than unthinking repetition, as: 1. From the bells. 2. From thejinglingof the bells. 3. From the jinglingand the tinklingof the bells. The seventh, eighth, and ninth lines are as follows:

Having already learned the first six lines, we have but to preface these last three by the previous six, and we have the first stanza as follows:—

‌In a similar manner, the pupil can memorise the three remaining stanzas.

Having heretofore learned the order of the four different kinds of bells, and having dealt with the first or “silver” bells, we know that the next or second stanza is concerned with the “golden” bells. Similarly, when we finish the second stanza, we know that the third stanza deals with the “brazen” bells, and the last with the “iron” bells.

No further hints need be offered except perhaps in regard to the last ten lines of the last stanza.

Notice the coincidences, the resemblances, or Inclusions, the Exclusions, and the Concurrences. “Keeping time, time, time, in a sort of Runic rhyme,” occurs three times—but on the third appearance of that phrase, there is a change which must be observed; for it bears this form: “Keeping time, time, time,as he knells, knells, knells, in a happyRunic rhyme.” But the main difficulty with most students seems to be to rememberthe number of timesthe word “bells” is repeated in the different lines. We must keep to the text and not resort to any foreign matter to help the feeble memory. The wordspæan,throbbing,sobbing,rollingandtollingoccur in the lines where the “bells” are mentioned (except in that next to the last line, where “bells” occurs three times, and there is no other word in that line), and in the last line “bells” is found once, and the words “moaning” and “groaning” appear. Memorise these seven words by Analysis, to wit: pæan, throbbing, sobbing, rolling, tolling, moaning and groaning. Thuspæan—a song of triumph—might cause heartthrobbing, an inward act accompanied in the present instance bysobbing, and this outward manifestation of grief would be intensified by therollingof the bells and theirtolling.Moaningandgroaningare figurative expressions for the moaning and groaning of the mourners.

Now the figures 2, 4, 1, 4, 8, 1 (easily learned by analysis as 2, 4, 1 and 4, 8, 1, or 2, 4 with 1 following, and 4, 8, with 1 following, or 2, 4 with 1 following, and [double 2, 4] 4, 8 and 1 following) give thenumber of timesthe word “bells” occurs in connection with the words just learned. Opposite the line wheretollingoccurs we have marked 8, since‌“bells” occurs in that line five times and three times in the next line, where no other word is found.

Carrying these suggestions to the text, they help fix the exact number of times the word “bells” occurs in each line. There are other legitimate ways to assist a poor memory to master these lines, but whatever is done let no one ever think of resorting to the unthoughtive, brainless process of endless repetition.

Poe’s “Bells,” being a difficult selection to learn, furnishes, as all difficult selections do, numerous opportunities for applying Analysis to fix the lines in memory. Hence it should bemasteredand often recited by all who would learn to memorise poetry or prose, in, at the very least,one-fifthof the time required by the old mind-wandering process ofrotelearning.←ToC

This lesson in figures is given for the benefit of those who have not yet masteredNumeric Thinking. The pupil will appreciate its practical value the moment he masters the key to it.

This is given in the next few pages, and it will be found to be easy of comprehension and interesting to a surprising degree.

The whole thing is in a nutshell. Numbers, as such, are abstractions and hard to be remembered. To make them hard to forget, we translate them into words or phrases. These are easily remembered and they always instantlygive backthe figures they stand for.

We represent the figures 1, 2, 3, 4, 5, 6, 7, 8, 9, and 0, by certainconsonants; and then, as the vowels [a, e, i, o, u, and y, together with w] haveno numericalvalue assigned to them, we turn dates or any numbers into translatingwords, which will always tell us precisely the figures the words stand for.

As this simple process enables us to remember any dates or numbers withabsolute certainty, the pupil will be pleased to know that he can learnhow it is doneby onlyone thoughtfulperusal.

The questions at the bottom of each page constitute an invaluable aid to test the accuracy of his knowledge and the correctness of his inferences.

‌The nought and the nine digits arerepresentedby the followingconsonantswhen they aresoundedorpronounced; viz., 0 (nought) by s, z, or csoftas in cease, 1 by t, th, or d, 2 by n, 3 by m, 4 by r, 5 by l, 6 by sh, j, ch, or gsoftas in the first g of George, 7 ghardas in Gorge, k, chardas incane, q, or ng, 8 by f or v, and 9 by b or p.

Ample practice in translating the sounded consonants of words into figures, or of figures into the sounded consonants of words will now be given. If the reader canrememberthe foregoing consonant equivalents of figures in connection with the tabulated Figure Alphabet on the74th pageof this lesson, he can at once pass on through the book. If not, he must carefully study the intervening pages with painstaking—for when once learned, no further difficulty can arise.

The tabulated Figure Alphabet on the 74th page of this lesson expresses the consonant values of the nought and nine digits in perpendicular columns, as under nought (0) are placeds,z, andcsoft; under nine are placedbandp; under six are placedsh,j,ch, andgsoft,&c.Only those who possess first-rate natural memories can learn the equivalents of the sounded consonants in figures from this table. But when learned in this way, the pupil requires much practice in translating words into figures and figures into words. Even this exceptional pupil had better carefully study the ensuing examples.

The first thing to be done is to learnwhichconsonants are used to stand for and represent the nought (0) and 1, 2, 3, 4, 5, 6, 7, 8 and 9. Let the student remember that we use vowels to make words with, but we do not give the vowels [a, e, i, o, u], or w, or y,any number value whatever.

We represent the nought or cypher [0] by the consonants s, z, or csoft[as incease].

The figure value of “sew,” therefore equals or is represented by a cipher [0]. S = 0, and the vowel “e” and the consonant “w” haveno figure value. Cannot the‌student understand at once thatSay = 0,See = 0, Ease = 0, Is= 0, andZoe = 0, andSeize = 00,Size = 00,Sauce = 00?

The following is another way of fixing in mind this first rule.

If the capital letterSwere cut into two parts, and the bottom half attached to the top half, it would make a nought (0).So it is easy to remember that S represents0.Csoftas inceasehas the same sound as S, and should therefore stand for the same figure,viz., 0; and Z is a cognate of S—that is, it ismade by the same organs of speech in the same positionas when making S, only it is an undertone, and S is a whispered letter. Besides Z should represent0because it begins the word Zero—Csoftshould also stand for0for the additional reason that Csoftbegins the word cipher.In translating a word into figures we always turn S, Z, or Csoftinto nought(0);in turning figures into words we always translate a nought(0)into S, Z, or Csoft.

1 is represented by the consonant “t,” “th,” or “d.”

Toy = 1. As “t” stands for 1, and o and y are vowels, and have no figure value, the numerical value of Toymustbe 1.

Thee = 1,Thou = 1,Day = 1,Dew = 1,This= 10,Thus= 10,Does= 10,Ties= 10,Toes= 10,Deed= 11,Doth= 11,To-day = 11,TattooFootnote[B]= 11,Tut= 11,Toad= 11,Tied= 11,Sat= 01,Said= 01,Seat= 01,Days= 10,Toys= 10,These = 10,Those = 10.

“t” stands for 1, because it is made withonedownward stroke. “h” has no figure value except when it is united with “s” or “c” in sh or ch, and therefore “th”mustrepresent 1, and d, being the cognate of “t,” it is represented by 1. Hence we translate “t,” “th,” and “d” by the figure 1, and when we want to represent 1, by letters, we translate it into t, th, or d.

‌2 is represented by “n,”because it is made by two downward strokes.No = 2, Any = 2, One = 2,Noise = 20,Nice = 20,Nest= 201,Note = 21,Then= 12,Nun= 22,Nan= 22,Son= 02,Sine = 02,Zone = 02,Nine = 22,Zeno = 02,Sown= 02.

3 is represented by “m,”because the written m is made bythreedownward strokes. Aim= 3,Sum= 03,Mum= 33,Maim= 33,Money = 32,Moth= 31,Moon= 32,Man= 32,Month= 321, Amends= 3210,Thin= 12, Enemies= 230, Home = 3.

4 is represented by “r,”because it terminates the wordfourin several languages. Air= 4. A and i are vowels, and count for no figure value in Air, and hence that word represents only the figure 4. Wire = 4,Row = 4, Wort= 41, Wrath= 41, Worth= 41,Ride = 41, Heirs= 40,Ruins= 420,Roast= 401,Rum= 43,Roar= 44,Saucer= 004,Swordsman= 041032,Razors= 4040, Arisen= 402, Hermits= 4310.

5 is represented by “l,”because in the Roman alphabet L stood for 50, and we disregard the cipher and make it stand for 5 only—as, Oil= 5. O and i, being vowels, may beusedin a word, but having no figure value, do not change the numerical value of the word; therefore the figure value of “oil” is 5, the same as though the “l” stood alone.Lay = 5,Law = 5, Holy = 5, Awhile = 5, Wheel= 5,Lit= 51, Wealth= 51,Lad= 51,Solo = 05,Sales= 050,Slower= 054,Lane = 52, Alone = 52,Lama = 53, Earlier= 454, Wholesale = 505, Unmilitaryness = 2351420.

6 is represented by “sh,” “j,” “ch,” and “gsoft.” We have the letter values of 6, through the initial consonants of the phrase: (Six),ShyJewesses ChoseGeorge. In the following words, the vowels have no figure value, hence in translation are never counted.Show = 6,Joy = 6, Hatch= 6, Huge = 6,Sage = 06,Cheats= 610,Shed= 61,Sheath= 61,Shot= 61,Gin= 62,Shin= 62,Jean= 62,Chin= 62,Gem= 63,Jam= 63,Shame = 63,Chime = 63, Usher= 64,Jury = 64,Chair= 64, Wager= 64,Shall = 65,Jail= 65,Chill = 65,Gentle = 6215,Jewish= 66.

7 is represented by “ghard” “k,” “chard” “q,” and‌“ng.” We find the letter equivalents of 7 in the initial consonants of the phrase: (Seven),GreatKingsCameQuarrelling. We thus use the termination “ng” to express 7. Hog= 7,Key = 7,Cue = 7, Young= 7, Yoke = 7, Wig= 7. As no vowels have any figure value, they cut no figure in translating into numbers.Deck= 17,Desk= 107,Kid= 71.Skate = 071, Ask= 07, Asking= 077,Sketch= 076,Squire = 074,Cases= 700,Gate = 71, Egad= 71,Kite= 71,Quote = 71. This first “g” is hard (7) and the second “g” is soft (6) inGanges. The “g” in Governor is hard and in General is soft inGovernor-General. The first “c” is hard (7) and the second “c” is soft (0) in accident, = 70121, Haggle = 75, Acme = 73,Cannon= 722,Guitar= 714,Squeak= 077.

We represent 8 by “f” and “v,” because you can imagine a written “f” to be an elongated 8, and “v” is a cognate of “f,”hence equivalent to the same number; as, Wife = 8, Wove = 8. The vowels, although used in the words, have no figure values, neither do “w,” “y,” or “h,” when not a part of “sh” or “ch.”Safe = 08,Save = 08, Ivy = 8, Hive = 8,Foe = 8,Dive = 18, Edify = 18,Tiff = 18,Thief= 18,Thieve = 18,Tough= 18, Enough= 28,Navy = 28, Knave = 28,Nefarious= 2840,Muff = 38,Move = 38,Ruff = 48,Roof= 48,Rough= 48,Review = 48, Alive = 58, Aloof= 58,Leave = 58,Leaf= 58, Alpha = 58,Sheaf= 68,Chaff = 68,Jove = 68,Shave = 68,Shove = 68,Cave = 78,Calf= 78,Gave = 78,Cough= 78,Quaff = 78,Quiver= 784,Five = 88,Fife = 88,Feoff = 88,Fifth= 881,Vivid= 881,Faces= 800.

9 is represented by “b” and “p.”(Nine)BeautifulPeacocks would indicate the figure value of 9, in the initial‌consonants of “beautifulpeacocks.”Bee = 9, and the two vowels “ee” have no figure value.Bow = 9,Pie = 9,Pew = 9,Pay = 9, Ape = 9, Up= 9,By = 9,Base = 90,Bias= 90,Pose = 90,Pause = 90,Boat= 91,Both= 91,Bead= 91,Bean= 92,Bone = 92,Pot= 91,Path= 91,Pad= 91,Pine = 92,Beam= 93,Bar= 94,Bale = 95,Badge = 96,Bush= 96,Buff = 98,Baby = 99,Poem= 93,Pair= 94,Pile = 95,Push= 96,Page = 96,Puff = 98,Pipe = 99,Pope = 99,Pack= 97.

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