‌HOW TO LEARN PROSE AND POETRY BY HEART.

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.

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

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

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

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

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

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

To keep the mind in an assimilating condition, what method is furnished?

What is the usual process of memorising prose and poetry?

After one perusal in such a process what takes place?

Does learning by rote promote mind-wandering?

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?

How is the intellect occupied by using my method?

Is the habit of Attention also promoted?

Where is the justification of this method found?

Can the intellect assimilate a simple idea more easily than a complex idea?

Describe the process of learning by the Analytic Synthetic Method.

Another Example Fully Worked Out.

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

A Long Legal Definition.

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

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

In this process, what is first done with a sentence?

After a sentence is thus taken to pieces, what is then done with it?

How do we proceed after finding the lowest terms?

Do we revive any part of the original sentence each time we make an addition?

How much of it?

Is the intellect kept occupied in this way?

Does this not make a deep and lasting first impression?

Every time this is used what should be the result?

Should the natural Memory be strengthened in both stages?

Does this process admit of more than one application in the case of a long sentence?

Moderation Advised.

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

Examples for Practice.

A bachelor is a wild goose that tame geese envy.

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

Conversation is the idle man’s business and the business man’s recreation.

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

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:—

1. Who is a pendulum ’twixt a smile and tear? “Man! thou pendulum ’twixt a smile and tear.” 2. What function does man perform ’twixt a smile and tear? “Man! thou‌ pendulum ’twixt a smile and tear.” 3. ’Twixt a tear and what else is man said to be a pendulum? “Man! thou pendulum ’twixt a smile and tear.” 4. ’Twixt a smile and what else is man said to be a pendulum? “Man! thou pendulum ’twixt a smile and tear.” 5. By what word is the relation between “pendulum” and “a smile and tear” described? “Man! thou pendulum ’twixt a smile and tear.” 6. Is the pendulum which man is said to be ’twixt a smile and tear addressed in the first, second, or third person? “Man! thou pendulum ’twixt a smile and tear.”

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

Define Interrogative Analysis.

What does it incite the intellect to do?

What does the process consist of? What are they?

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

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

Is this method like the ordinary question and answer method?

How are answers given in the latter procedure?

What is the aim in my method?

How much of the sentence is repeated in each reply given to the question?

What word is to be especially emphasised?

How often is the mind exercised on each word of the sentence?

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.

What is thereby secured?

Is the remembrance of the first impression assured?

What other great advantage does the method of Interrogative Analysis give?

Are all well-informed persons good talkers?

If not, why?

In conversation, in what state are their minds apt to remain?

Do any trains of thought arise in their own minds?

What does the practice of Interrogative Analysis compel such persons to do?

What do teachers often complain of?

What is the cause?

What does my method show them?

Can they help practising it?

Do I not fully illustrate my method?

Does not the pupil gain confidence by practising this method?

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.”

Who blames his tools? A bad workman blames his tools. What kind of a workman blames his tools? A bad workman blames his tools. What bad man blames his tools? A bad workman blames his tools. How does a bad workman treat his tools? A bad workman blames his tools. Whose tools does a bad workman blame? A bad workman‌ blames his tools. What things belonging to a bad workman does he blame? A bad workman blames his tools.

“Judgments draw interest at six per cent.”

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

“Effort is the price of success.”

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

“Truth seldom goes without a scratched face.”

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

Examples for Practice.

Instinct is inherited memory.

Books are embalmed minds.

Words are the fortresses of thought.

A name denotes objects and connotes attributes.

Force is depersonalised will.

A somnambule only acts his dream.

Attention is fixation of consciousness.

Science is organised common sense.

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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 genuine‌ exercise of his reviving power 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.

APPLICATION OF THE ANALYTIC-SYNTHETIC METHOD.

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 sledges with the bells; 3. Hear the sledges with the bells—bells; 4. Hear the sledges with the bells—silver bells. 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? “Hear the sledges with the bells—silver bells.”‌ 2. What kind of a vehicle do we hear with the bells? “Hear the sledges with the bells—silver bells.” 3. What is it we hear in connection with the sledges? “Hear the sledges with the bells—silver bells.” 4. What kind of bells do we hear? “Hear the sledges with the bells—silver bells.”

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:

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:

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 the stars oversprinkle. 3. While the stars oversprinkle the heavens. 4. While the stars oversprinkle All the heavens. 5. While the stars that oversprinkle All the heavens. 6. While the stars that oversprinkle All the heavens seem to twinkle. 7. While the stars that oversprinkle All the heavens seem to twinkle with delight. 8. While the stars that oversprinkle All the heavens seem to twinkle with a crystalline delight. So far we have learned the following lines:

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.

The seventh line is the continuation of the sixth. Keeping time to what? “To the tintinnabulation that so musically‌ wells.” 1. The tintinnabulation wells. 2. The tintinnabulation that wells. 3. The tintinnabulation that musically wells. 4. The tintinnabulation that so musically wells. 5. To the 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 bells four times, as bells, bells, bells, bells. Then, of course, they can say bells three times 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., 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:

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 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.

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 the number of times the word “bells” occurs in connection with the words just learned. Opposite the line where tolling occurs 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 be mastered and often recited by all who would learn to memorise poetry or prose, in, at the very least, one-fifth of the time required by the old mind-wandering process of rote learning. ←ToC