HOW TO REMEMBER BOOKS, PLAYS, TALES, ETC.
In the preceding chapters we have given you suggestions for the
development of the principal forms of memory. But there are still other
phases or forms of memory, which while coming under the general
classification may be still considered as worthy of special
consideration. For instance there may be suggestions given regarding the
memorization of the contents of the books you read, the stories you
hear, etc. And so we have thought it advisable to devote one chapter to
a consideration of these various phases of memory that have been "left
out" of the other chapters.
Many of us fail to remember the important things in the books we read,
and are often mortified by our ignorance regarding the contents of the
works of leading authors, or of popular novels, which although we have
read, we have failed to impress upon the records of our memory. Of
course we must begin by reminding you of the ever present necessity of
interest and attention--we cannot escape from these principles of the
memory. The trouble with the majority of people is that they read books
"to kill time," as a sort of mental narcotic or anæsthetic, instead of
for the purpose of obtaining something of interest from them. By this
course we not only lose all that may be of importance or value in the
book, but also acquire the habit of careless reading and inattention.
The prevalence of the habit of reading many newspapers and trashy novels
is responsible for the apparent inability of many persons to
intelligently absorb and remember the contents of a book "worth while"
when they do happen to take up such a one. But, still, even the most
careless reader may improve himself and cure the habit of inattention
and careless reading.
Noah Porter says: "We have not _read_ an author till we have seen his
object, whatever it may be, as he _saw_ it." Also: "Read with attention.
This is the rule that takes precedence of all others. It stands instead
of a score of minor directions. Indeed it comprehends them all, and is
the golden rule.... The page should be read as if it were never to be
seen a second time; the mental eye should be fixed as if there were no
other object to think of; the memory should grasp the facts like a vise;
the impressions should be distinctly and sharply received." It is not
necessary, nor is it advisable to attempt to _memorize_ the text of a
book, excepting, perhaps, a few passages that may seem worthy to be
treasured up word for word. The principal thing to be remembered about a
book is its _meaning_--what it is about. Then may follow the general
outline, and the details of the story, essay, treatise or whatever it
may be. The question that should be asked oneself, after the book is
completed, or after the completion of some particular part of the book,
is: "What was the writer's idea--what did he wish to say?" Get the
_idea_ of the writer. By taking this mental attitude you practically
place yourself in the place of the writer, and thus _take part_ in the
idea of the book. You thus view it from the inside, rather than from the
outside. You place yourself at the centre of the thing, instead of upon
its circumference.
If the book be a history, biography, autobiography, narrative, or story
of fact or fiction, you will find it of value to visualize its
occurrences as the story unfolds. That is, endeavor to form at least a
faint mental picture of the events related, so that you see them "in
your mind's eye," or imagination. Use your imagination in connection
with the mechanical reading. In this way you build up a series of mental
pictures, which will be impressed upon your mind, and which will be
remembered just as are the scenes of a play that you have witnessed, or
an actual event that you have seen, only less distinct of course.
Particularly should you endeavor to form a clear mental picture of each
character, until each one is endowed with at least a semblance of
reality to you. By doing this you will impart a naturalness to the
events of the story and you will obtain a new pleasure from your
reading. Of course, this plan will make you read more slowly, and many
trashy tales will cease to interest you, for they do not contain the
real elements of interest--but this is no loss, but is a decided gain
for you. At the end of each reading, take the time to mentally review
the progress of the story--let the characters and scenes pass before
your mental vision as in a moving picture. And when the book is finally
completed, review it as a whole. By following this course, you will not
only acquire the habit of easily remembering the tales and books that
you have read, but will also obtain much pleasure by re-reading favorite
stories in your imagination, years after. You will find that your
favorite characters will take on a new reality for you, and will become
as old friends in whose company you may enjoy yourself at any time, and
whom you may dismiss when they tire you, without offense.
In the case of scientific treatises, essays, etc., you may follow a
similar plan by dividing the work into small sections and mentally
reviewing the _thought_--(not the words) of each section until you make
it your own; and then by adding new sections to your review, you may
gradually absorb and master the entire work. All this requires time,
work and patience, but you will be repaid for your expenditure. You
will find that this plan will soon render you impatient at books of
little consequence, and will drive you to the best books on any given
subject. You will begin to begrudge your time and attention, and
hesitate about bestowing them upon any but the very best books. But in
this you gain.
In order to fully acquaint yourself with a book, before reading it you
should familiarize yourself with its general character. To do this you
should pay attention to the full title, and the sub-title, if there be
any; the name of the author and the list of other books that he has
written, if they are noted on the title page, or the one preceding it,
according to the usual custom. You should read the preface and study
carefully the table of contents, that you may know the field or general
subject covered by the book--in other words endeavor to get the general
outline of the book, into which you may afterwards fill in the details.
In reading a book of serious import, you should make it a point to fully
grasp the meaning of each paragraph before passing on to the next one.
Let nothing pass you that you do not understand, at least in a general
way. Consult the dictionary for words not familiar to you, so that you
may grasp the full idea intended to be expressed. At the end of each
chapter, section and part, you should review that which you have read,
until you are able to form a mental picture of the general ideas
contained therein.
To those who wish to remember the dramatic productions that they have
attended, we would say that the principles above mentioned may be
applied to this form of memory as well as to the memory of books. By
taking an interest in each character as it appears; by studying
carefully each action and scene, and then reviewing each act in the
intervals between the acts; and by finally reviewing the entire play
after your return home; you will fasten the whole play as a complete
mental picture, on the records of your memory. If you have acquainted
yourself with what we have just said regarding the recollection of the
contents of books, you will be able to modify and adapt them to the
purpose of recollecting plays and dramatic productions. You will find
that the oftener you review a play, the more clearly will you remember
it. Many little details overlooked at first will come into the field of
consciousness and fit into their proper places.
Sermons, lectures and other discourses may be remembered by bestowing
interest and attention upon them, and by attempting to grasp each
general idea advanced, and by noting the passage from one general idea
to another. If you will practice this a few times, you will find that
when you come to review the discourse (and this you should always do--it
is the natural way of developing memory) the little details will come up
and fit into their proper places. In this form of memory, the important
thing is to train the memory by exercise and review. You will find that
at each review of a discourse you will have made progress. By practice
and exercise, the subconscious mentality will do better work, and will
show that it is rising to its new responsibilities. You have allowed it
to sleep during the many discourses to which you have listened, and it
must be taught new habits. Let it know that it is expected to retain
that which it hears, and then exercise it frequently by reviews of
discourses, and you will be surprised at the degree of the work it will
perform for you. Not only will you remember better, but you will _hear_
better and more intelligently. The subconsciousness, knowing that it
will be called upon later on to recollect what is being said, will urge
you to bestow the attention necessary to supply it with the proper
material.
To those who have had trouble in remembering discourses, we urge that
they should begin to attend lectures and other forms of discourse, with
the distinct purpose of developing that form of memory. Give to the
subconscious mentality the positive command that it shall attend to what
is being said, and shall record the same in such a way that when you
review the discourse afterward you will be presented with a good synopsis
or syllabus of it. You should avoid any attempt to memorize the _words_ of
the discourse--your purpose being to absorb and record the _ideas_ and
general thought expressed. Interest--Attention--Practice--Review--these
are the important points in memory.
To remember stories, anecdotes, fables, etc., the principles given above
are to be employed. The main thing in memorizing an anecdote is to be
able to catch the _fundamental idea_ underlying it, and the epigrammatic
sentence, or central phrase which forms the "point" of the story. Be
sure that you catch these perfectly, and then commit the "point" to
memory. If necessary make a memorandum of the point, until you have
opportunity to review the story in your mind. Then carefully review it
mentally, letting the mental image of the idea pass before you in
review, and then repeating it to yourself in your own words. By
rehearsing and reviewing the story, you make it your own and will be
able to relate it afterward just as you would something that you had
actually experienced. So true is this principle, that when carried too
far it endows the story with a false sense of actuality--who has not
known men who told a story so often that they came actually to believe
it themselves? Do not carry the principle to this extreme but use it in
moderation. The trouble with many men is that they attempt to repeat a
tale, long after they have heard it, without reviewing or rehearsing in
the meantime. Consequently they omit many important points, because they
have failed to impress the story as a whole upon the memory. In order to
_know_ an anecdote properly, one should be able to _see_ its characters
and incidents, just as he does when he sees an illustrated joke in a
comic paper. If you can make a mental picture of an anecdote, you will
be apt to remember it with ease. The noted story tellers review and
rehearse their jokes, and have been known to try them on their
unsuspecting friends in order to get the benefit of practice before
relating them in public--this practice has been called by flippant
people: "trying it on the dog." But it has its good points, and
advantages. It at least saves one the mortification of being compelled
to finish up a long-drawn out tale by an: "Er--well, um-m-m--I'm afraid
I've forgotten just how that story ended--but it was a good one!"