Assimilative Memory; or, How to Attend and Never Forget

Let us begin with his death in 1616 in the sixteens. 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 with In., Ex., and Con. 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, 2348 B.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 in Gen. ch. vii., vv. 9, 13, and 15. Now we can proceed.

A Scientific Experiment.

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 of training in In., Ex., and Con. 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 in In., Ex., and Con.; 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 of In., Ex., and Con.

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 only five. Bringing the second group into relation with the third group, we find they differ only by four. 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 by Attention and Thought.

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.

Exercises.

THE ANALYTIC SYNTHETIC METHOD APPLIED TO LONG SENTENCES.

How unobservant and wholly unreliant many 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 an Assimilating condition 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.

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

The process of this New Method of Decomposition and Recomposition is as follows:—Find the shortest sentence or phrase that makes sense in the sentence to be memorised. Add to this short sentence or phrase, modifiers found in the original sentence, always italicising each new addition—one at a time—until the original sentence is finally restored. Suppose we wish to memorise Bacon’s definition of education: “Education is the cultivation of a just and legitimate familiarity betwixt the mind and things.” Begin with the briefest sentence and then go on: 1. Education is cultivation. 2. Education is the cultivation of a familiarity. 3. Education is the cultivation of a familiarity betwixt the mind and things. 4. Education is the cultivation of a just familiarity betwixt the mind and things. 5. Education is the cultivation of a just and legitimate familiarity betwixt the mind and things. In this process, the sentence is first taken to pieces, and then reconstructed. Finding the lowest terms, “Education is cultivation,” we proceed step by step to add modifiers until the original sentence is fully restored.

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

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

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

Another Example Fully Worked Out.

A Long Legal Definition.

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

1. An estate is one. 2. An estate upon condition is one. 3. An estate upon condition is one which depends upon the happening of some event. 4. An estate upon condition is one which depends upon the happening or not happening of some event. 5. An estate upon condition is one which depends upon the happening or not happening of some uncertain event. 6. An estate upon condition is one which depends upon the happening or not happening of some uncertain event whereby the estate may be created or enlarged or defeated. 7. An estate upon condition is one which depends upon the happening or not happening of some uncertain event whereby the estate may be either created or enlarged or defeated. 8. An estate upon condition is one which depends upon the happening or not happening of some uncertain event whereby the estate may be either originally created or enlarged or defeated. 9. An estate upon condition is one which depends upon the happening or not happening of some uncertain event whereby the estate may be either originally created or enlarged or finally defeated.

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

Moderation Advised.

Examples for Practice.

1. A bachelor is a wild goose that tame geese envy.
2. Law is a trap baited with promise of benefit or revenge.
3. Conversation is the idle man’s business and the business man’s recreation.
4. Attention is adjusting the observer to the object in order to seize it in its unity and diversity.
5. Assimilative Memory is the Habit of so receiving and absorbing impressions and ideas that they or their representatives shall be ready for revival or recall whenever wanted.

INTERROGATIVE ANALYSIS USED FOR SHORT SENTENCES.

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

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

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

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

But in my Method the aim is to repeat as much of the sentence as is possible informing the question and the whole of it in each reply; and in question and reply the word that constitutes the point of both is to be especially emphasized, and in this way the mind is exercised on each word of the sentence twice (once in question and once in answer), and each word of the sentence is emphasized in reference to the whole of the sentence. And in all these separate steps it is impossible for the mind to remain in a passive state, but must be active and absorbing throughout, and thereby a most vivid first impression is secured, and the remembrance of it assured.

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

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

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

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

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

1. The Devil hath an arrow. 2. The Devil hath not an arrow. 3. The Devil hath not an arrow for the heart. 4. The Devil hath not an arrow for the heart like a voice. 5. The Devil hath not an arrow for the heart like a sweet voice. 6. The Devil hath not, in his choice, an arrow for the heart like a sweet voice. 7. The Devil hath not, in his quiver’s choice, an arrow for the heart like a sweet voice. 8. The Devil hath not, in all his quiver’s choice, an arrow for the heart like a sweet voice.

The Same by Interrogative Analysis.

1. Who hath not in all his quiver’s choice an arrow for the heart like a sweet voice? The Devil hath not, in all his quiver’s choice, an arrow for the heart like a sweet voice. 2. Hath the Devil in all his quiver’s choice an arrow for the heart like a sweet voice? The Devil hath not, in all his quiver’s choice, an arrow for the heart like a sweet voice. 3. What hath not the Devil in all his quiver’s choice for the heart? The Devil hath not, in all his quiver’s choice, an arrow for the heart like a sweet voice. 4. For what hath not the Devil in all his quiver’s choice an arrow like a sweet voice? The Devil hath not, in all his quiver’s choice, an arrow for the heart like a sweet voice. 5. Like what sweet thing hath not the Devil in all his quiver’s choice an arrow for the heart? The Devil hath not, in all his quiver’s choice, an arrow for the heart like a sweet voice. 6. Like what kind of a voice hath not the Devil in all his quiver’s choice an arrow for the heart? The Devil hath not, in all his quiver’s choice, an arrow for the heart like a sweet voice.

“A bad workman blames his tools.”

“Judgments draw interest at six per cent.”

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

“Effort is the price of success.”

What is the price of success? Effort is the price of success. Was effort the price of success? Effort is the price of success. What bearing has effort on success? Effort is the price of success. Effort is the price of what? Effort is the price of success.

“Truth seldom goes without a scratched face.”

What seldom goes without a scratched face? Truth seldom goes without a scratched face. Does truth ever go without a scratched face? Truth seldom goes without a scratched face. What does truth seldom do without a scratched face? Truth seldom goes without a scratched face. Does truth seldom go with a scratched face? Truth seldom goes without a scratched face. Truth seldom goes without what? Truth seldom goes without a scratched face. What kind of a face is spoken of? Truth seldom goes without a scratched face. Without what scratched thing does truth seldom go? Truth seldom goes without a scratched face.

Examples for Practice.

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

POEMS LONG OR SHORT EASILY LEARNED BY HEART.
Poe’s “Bells.”

1. Before attempting to memorize any selections of Prose or Poetry, never fail first to read it carefully to ascertain what it is all about, to learn its aim and mode of development and its peculiarities, and not least of all, to look up and note down in writing the meaning of unfamiliar words.

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

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

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

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

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

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

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

10. Now comes the test. It is often said that habit is “second” nature. The Duke of Wellington more truly said: “Habit is ten times nature.” The reader early acquired the habit of learning prose and poetry by the rote method—the method of repeating the sentences over and over again almost endlessly till ear or eye retains the exact language.

Now, if the reader has gained a clear conception of the Analytic-Synthetic and Interrogative Analysis methods, he is sure to be convinced of their undoubted superiority to the rote method. 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 discredited rote method, 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 the rote method.

APPLICATION OF THE ANALYTIC-SYNTHETIC METHOD.

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. Their melody foretells. 3. What merriment their melody foretells. 4. What a world of 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:

1. Hear the sledges with the bells—silver bells—
2. What a world of merriment their melody foretells!

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 tinkle in the night. 3. How they tinkle in the night. 4. How they tinkle, tinkle in the night. 5. How they tinkle, tinkle, tinkle in the night. 6. How they tinkle, tinkle, tinkle, in the air of night. 7. How they tinkle, tinkle, tinkle in the icy air of night. Now let us recall all the lines together, thus:

1. Hear the sledges with the bells—silver bells—
2. What a world of merriment their melody foretells!
3. How they tinkle, tinkle, tinkle in the icy air of night!

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:

1. While the stars that oversprinkle
2. All the heavens, seem to twinkle with a crystalline delight.

1. Hear the sledges with the bells—silver bells—
2. What a world of merriment their melody foretells!
3. How they tinkle, tinkle, tinkle in the icy air of night!
4. While the stars that oversprinkle
5. All the heavens, seem to twinkle with a crystalline delight.

The sixth line 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, time in a rhyme. 4. Keeping time, time, time in a sort of rhyme. 5. Keeping time, time, time in a sort of Runic rhyme.

Let us now recall the six lines together.

1. Hear the sledges with the bells—silver bells—
2. What a world of merriment their melody foretells!
3. How they tinkle, tinkle, tinkle in the icy air of night!
4. While the stars that oversprinkle
5. All the heavens, seem to twinkle with a crystalline delight;
6. Keeping time, time, time, in a sort of Runic rhyme.

1. To the tintinnabulation that so musically wells
2. From the bells, bells, bells, bells, bells, bells, bells—

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., musical action. But in the ninth or last line we have the very specific action of the bells, to wit: “From the jingling and the tinkling of the bells.” We can make a short analysis, which is always better than unthinking repetition, as: 1. From the bells. 2. From the jingling of the bells. 3. From the jingling and the tinkling of the bells. The seventh, eighth, and ninth lines are as follows:

1. To the tintinnabulation that so musically wells
2. From the bells, bells, bells, bells, bells, bells, bells—
3. From the jingling and the tinkling of the bells.

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:—

1. Hear the sledges with the bells—silver bells—
2. What a world of merriment their melody foretells!
3. How they tinkle, tinkle, tinkle in the icy air of night!
4. While the stars that oversprinkle
5. All the heavens, seem to twinkle with a crystalline delight;
6. Keeping time, time, time, in a sort of Runic rhyme,
7. To the tintinnabulation that so musically wells
8. From the bells, bells, bells, bells, bells, bells, bells—
9. From the jingling and the tinkling of the bells.

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 happy Runic rhyme.” But the main difficulty with most students seems to be to remember the number of times the 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 words pæan, throbbing, sobbing, rolling and tolling occur 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. Thus pæan—a song of triumph—might cause heart throbbing, an inward act accompanied in the present instance by sobbing, and this outward manifestation of grief would be intensified by the rolling of the bells and their tolling. Moaning and groaning are figurative expressions for the moaning and groaning of the mourners.

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.

This lesson in figures is given for the benefit of those who have not yet mastered Numeric 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 instantly give back the figures they stand for.

We represent the figures 1, 2, 3, 4, 5, 6, 7, 8, 9, and 0, by certain consonants; and then, as the vowels [a, e, i, o, u, and y, together with w] have no numerical value assigned to them, we turn dates or any numbers into translating words, which will always tell us precisely the figures the words stand for.

As this simple process enables us to remember any dates or numbers with absolute certainty, the pupil will be pleased to know that he can learn how it is done by only one thoughtful perusal.

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.

1. Is it possible to exaggerate the importance of this lesson?
2. When will the pupil appreciate its practical value?
3. Where is this key given?
4. Are numbers hard to remember?
5. How do we make them hard to forget?
6. By what are the figures represented?
7. What letters have no numerical value assigned to them?
8. What do the questions at the bottom of each page constitute?

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

If the capital letter S were 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 represents 0. C^soft as in cease has 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 is made by the same organs of speech in the same position as when making S, only it is an undertone, and S is a whispered letter. Besides Z should represent 0 because it begins the word Zero—C^soft should also stand for 0 for the additional reason that C^soft begins the word cipher. In translating a word into figures we always turn S, Z, or C^soft into nought (0); in turning figures into words we always translate a nought (0) into S, Z, or C^soft.

1. What is the first thing to be done?
2. What must the student remember in connection with vowels?
3. By what do we represent the cipher?
4. What other way is given for fixing the first rule in the mind?
5. What is meant by a “cognate”?
6. What kind of a letter is S?

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 Toy must be 1.

3 is represented by “m,” because the written m is made by three downward 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 word four in 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.

1. In translating a word into figures, what do we always do?
2. By what letters is the figure 1 represented?
3. Why does “t” stand for 1?
4. When does the letter “h” have a figure value?
5. By what is 2 represented?
6. Why?
7. How do we represent 3?
8. Why?
9. By what consonant is 4 represented?
10. Why?

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 be used in 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 “g^soft.” We have the letter values of 6, through the initial consonants of the phrase: (Six), Shy Jewesses Chose George. 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.

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.

1. Why is 5 represented by “L”?
2. By what is 6 represented?
3. Through the initial consonants of what sentence, not considering the six in brackets?
4. Where do we find the letter equivalents of 7, not regarding the seven in brackets?
5. What termination do we also use to express 7?
6. If the termination “ng” represent 7, what is the figure value of Singing?
7. Give the figure value of Hong-kong.
8. By what two consonants do we represent 8?
9. Why?
10. Give the figure value of the vowels in these illustrations, if you find they have any value.