Memory: How to Develop, Train and Use It — 20 - General Instructions

GENERAL INSTRUCTIONS.

In this chapter we shall call your attention to certain of the general principles already mentioned in the preceding chapters, for the purpose of further impressing them upon your mind, and in order that you may be able to think of and to consider them independent of the details of the special phases of memory.

This chapter may be considered in the nature of a general review of certain fundamental principles mentioned in the body of the work.

POINT I.

_Give to the thing that you wish to memorize, as great a degree of concentrated attention as possible.

_ We have explained the reason for this advice in many places in the book.

The degree of concentrated attention bestowed upon the object under consideration, determines the strength, clearness and depth of the impression received and stored away in the subconsciousness.

The character of these stored away impressions determines the degree of ease in remembrance and recollection.

POINT II.

_In considering an object to be memorized, endeavor to obtain the impressions through as many faculties and senses as possible.

_ The reason for this advice should be apparent to you, if you have carefully read the preceding chapters.

An impression received through both sound and sight is doubly as strong as one received through but one of these channels.

You may remember a name, or word, either by having seen it in writing or print; or else by reason of having heard it; but if you have both _seen and heard_ it you have a double impression, and possess two possible ways of reviving the impression.

You are able to remember an orange by reason of having seen it, smelt it, felt it and tasted it, and having heard its name pronounced.

Endeavor to know a thing from as many sense impressions as possible--use the eye to assist ear-impressions; and the ear to assist in eye-impressions.

See the thing from as many angles as possible.

POINT III.

_Sense impressions may be strengthened by exercising the particular faculty through which the weak impressions are received.

_ You will find that either your eye memory is better than your ear memory, or vice versa.

The remedy lies in exercising the weaker faculty, so as to bring it up to the standard of the stronger.

The chapters of eye and ear training will help you along these lines.

The same rule applies to the several phases of memory--develop the weak ones, and the strong ones will take care of themselves.

The only way to develop a sense or faculty is to intelligently train, exercise and use it.

Use, exercise and practice will work miracles in this direction.

POINT IV.

_Make your first impression strong and firm enough to serve as a basis for subsequent ones.

_ Get into the habit of fixing a clear, strong impression of a thing to be considered, from the first.

Otherwise you are trying to build up a large structure upon a poor foundation.

Each time you revive an impression you deepen it, but if you have only a dim impression to begin with, the deepened impressions will not include details omitted in the first one.

It is like taking a good sharp negative of a picture that you intend to enlarge afterward.

The details lacking in the small picture will not appear in the enlargement; but those that _do_ appear in the small one, will be enlarged with the picture.

POINT V.

_Revive your impressions frequently and thus deepen them.

_ You will know more of a picture by seeing it a few minutes every day for a week, than you would by spending several hours before it at one time.

So it is with the memory.

By recalling an impression a number of times, you fix it indelibly in your mind in such a way that it may be readily found when needed.

Such impressions are like favorite tools which you need every little while--they are not apt to be mislaid as are those which are but seldom used.

Use your imagination in "going over" a thing that you wish to remember.

If you are studying a thing, you will find that this "going over" in your imagination will help you materially in disclosing the things that you have not remembered about it.

By thus recognizing your weak points of memory, you may be able to pick up the missing details when you study the object itself the next time.

POINT VI.

_Use your memory and place confidence in it.

_ One of the important things in the cultivation of the memory is the actual use of it.

Begin to trust it a little, and then more, and then still more, and it will rise to the occasion.

The man who has to tie a string around his finger in order to remember certain things, soon begins to cease to use his memory, and in the end forgets to remember the string, or what it is for.

There are many details, of course, with which it is folly to charge the memory, but one should never allow his memory to fall into disuse.

If you are in an occupation in which the work is done by mechanical helps, then you should exercise the memory by learning verses, or other things, in order to keep it in active practice.

Do not allow your memory to atrophy.

POINT VII.

_Establish as many associations for an impression, as possible.

_ If you have studied the preceding chapters, you will recognize the value of this point.

Association is memory's method of indexing and cross-indexing.

Each association renders it easier to remember or recollect the thing.

Each association gives you another string to your mental bow.

Endeavor to associate a new bit of knowledge with something already known by, and familiar to you.

In this way to avoid the danger of having the thing isolated and alone in your mind--without a label, or index number and name, connect your object or thought to be remembered with other objects or thoughts, by the association of contiguity in space and time, and by relationship of kind, resemblance or oppositeness.

Sometimes the latter is very useful, as in the case of the man who said that "Smith reminds me so much of Brown--he's so _different_."

You will often be able to remember a thing by remembering something else that happened at the same place, or about the same time--these things give you the "loose ends" of recollection whereby you may unwind the ball of memory.

In the same way, one is often able to recollect names by slowly running over the alphabet, with a pencil, until the sight of the capital first letter of the name brings the memory of those following it--this, however, only when the name has previously been memorized by _sight_.

In the same way the first few notes of a musical selection will enable you to remember the whole air;

or the first words of a sentence, the entire speech or selection following it.

In trying to remember a thing which has escaped you, you will find it helpful to think of something associated with that thing, even remotely.

A little practice will enable you to recollect the thing along the lines of the faintest association or clue.

Some men are adept memory detectives, following this plan.

The "loose end" in memory is all the expert requires.

Any associations furnish these loose ends.

An interesting and important fact to remember in this connection is that if you have some one thing that tends to escape your memory, you may counteract the trouble by noting the associated things that have previously served to bring it into mind with you.

The associated thing once noted, may thereafter be used as a loose end with which to unwind the elusive fact or impression.

This idea of association is quite fascinating when you begin to employ it in your memory exercises and work.

And you will find many little methods of using it.

But always use natural association, and avoid the temptation of endeavoring to tie your memory up with the red-tape of the artificial systems.

POINT VIII.

_Group your impressions.

_ This is but a form of association, but is very important.

If you can arrange your bits of knowledge and fact into logical groups, you will always be master of your subject.

By associating your knowledge with other knowledge along the same general lines, both by resemblances and by opposites, you will be able to find what you need just when you need it.

Napoleon Bonaparte had a mind trained along these lines.

He said that his memory was like a large case of small drawers and pigeon-holes, in which he filed his information according to its kind.

In order to do this he used the methods mentioned in this book of comparing the new thing with the old ones, and then deciding into which group it naturally fitted.

This is largely a matter of practice and knack, but it may be acquired by a little thought and care, aided by practice.

And it will repay one well for the trouble in acquiring it.

The following table will be found useful in classifying objects, ideas, facts, etc. , so as to correlate and associate them with other facts of a like kind.

The table is to be used in the line of questions addressed to oneself regarding the thing under consideration.

It somewhat resembles the table of questions given in Chapter XVII, of this book, but has the advantage of brevity.

Memorize this table and use it.

You will be delighted at the results, after you have caught the knack of applying it.

QUERY TABLE.

_Ask yourself the following questions regarding the thing under consideration.

It will draw out many bits of information and associated knowledge in your mind_: (1) WHAT?

(2) WHENCE?

(3) WHERE?

(4) WHEN?

(5) HOW?

(6) WHY?

(7) WHITHER?

While the above Seven Queries are given you as a means of acquiring clear impressions and associations, they will also serve as a Magic Key to Knowledge, if you use them intelligently.

If you can answer these questions regarding anything, you will know a great deal about that particular thing.

And after you have answered them fully, there will be but little unexpressed knowledge regarding that thing left in your memory.

Try them on some one thing--you cannot understand them otherwise, unless you have a very good imagination.

* * * * * Transcriber's note: Obvious typographical errors and printer errors have been corrected without comment.

Other than obvious errors, the spelling, grammar, and use of punctuation are preserved as they appear in the original publication.

Inconsistencies in spelling which remain unchanged include: rutte/ ruttes and ruttee/ ruttees In addition to obvious errors, the following changes were made: 1. Page 15: changed "it" to "is" in the phrase, "...

first thing to do is to find...."

2. Page 140: changed "it" to "is" in the phrase, "...

is to visualize...."

3. On page 75 there was no closing quote mark to match the opening quote at the phrase, "As Priestly says: "In a poem,..."

A closing quote mark was added at the end of this sentence.

*** END OF THE PROJECT GUTENBERG EBOOK MEMORY: HOW TO DEVELOP, TRAIN, AND USE IT *** Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U. S.

copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!

) can copy and distribute it in the United States without permission and without paying copyright royalties.

Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark.

Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark.

If you do not charge anything for copies of this eBook, complying with the trademark license is very easy.

You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research.

Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U. S.

copyright law.

Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.

gutenberg.

org/license.

Section 1.

General Terms of Use and Redistributing Project Gutenberg electronic works 1. A.

By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement.

If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession.

If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1. E.

8. 1. B.

“Project Gutenberg” is a registered trademark.

It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement.

There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement.

See paragraph 1. C below.

There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works.

See paragraph 1. E below.

1. C.

The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works.

Nearly all the individual works in the collection are in the public domain in the United States.

If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed.

Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work.

You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1. D.

The copyright laws of the place where you are located also govern what you can do with this work.

Copyright laws in most countries are in a constant state of change.

If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work.

The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1. E.

Unless you have removed all references to Project Gutenberg: 1. E.

1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever.

You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.

gutenberg.

org.

If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1. E.

2. If an individual Project Gutenberg electronic work is derived from texts not protected by U. S.

copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges.

If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1. E.

1 through 1. E.

7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1. E.

8 or 1. E.

9. 1. E.

3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1. E.

1 through 1. E.

7 and any additional terms imposed by the copyright holder.

Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1. E.

4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1. E.

5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1. E.

1 with active links or immediate access to the full terms of the Project Gutenberg License.

1. E.

6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form.

However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.

gutenberg.

org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form.

Any alternate format must include the full Project Gutenberg License as specified in paragraph 1. E.

1. 1. E.

7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1. E.

8 or 1. E.

9. 1. E.

8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes.

The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation.

Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns.

Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.

” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License.

You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

• You provide, in accordance with paragraph 1. F.

3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1. E.

9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark.

Contact the Foundation as set forth in Section 3 below.

1. F.

1. F.

1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U. S.

copyright law in creating the Project Gutenberg™ collection.

Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1. F.

2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1. F.

3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees.

YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT

LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.

F.

3. YOU AGREE THAT THE FOUNDATION, THE

TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1. F.

3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from.

If you received the work on a physical medium, you must return the medium with your written explanation.

The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund.

If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund.

If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1. F.

4. Except for the limited right of replacement or refund set forth in paragraph 1. F.

3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1. F.

5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages.

If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law.

The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1. F.

6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2.

Information about the Mission of Project Gutenberg Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers.

It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come.

In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations.

To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.

gutenberg.

org.

Section 3.

Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service.

The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.

S.

federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.

gutenberg.

org/contact Section 4.

Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment.

Many small donations ( to ,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States.

Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements.

We do not solicit donations in locations where we have not received written confirmation of compliance.

To SEND DONATIONS or determine the status of compliance for any particular state visit www.

gutenberg.

org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States.

U.

S.

laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses.

Donations are accepted in a number of other ways including checks, online payments and credit card donations.

To donate, please visit: www.

gutenberg.

org/donate.

Section 5.

General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone.

For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U. S.

unless a copyright notice is included.

Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.

gutenberg.

org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.