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THE ART OF MEMORY 
 
 
'Our memories are gentle waves, that £o-w 
 Against the shore-line of the Long Ago; 
 A dim land, stretching ^neath a dimmer sky, 
 Where past events, like ships at anchor, lie.^^ 
 
 — Wm. H. Hayne. 
 
THE 
 
 Art of Memory 
 
 BEING A 
 
 Comprehensive and Practical System 
 OF Memory Culture 
 
 BY 
 
 Henry H. Fuller 
 
 *Si quid novisti rectius istis, candidus imperii; 
 
 si non, his utere mecum.'* 
 
 — Horace 
 
 ST. PAUL, MINN. 
 National Publishing CoMPi 
 1898 
 
 \ 
 
 y. TWO buriu RECEIVED. 
 
 ^ '^'i n ^j 
 
^^ 
 
 
 H007 
 
 Copyright, 1898, 
 
 BY 
 HENRY H. FULLER. 
 
 Printed, Eleotrotyped and Bound 
 by the 
 
 ptoneev Press <!Iioinpatt)f» 
 
 St. Paul, Minn. 
 
Zo 
 
 MY FIRST FRIEND AND BEST— EVER ZEALOUS FOR, 
 
 FAITHFUL. AND KIND TO ME— 
 
 TO MY NEAREST AND DEAREST— EVER LOVING, 
 
 TENDER AND HELPFUL TO ME— 
 
 TO ONE WHO, IN HER PURE NATURE AND 
 
 UNSELFISH LIFE, HAS EVER BEEN A 
 
 BLESSING TO THOSE AROUND HER— 
 
 flDi? flDotber, 
 
 TO HER IN TOKEN OF MY APPRECIATION OF HER, 
 
 MY AFFECTION FOR HER, AND MY GRATITUDE 
 
 FOR ALL THAT SHE HAS BEEN TO ME 
 
 THROUGH THE YEARS OF MY LIFE, 
 
 I DEDICATE THIS BOOK. 
 
I 
 
CONTENTS 
 
 CHAPTEK I 
 The Blessings of Memory a 
 
 CHAPTER II 
 What Memory Is la 
 
 CHAPTER III 
 Marvels of Memory 32 
 
 CHAPTER IV 
 Mnemonics, Past ai .j Present - - - - 58 
 
 CHAPTER V 
 Attention « . 93 
 
 CHAPTER VI 
 Association - , - 109 
 
 (vii) 
 
Vlll CONTENTS. 
 
 CHAPTEE VII 
 €lassifioation of Memory 134 
 
 CHAPTEE VIII 
 Locality - ' - 144 
 
 CHAPTEE IX 
 PoKM— Color - - - - - - - 168 
 
 CHAPTEE X 
 Figures - 180 
 
 CHAPTEE XI 
 Historical Dates 201 
 
 CHAPTEE XII 
 Events — Facts - - 289 
 
 CHAPTEE XIII 
 Literature — Drama — Discourse . - » - 300 
 
 CHAPTEE XIV 
 Anecdote 317 
 
CONTENTS. IX 
 
 CHAPTER XV 
 Diction 349 
 
 CHAPTER XYI 
 
 PBOPER l^AMES i - . 383 
 
 CHAPTER XVII 
 Music 410 
 
 CHAPTER XVIII 
 
 Vagaries of Memory - - - - - - 446 
 
 1 
 
'^eipotnttt!^ <&aUi0p^ 
 
 (Bntevpie Urania 
 
 ®Jtalia &vat0 
 
CHAPTER I. 
 
 THE BLESSINGS OF MEMORY. 
 
 "A mau's real possession is his memory; in nothing else is he 
 
 rich, in nothing else is he poor." 
 
 Alexander Smith. 
 
 "Memory is the only Paradise from which we cannot be driven 
 away." 
 
 RiCHTER. 
 
 "Grant but memory to us and we can lose nothing by death." 
 
 Whittier. 
 
 "The heart hath its own memory, like the mind." 
 
 Longfellow. 
 
 "Memory tempers prosperity, mitigates adversity, controls youth, 
 
 and delights old age." 
 
 Lactantius. 
 
 "I would rather have a perfect recollection of all I have thought 
 
 and felt in a day or a week of high activity than read all the books 
 
 that have been published in a century." 
 
 Emerson. 
 
 "Hail, Memory, hail! in thy exhaustless mine 
 
 From age to age unnumbered treasures shine! 
 
 Thought and her shadowy brood thy call obey. 
 
 And place and time are subject to thy sway!" 
 
 Rogers. 
 (3) 
 
THE ART OF MEMORY. 
 
 "Bliss in possession will not last; 
 Remembered joys are never past; 
 At once the fountain, stream, and sea, 
 They were, they are, they yet shall be." 
 
 James Montgomeby. 
 
 "When Time, which steals our years away. 
 
 Shall steal our pleasures, too; 
 
 The memory of the past will stay, 
 
 And half our joy renew." 
 
 Thomas Moobe. 
 
 In every age of civilized life, reaching from the mo- 
 mentous present back through the teeming centuries 
 to that far-off day when the first gray gleams of His- 
 tory broke forth over the mighty ocean of Time, Mne- 
 mosyne, the Goddess of Memory, has been accorded a 
 most exalted altar in the temple of human progress, — 
 that intellectual fane wherein man has sought to pro- 
 pitiate the powers of the understanding, and on whose 
 walls is inscribed the story of his work, — a temple 
 whose foundations are upheld by her, as Atlas was 
 fabled to uphold the heavens. As in Grecian mythol- 
 ogy, Mnemosyne was honored as the mother of the nine 
 Muses, so, too, throughout all the ages Memory has 
 been universally recognized by civilized mankind as a 
 vital factor in the intellectual development of the hu- 
 man race; and now at the close of this nineteenth cen- 
 tury, the inestimable value to its possessor, of a well 
 trained memory is more justly appreciated than per- 
 haps has ever before occurred in the world's history — 
 
THE BLESSINGS OF MEMORY. 5 
 
 to such vast proportions has the field of knowledge ex- 
 panded, and so exacting have thus become the demands 
 upon the memory of whomsoever would gain and main- 
 tain a more than mediocre station in the world of in- 
 tellect. 
 
 To him who can truly realize its intrinsic worth, a 
 superior memory cannot but be prized as one of the 
 most priceless blessings a bountiful Providence can be- 
 stow. Without Memory, progress in any form or de- 
 gree whatsoever, would be unknown; by it is man's 
 knowledge measured and in a great degree his happi- 
 ness, — for, next to the joys of Anticipation, those of 
 Memory form the most satisfying and enduring that 
 are enshrined within the heart of man. By a beneficent 
 mental alchemy, whose process is one of the mysteries 
 of our nature, the asperities of life become gradually 
 softened in the memory with the flight of years, — ex- 
 periences whose contemplation at the time may have 
 been not only unpleasant, but even painful, being ulti- 
 mately transmuted into subjects of not unhappy retro- 
 spect. The faults and follies, and even vices, of those 
 whom we once knew grow more and more palliated in 
 the memory with the passing years. And persons 
 whom we deem to have injured us, and for whom we 
 formerly could entertain only feelings of dislike, and 
 even hatred it may be, we come to think of in a spirit 
 of tolerance, and perchance even kindness ; such is the 
 soothing influence of Time on the passions. And ex- 
 periences which once cast a happy glow on the pathway 
 of life become endowed with an ever-growing radiance 
 
6 THE ART OF MEMORY. 
 
 as the years pass by. Why all this is so we know not; 
 we only know that it must be one of the happy com- 
 pensations of life bestowed by a Divine Providence. 
 Impressions of the past are not preserved in the memo- 
 ry with unvarying impartiality — however logical may 
 seem the conclusion that they should be; and that 
 there exists this curious quality in the operation of the 
 mental forces is one of the fortunate attributes of hu- 
 man nature. As in fancy we look back through the 
 vista of years, our happy experiences are viewed from 
 the small end of the telescope as it were, and our un- 
 happy ones as from the opposite end. The tendency 
 of the memory is to efface by degrees the unwelcome 
 details of past experiences, retaining only those fea- 
 tures which have shed a happy and inspiring influence 
 on the mind and senses, and investing those features 
 with an added beauty and brightness as they recede yet 
 further and further into the great unmeasured Past. 
 
 The possessor of a retentive memory may indeed 
 felicitate himself that within him is a fount of perennial 
 purity and beauty, whose gushing waters cannot but 
 invigorate and delight his spirit as he wends his steps 
 along the devious pathway of this strange life, amid its 
 lustrous lights and sombre shadows, now climbing the 
 majestic steeps and anon descending to the gentle 
 slopes and smiling valleys, — a fountain which has gath- 
 ered impulse from the capacious reservoir of youthful 
 incident, augumented by the plenteous streams of 
 knowledge and experience afforded by the after-scenes 
 of life. And when at last the evening comes, and those 
 
THE BLESSINGS OF MEMORY. 7 
 
 activities that occupied the body and the mind in days 
 gone by, no longer now engage the passing hours, — 
 then Memory indeed may exercise its noblest, its most 
 grateful mission. And if, perchance, it has been stored 
 from time to time with glowing thoughts and fancies 
 from the heart and mind of genius; with grains of wis- 
 dom from the brain of scholar or philosopher; with 
 gems of grace and grandeur from the lips of eloquence 
 or the pen of poet; with unfading images of beauty 
 from the world of Art; then can its possessor revel in the 
 w^ealth of thought and sentiment and imagery which 
 the passing years have stored away, and Memory be- 
 comes indeed a source of untold happiness, — a sweet 
 and ample compensation for the sacrifices and the toils 
 of other years, — a blessed and abiding solace in the 
 *^sear and yellow leaf," the even-tide of life, that period 
 when, perchance, those energies once boasted by the 
 heart and mind are known to them no more; when in 
 what is or what may he is found, perchance, but little 
 inspiration, but when the mind must occupy the passing 
 hours in rumination over what has been and in summon- 
 ing before the mental vision faces and forms and scenes 
 and thoughts belonging to departed years. Then the 
 heart must find its earthly joys in Memory, seldom in 
 any earthly hope. 
 
 And if the treasures of a well-stoi^ed memory may 
 yield so much of gladness to the mind and heart in this 
 the autumn of life's days, what shall be said anent the 
 springtime and the summer, — the period when this 
 precious fund is being garnered in the memory? 
 
8 THE ART OF MEMORY. 
 
 Then to the joys of recollection is united the delight of 
 acquisition. Then the wonders and felicities of Knowl- 
 edge and of Fancy burst upon the mental vision with 
 their all-pervading charm of freshness and of beauty^ 
 and with their more exalted blessing of bearing the 
 most precious germ of intellectual and of moral growth. 
 But besides the mental delights which are gained 
 throughout life by the possession of a well cultivated 
 memory, there are also the practical benefits to be de- 
 rived thereby. 
 
 The man who, whether by the munificence of Nat- 
 ure, or through assiduous and intelligent cultivation, 
 has acquired a teeming and a ready memory may well 
 congratulate himself that a treasure is his which de- 
 serves to be prized far more than any possession whose 
 value can be measured by the material and evanescent 
 riches of this world. As the trained athlete, conscious 
 of his surpassing strength and skill, is seldom reluctant 
 to essay any proper task, however arduous, whose ac- 
 complishment is within the bounds of possibility, so the 
 possessor of a carefully trained memory may well be 
 justified in feeling no loss of confidence in his mental 
 powers. Should he chance to cast his lot in the field 
 of oratory or statesmanship, and an issue arise to be 
 decided by oral argument, he is morally certain to be 
 fully fortified at every point, whether of logic, fact, 
 figure or date; and if the issue be with the pen, he is 
 none the less prepared for the encounter, and can bring^ 
 forth at will from the arsenal of his memory the weap- 
 ons of logic, of citation and of satire which shall dis- 
 
 I Ml 
 
THE BLESSINGS OF MEMORY. 9 
 
 cover every vulnerable spot in his antagonist's armor. 
 And the historian, the essayist or the descriptive writer 
 is indeed vastly strengthened if he possess a ready 
 memory; for in such case, no less than those already 
 indicated, the knowledge gained and impressions 
 formed through experience, observation and research 
 cannot but prove an added force of inestimable value, 
 ready to be put forth as occasion may require. 
 
 The most prosperous business man (other qualifica- 
 tions being equal) is he who has a superior memory for 
 names and faces. In the case of him who would be a 
 successful politician, the possession of this faculty is 
 absolutely indispensable, reliance being placed, as is 
 abundantly justified, on the weakness of human vanity.. 
 Eminence in some professions necessitates a copious 
 memory of mathematical formulae; and in all lines of 
 scientific and professional attainment a tenacious mem- 
 ory of words is, if not indispensable, at least most ad- 
 vantageous. 
 
 That man is justly considered a most desirable ac- 
 quisition to the social circle who is reasonably well- 
 informed on historical and current events; who can tell 
 the main details of a story he has read, a discourse that 
 he has heard, or a play which he has witnessed; who 
 can illustrate a topic under discussion by an apt anec- 
 dote ; and who, perchance, has a lavish fund of literary 
 illustrations at his tongue's end, or possesses entertain- 
 ing qualities from a musical point of view. Such a 
 person cannot well fail to prove a valued ornament to 
 society, an ever welcome guest at many a hearthstone; 
 
10 THE ART OF MEMORY. 
 
 and the real secret of it all is that he possesses a well 
 stored memory, whose riches are ever a source of un- 
 told satisfaction to himself as well as a delight to those 
 with whom he associates. 
 
 And the memory of childhood's days: 
 
 "When life seemed formed of sunny years, 
 And all the heart then knew of pain 
 Was wept awiay in transient tears." 
 
 What, indeed, shall we say of that peculiar senti- 
 ment which surrounds the far-off morn of life and 
 weaves about it a web of romance which grows more 
 and more fascinating as years pass on? Who that is 
 not most lamentably lacking in that exalted grace of 
 the soul, sensibility, does not cherish with never ceas- 
 ing fondness the recollections of his boyhood's days? 
 Who does not dwell with unalloyed rapture on those 
 experiences of life's springtime that form so impressive 
 a contrast with the cares and trials that beset the path 
 of manhood's years! — how boldly are those scenes and 
 incidents defined upon the mental vision! — in what, 
 glowing colors are they depicted! Commonplace in- 
 deed many of those experiences were, scarce worthy to 
 be the subject of retrospect in the years to come, it may 
 be; but yet how tenaciously do these episodes of the 
 long ago cling to the memorj^, — their luster scarce ob- 
 scured by the lapse of intervening j^ears! Some holi- 
 day jaunt, some moonlight excursion, or some May-day 
 frolic, imprints itself upon the memory in colors so re- 
 fulgent as to seem insensible to the relentless touch of 
 Time; and often some of the most trivial incidents and 
 
THE BLESSINGS OF MEMORY. 11 
 
 prosaic experiences are better remembered, by far, than 
 man}^ important events of later years. We cannot live 
 those days over again, it is true, but memory can revive 
 their scenes and picture their details so vividly that it 
 almost seems as if we again were gazing on the same 
 delightful landscapes, treacling the well-w^orn paths 
 that knew our footsteps in those by-gone da^ s, and look- 
 ing on the same familiar faces as in the halcyon times 
 of yore. And sometimes in the after years of life, w^hile 
 musing on those days gone by, how^ sw^eetly bursts upon 
 the mental vision some long-forgotten scene, blooming 
 forth in the most transcendent beauty! May not such 
 a memory be likened to a gushing spring, whose limpid 
 waters have escaped from some sly nook of Nature, far 
 away, to course along through dark and devious chan- 
 nels, that seemed to have no end, — and then at last to 
 reappear in all their sparkling loveliness, to gaze upon 
 the same bright sun, the same blue sky, that once they 
 looked upon amid the far-off hills and vales from 
 whence they first sprung forth! And as the sun-lit, 
 passive stream reflects so faithfully the objects which 
 surround it, — so, too, the Memory, that priceless boon 
 conferred by bounteous Providence upon man, has 
 power to mirror forth the scenes of childhood with such 
 fidelity that they seem imbued with all the rich and 
 glowing hues of other days, and the intervening years 
 appear as but a brief and narrow span; and as the 
 scenes that childhood's days once knew are left in the 
 receding Past yet more and more with each succeeding 
 revolution of the wheel of Time, they seem, in the en- 
 
12 THE ART OF MEMORY. 
 
 chanting and abiding light of Memory, to grow more 
 lustrous, and to shed a sweet and gentle fragrance on 
 the eventide of life, — that period which we all would 
 fain look forward to with that serene repose of mind, 
 that sweet tranquillity of conscience which indulges in 
 no dull repinings over wasted opportunities, nor in un- 
 availing ruminations on the "Might have been.'' All 
 these are among the blessings of Memory; and is not 
 their attainment well worth the most earnest and per- 
 severing effort throughout life? Surely the intrinsic 
 worth to its possessor of a highly cultivated memory of 
 the mind and heart is infinitely greater than all the 
 wealth which can be measured by the gross material 
 standards of this world. The treasures of the Mind 
 and Memory are on a plane far above the level of ma- 
 terial riches; between the two there cannot be com- 
 parison, there can only be contrast, in which the latter 
 to intelligent discernment are, as a matter of choice, 
 but paltry, — are, too often, the carnal reward of mis- 
 placed effort, the badge of a souPs poverty. The true 
 measure of riches is their power to confer happiness 
 on their possessor; true happiness is that only which 
 is substantial and enduring; many may seek it in 
 worldly w^ealth, and few may therein find it, but none 
 there are who, in their pursuit of happiness, can afford 
 to regard with other than a sense of their surpassing 
 excellence and sublime beauty, the blessings of 
 Memory. 
 
CHAPTER II. 
 
 WHAT MEMORY IS. 
 
 "All knowledge is but remembrance." Bacon. 
 
 "That which constitutes recollection or an act of memory is the 
 present image which a past sensation has left in us, an image which 
 «eems to us the sensation itself." Taine. 
 
 "Memory is a primary and fundamental faculty, without which 
 none other can work; the cement, the bitumen, the matrix in which 
 the other faculties are imbedded. Without it all life and thought 
 were an unrelated succession." Emerbon. 
 
 "There is no faculty of the mind which can bring its energy into 
 effect unless the memory be stored with ideas for it to look upon." 
 
 Burke. 
 
 "Every organ — indeed, every area and every element— of the nerv- 
 ous system has its own memory." G. T. Ladd. 
 
 "Memory is the golden thread linking all the mental gifts and ex- 
 -cellences together." E. P. Hood. 
 
 "Memory is the cabinet of imagination, the treasury of reason, 
 the registry of conscience, and the council-chamber of thought," 
 
 Basile. 
 
 "Remembrance and reflection how allied! 
 What thin partitions sense from thought divide!" 
 
 Pope. 
 
 "What we miscall our life is Memory; 
 We walk upon a narrow path between 
 Two gulfs — what is to be, and what has been, 
 Led by a guide whose name is Destiny." 
 
 Charles Lotin Hildreth. 
 
 (13) 
 
14 THE ART OF MEMORY. 
 
 Quaint old Thomas Fuller, the pious, learned and 
 witty divine, historian, biographer and poet, who lived 
 in the seventeenth centurj^, and whose writings occu- 
 pied a position of marked eminence in the literature 
 of his day, gave this definition of memory: "Memory 
 is the storehouse of the mind, wherein the treasures 
 thereof are kept and preserved." 
 
 ?>ir William Hamilton defines memory in this wise: 
 "Memory is the power of retaining knowledge in the 
 mind, but out of consciousness.'' 
 
 The following definition is given by Helvetius: 
 "Memory is the magazine in which are deposited the 
 sensations, facts, and ideas, whose different combina- 
 tions form knowledge." 
 
 Dr. Johnson uses this terse expression: "Memory 
 is the purveyor of Reason." 
 
 Many other great authors, also, have defined or aptly 
 characterized the faculty of memory; but perhaps the 
 most luminous definition of all is that given by Locke,, 
 in his Essay Concerning Human Understanding : 
 
 "Memory is the power to revive again in our minds 
 those ideas which, after imprinting, have disappeared, 
 or have been laid aside out of sight. * * * * When 
 an idea again recurs without the operation of the like 
 object on the external sensory, it is remembrance; if it 
 be sought after by the mind, and with pain and en- 
 deavor found, and brought again into view, it is recol- 
 lection.'^ 
 
 Memory is the power of reproducing in the mind 
 former impressions, or percepts. 
 
WHAT MEMORY IS. 15 
 
 Eemembrance and Eecollection are the exercise of 
 that power, the former being involuntary or spontane- 
 <ous, the latter volitional. We remember because we 
 cannot help it, but we recollect only through positive 
 effort. The act of remembering, taken by itself, is in- 
 voluntary. In other words, when the mind remembers 
 without having tried to remember, it acts spontane- 
 ously. Thus it may be said, in the narrow, contrasted 
 senses of the two terms, that we remember by chance, 
 but recollect by intention, and if the endeavor be suc- 
 cessful that which is reproduced becomes, by the very 
 effort to bring it forth, more firmly intrenched in the 
 mind than ever. 
 
 What causes remembrance is allusion; that which 
 our senses apprehend from time to time is stored away 
 in the mind with a greater or less degree of distinct- 
 ness, the reproduction of any particular portion thereof 
 being dependent upon the appearance of the conscious- 
 ness of impressions sufficiently suggestive to call the 
 former impressions forth. The distinctive province of 
 recollection is to find the suggestion or clue by means 
 of which an original impression may be revived. Pres- 
 ent perceptions or impressions call up past ones: for 
 instance, we see a person's face, or hear his voice, 
 whereupon a mental image thereof is impressed on the 
 mind and retained by it with greater or less fidelity for 
 a period of indefinite length, depending mainly on the 
 vividness and force of the impression; when we again 
 see the same face or hear the same voice, another men- 
 tal image is formed which at once recalls the original 
 
16 THE ART OF MEMORY. 
 
 one, and the two are intuitively seen to correspond, 
 and thus we are said to recognize the person. The same 
 is true of abstract ideas, and indeed of all mental con- 
 ceptions; a former idea may appear in our mind again, 
 or a present idea may, by similarity or contrast, suggest 
 a former idea to us; thus an idea which has appeared 
 in our consciousness may be reproduced if we only 
 have at our command a suggestive idea with which to 
 recall it. And the more of such suggestive ideas we 
 have, the greater the probability that any particular 
 idea can be recalled when desired. 
 
 And what relation does memory bear to under- 
 standing? It is nothing less than its very foundation- 
 stone; upon this base the whole fabric of human knowl- 
 edge, and even consciousness, must rest, for every con- 
 scious action of the mind is rendered possible only 
 through a comparison of some past impression with a 
 present one, and the more critical this comparison the 
 more perfect must be the memory. If the original im- 
 pression were to become effaced from the mind directly 
 after being made, it would be of no more significance 
 to the present consciousness than if it had never ex- 
 isted, for there would be nothing with which to com- 
 pare the impression now present. Thus there could be 
 no sensibility of change, for change involves action, 
 and the mind could not act if each impression as it 
 appeared in the consciousness at once vanished from 
 recognition; for action of the mind is dependent upon 
 its power to perceive the identity of a past impression 
 on its reappearance, and to compare it with a present 
 
WHAT MEMORY IS. 17 
 
 one, — ideas, or conceptions, being formed througli sucii 
 comparison. And if memory is a prerequisite to con- 
 sciousness and knowledge, it follows, perforce, that 
 without its aid progress would be unknown to the 
 human race: "enterprises of great pith and moment,'^ 
 in the realms of either the physical or mental, would 
 "their currents turn awry and lose the name of action," 
 for memory alone furnishes the nutriment which mind 
 uses, and must use, for its own sustenance and develop 
 ment, and that there may be secured to its possessor 
 the advantages deserved by intellectual, moral and 
 material excellence. All our knowledge consists of 
 what we remember or can recall, and our wisdom is in 
 its rightful use. All genius or talent is built upon 
 what mind originates, and it is impossible for mind to 
 create except by the cooperation of memory; and as 
 memory is the very basis of thought, it follows that 
 the more perfect and intelligent the memory, the 
 greater must be the power of thought. 
 
 We are always using the memory; there is not a con- 
 scious moment of our existence that it is not in action; 
 every exertion of either ph^^sical or mental power is 
 based upon the remembrance (using that word in its cus- 
 tomary broad sense) of some previous act of a similar 
 nature, and itself becomes the basis of some further act; 
 in fact, everything that the senses take cognizance of be- 
 comes a memory, and it is the sum of these memories 
 that constitutes the individual — the quality of the indi- 
 viduaPs mind dnd character depending on the quality 
 and quantity of these memories so perceived by the 
 
 2 
 
18 THE ART OF MEMORY. 
 
 senses. Every person is a book, of feelings, of thoughts, 
 of experiences — and, according to the distinctness and 
 thoroughness with which the contents are written, be- 
 comes the utility of the volume. It is a book which 
 can be made of either enduring, or only ephemeral, in- 
 terest; of superior quality, or only commonplace: all 
 depends upon the writer; the record can be either a 
 brief or a copious one, the characters effaceable, or 
 indelible; the volume can be a confused aggregation 
 of impressions, from the important down to the insig- 
 nificant, or it can be a chronicle whose details are 
 intelligently arranged, chapter by chapter and para- 
 graph by paragraph, all properly indexed and ready 
 for convenient reference. 
 
 "How can the memory be improved?" may be asked. 
 Through properly directed exercise. As by the intelli- 
 gent practice of gymnastics we strengthen and develop 
 our muscles, so do our memories increase in power and 
 efficiency as we exercise them — ^which, if we should 
 fail to do, must inevitably grow weaker. In both 
 the physical and the mental world, to stand still really 
 means to retrograde. A certain amount of exercise 
 is necessary that our bodies or our minds may not lose 
 in strength or quality; a still greater amount is essen- 
 tial if they are to attain higher development — and not 
 the least important consideration is that this exercise 
 should be properly directed. 
 
 Memory is a faculty to which man can by no means 
 lay exclusive claim. It is perhaps no exaggeration to 
 asseverate that every living thing possesses memory 
 
WHAT MEMORY IS. 19 
 
 in at least some degree — from the ant, which is never 
 at a loss to distinguish its own particular hill from the 
 thousands of others in the vicinity, to the carrier 
 pigeon, that can wing its way for hundreds of miles 
 from home, and return with unerring precision to the 
 spot from whence it started; or the dog, whose wonder- 
 ful faculty of remembering faces and places is a matter 
 of universal cognizance. The thrilling story of Andro- 
 clus and the lion has passed into history; and who is 
 there that is not familiar with instance after instance 
 of remarkable memory power, in one form or other, 
 in the animal kingdom ? 
 
 The infant very soon learns to distinguish its own 
 mother from all others that come within the sph'ere 
 of its consciousness; and this embryonic form of mem- 
 ory gradually develops, during the periods of child- 
 hood and adolescence, into higher forms, more and 
 more removed from the instinctive. With added years 
 comes the great battle of life, that constitutes what the 
 world terms "experience," which, after all, is nothing 
 more or less than a series of memories. 
 
 It is a well established law of our nature that what- 
 ever we take the greatest native interest in we re- 
 member the best; in other words, our memory grasps 
 most tenaciously that for which it has the strongest 
 affinity. As the loadstone attracts the piece of iron or 
 steel, but not the bit of brass, so the memory intuitively 
 seizes and retains that which has for it a natural at- 
 traction, while perchance some other object of contem- 
 plation no less worthy to be treasured in the memory, 
 
20 THE ART OF MEMORY. 
 
 leaves no more impress upon it than the shadow cast 
 by some vagrant drifting cloud does upon the moun- 
 tain's side. The truant school-boy is little likely to 
 forget where the most desirable fishing-spot is located; 
 in what especial trees the newest birds' nests may be 
 found; where the most accessible melon patch is situ- 
 ated; or in what particular part of what particular 
 orchard are growing the choicest apple-trees! The 
 lover is not apt to quickly forget what his sweetheart 
 said on the occasion when the all-important question 
 was asked; and the miser can be relied upon to recollect 
 just what persons are indebted to him, and the respect- 
 ive amounts, and to remember the nature and value 
 of each particular item that constitutes his hoard. 
 
 It is a curious and suggestive fact that no two minds 
 have exactly the same affinities, although there may 
 be a general concordance among many minds. That 
 in which a Linnaeus or an Audubon becomes engrossed, 
 may possess little attraction for a Kepler or a Herschel; 
 or, that which absorbs the energies of a Stephenson or 
 an Edison, a Darwin or an Agassiz may find of little 
 interest. A Dore or a Gainsborough gazes upon a 
 magnificent landscape and the wTiole is at once im- 
 printed on his memory in unfading colors; a Euler or 
 a Kant looks on the same landscape and it leaves scarce 
 an impression on his mind: purblind is he to its grand- 
 eur and beauty; and 
 
 "A primrose by a river's brim 
 A yellow primroise is to him — 
 And it is nothinsr more." 
 
WHAT MEMORY IS. 21 
 
 Under ordinary circumstances our memory of any- 
 thing that we have seen or rightly apprehended in the 
 first place, should be faithful, in so far at lea^t as the 
 main features are concerned. If there is a lack it ought 
 only to be in completeness of detail, the cause of which 
 lack is that not all of the details were originally 
 grasped by the consciousness. 
 
 But where that which caused the original impres- 
 sion involved human action — and thus character and 
 motive — our memory would be not essentially of the 
 fact or occurrence itself, but of the interpretation we 
 put upon it — which might be sometimes far from in- 
 fallible. In such case, then, our memory would be self- 
 created — simply a reproduction, with more or less 
 fidelity, of a former state of consciousness, which latter 
 might have no valid claim as reflecting with integrity 
 the fact or occurrence in question. 
 
 Thus if a person has performed an act which meets 
 with our approval, his subsequent acts we are likely 
 to view with reference to our opinion of that first one, 
 and we will unconsciously gloss over their defects and 
 magnify their virtues, because we are prejudiced in 
 the person's favor — whereas if his first act has not 
 been to our liking we are likely to perceive little to com- 
 mend in his future ones. So our memory of it all is in 
 some degree our own creation. The very acts them- 
 selves are either modified or distorted, according to the 
 standpoint from which we look at them, and thus the 
 self-same acts may be carried very differently in one 
 person's memory from what they are in that of another. 
 
22 THE ART OP MEMORY. 
 
 It is indeed a striking peculiarity of human nature that 
 different people see the same thing with very different 
 eyes. For instance, it is almost impossible to learn the 
 true details of any great catastrophe^ — reports of eye 
 witnesses vary so widely. No two persons give the 
 same account of a battle: a description of even the 
 great battle of Waterloo Avhich will be generally ac- 
 cepted as reliable has yet to be written; read Gardner 
 or Chesney and you have one account — read Thiers 
 or Hugo and you have one radically different. When 
 Sir Walter Ealeigh was imprisoned in the Tower of 
 London, a fracas occurred in the courtyard below, 
 which was described to him immediately afterwards 
 by several eye-witnesses, no two of whom, however, 
 gave identical particulars. After trying in vain to 
 learn the exact details, Ealeigh exclaimed in despair: 
 "Here am I, writing a History of the World— attempt- 
 ing to correctly portray events that happened thou- 
 sands of years ago — when I find it impossible to gain a 
 reliable account of a petty brawl that occurs under 
 my very window!'' 
 
 It is believed by many who have devoted more or 
 less research to the subject, that nothing which has 
 been apprehended by the mind at any time ever entire- 
 ly escapes from the memory ; that all which has ever 
 been in the consciousness is imprinted in ineffaceable 
 colors, and is subject to revival at any future time, 
 under favorable conditions; that although the muta- 
 tions of time and circumstance may cause other im- 
 pressions to intervene between our present conscious- 
 
WHAT MEMORY IS. 23 
 
 ness and some former one, yet every inscription ever 
 written on the mind is indestructible, and only awaits 
 some fortunate turn of the wheel of memory to again 
 appear in colors scarcely less glowing than of yore. 
 Whether that theory be well-founded or not, it is cer- 
 tain that the brain has a most marvelous capacity for 
 storing away impressions; and there is no question 
 that this capacity may be increased to a wonderful 
 extent by proper mental discipline. With intelligent 
 minds, it is also a. matter of common experience that 
 occasionally there will pristinely fresh leap forth un- 
 bidden, from the memory, the minutest details of some 
 incident that has been but vaguely remembered, if at 
 all, during many years — a fact which seems to suggest 
 that only the impulse of a touch, which may be acci- 
 dental, on the appropriate secret-spring is needed to 
 summon forth from the hidden chambers of the mem- 
 ory, as by Nature's magic, anything which has ever 
 been there implanted. 
 
 While it is indeed true that no more than one idea 
 or conception can occupy the mind at the same instant 
 of time, yet there are conditions under which the mind 
 can pass from one state of activity to another with a 
 rapidity which after the event we can scarce believe 
 possible. Being suddenly brought face to face with 
 death is without question the most powerful means by 
 which latent memories are caused to be revived, as well 
 as more distinct memories intensified, all folloAving 
 each other with the most inconceivable quickness. Cow- 
 perhas well said: 
 
24 THE ART OF MEMORY. 
 
 "How fleet is a glance of the mind! 
 
 Compared with the speed of its flight 
 The tempest itself lags behind, 
 
 And the swift winged arrows of light!" 
 
 It sometimes happens that the acts of a whole life- 
 time which are of consequence, and many that are not, 
 will be flashed across the screen of Memory with such 
 lightning rapidity and with such distinctness as to 
 seem like a vast panorama whose every detail is 
 grasped by the mind in an instant of time. Steve Bro- 
 die, the noted high-bridge jumper, in. describing his 
 feelings while making his famous leap from the Brook- 
 lyn bridge, stated that it seemed as if, during the few 
 seconds required for his descent to the water beneath, 
 there passed through his memory all the acts of his 
 life, in their proper order — some of which had not ap- 
 peared in his recollection for years, and would all his 
 life have remained dormant except for some extraor- 
 dinary stimulus such as this. It is the almost universal 
 experience of drowning persons who have been res- 
 cued at the last moment and resuscitated, that during 
 the few moments just preceding the loss of conscious- 
 ness, the memory suddenly grasps with a marvelous 
 vigor the deeds of the life which seems about to end, 
 and by some mysterious compelling intuition the suf- 
 ferer is able and obliged to recognize at the same time^ 
 and more fully than ever before, the right or wrong of 
 each particular act. 
 
 Dr. Holmes tells of a man who loaned several hun- 
 dred dollars to another, for which the latter gave his 
 
WHAT MEMORY IS. 25 
 
 note. When the time for its payment came however, 
 the note could not be found, its owner being unable to 
 recollect where he had put it. The debtor, taking ad- 
 vantage of that fact, refused to pay, claiming that he 
 had never given the note — and the owner was com- 
 pelled to submit to the loss. Some years afterwards 
 he happened to be bathing in the Charles river, and 
 while doing so was seized with a violent cramp and 
 with difficulty was rescued from drowning. On recov- 
 ering he went at once to his book-case, took therefrom 
 a book, and between its leaves found the missing note I 
 In the history of his life which had flashed across his 
 mental vision during those few moments, the act of 
 putting the note into a certain book and placing the 
 book in his book-case had been vividly represented. 
 The note, with interest, was subsequently collected. 
 
 The theory has often been advanced, with more or 
 less plausibility, that the possession of an abnormal 
 memory is a hindrance to the ready operation of the 
 reasoning powers: that the brain is clogged, as it were, 
 with a vast accumulation of miscellaneous facts and 
 ideas, so that the mind is unable to work with that 
 perfect freedom necessary to insure originality of 
 thought, and commensurate results. 
 
 Instances are cited in which the possession of great 
 memory power has been unaccompanied by correspond- 
 ing mental gifts, the inference being that a less reten- 
 tive memory would have superinduced a greater vigor 
 of mind, and that its possessor would therefore have 
 attained a far higher eminence in the world of thought. 
 
26 THE ART OF MEMORY. 
 
 This is far from being susceptible of proof, how- 
 ever, for if a full memory be detrimental to intellectual 
 productiveness, it should follow as a logical sequence 
 that a vacant memory must be the best possible stimu- 
 lant to mental activity. If this theory be correct it 
 might be claimed with equal force that a small patch of 
 ground is capable of yielding as abundant a harvest 
 as a large one, or that a child can carry as heavy a 
 load as an adult! 
 
 It is undoubtedly true that in many cases of phe- 
 nomenal memory power nearly all the mental energies 
 have been exerted in acquisition and little in original 
 thought — based as that must be. on such acquisition; 
 but unless, in any instance, this power of retentiveness 
 is accompanied with at least a fair endowment of the 
 creative faculty, a more positive and lasting reputa- 
 tion would be achieved by the continued development 
 of that talent only which is the especial gift of nature, 
 and not by an unprofitable division of the mental ener- 
 gies. Where the capacity for intellectual productive- 
 ness exists in only a slight degree, if at all, eminence 
 in that line can hardly be expected, however marvelous 
 may be the power of acquisition and retention; for 
 Memory is one thing and Keason another. 
 
 The fact is that there is no substantial foundation 
 to the theory that a copious memory impedes the flow 
 of thought; history fairly teems with illustrations prov- 
 ing that exactly the reverse is the case. Intellectual 
 greatness is not possible of attainment if there be lack- 
 ing the foundation of a tenacious memory; the latter 
 
WHAT MEMORY IS. 27 
 
 is a prerequisite to the former; if he who has a richly 
 stored mind possess not intellectual capacity, he will 
 not under any circumstances; the material for thought 
 to work with must be furnished by the memory — it 
 can come from no other source; upon the power of recol- 
 lection must depend that of creation, and he who has 
 in his memory the most bounteous and best assorted 
 store of well-prepared materials to draw upon will, as 
 men are ordinarily constituted, have the most efficient 
 ability to construct. 
 
 The only possible case in which an exuberant mem- 
 ory might be considered a hindrance to thought would 
 be where the mental energies have been mainly spent 
 in accumulation, and not enough in assimilation, in de- 
 vouring without due attention to digestion — for there 
 should be a proper equilibrium between the two in 
 order that the best results may be attained; but even 
 in the case of a person possessing the gift of a capa- 
 cious memory it by no means follows that, had there 
 been a less developed gift of memorizing, any notable 
 result would have been achieved in the line of original 
 thought. 
 
 Is it probable that a Mezzofanti, who could learn 
 the greater part of a language in a single night; or a 
 Cartaret, who knew the Greek Testament by heart, 
 would have become more noted had a far greater por- 
 tion of his mental force been applied to literary pro- 
 duction? Is it likely that a Woodfall, who could listen 
 to a debate in the House of Commons and reproduce 
 the whole without having taken a single note — or an 
 
28 THE ART OF MEMORY. 
 
 Almansor, who could converse in twenty-seven lan- 
 guages — would have attained a greater measure of 
 fame had he materially neglected the exercise of his 
 wonderful powers and invaded the field of authorship? 
 Take the case of Blind Tom, the negro prodigy, who 
 could repeat a discourse of fifteen minutes' duration 
 without understanding a word thereof, and songs in 
 French or German after a single hearing, omitting not 
 a word or note and imitating j)erf ectly the style and ex- 
 pression of the singer; and who could perform on the 
 piano a composition of as many as twenty pages heard 
 for the first time; would he have been even an atom in 
 the great world of letters? Surely not, and these illus- 
 trations only serve to show that abnormal memory 
 power is a gift, and often dwarfs all the creative forces 
 of the mind; he who possesses it is carried along as by 
 a gigantic wave — it is his very life and being, over- 
 shadowing all else; his peculiar talent is absorption 
 and imitation — not creation. 
 
 There is a close relation between memory and in- 
 stinct; indeed, a highly cultivated memory is, in a 
 sense, instinctive; that nature of undertaking which, 
 on being essayed for the first time, may seem a severe 
 task for the powers of the memory, becomes less diffi- 
 cult of execution the next time it is attempted, and 
 continues to grow easier of accomplishment with each 
 succeeding trial, until eventually the work is per- 
 formed with a facility and exiguity of conscious effort 
 that seems akin to the operation of instinct. A most 
 apropos illustration of this peculiar property, of the 
 
WHAT MEMORY IS. 29 
 
 memory is given bj Mark Twain in Ms "Life on the 
 Mississippi," in the narration of his experience in learn- 
 ing the vocation of a pilot. In the first days of his 
 apprenticeship it was extremely difficult for him to 
 discern and imprint on his memory even a fractional 
 part of the details of river navigation essential for a 
 pilot to be familiar with — the windings of the channel, 
 contour of the shore, various land and water-marks 
 along the route, etc.; but with practice his vision grew 
 more acute and his memory of locality constantly in- 
 creased in power, until at last each detail was seized' 
 by the memory almost unconsciously, and those fea- 
 tures of landscape and water-course which at first were 
 so difficult of discernment^ as distinguished from the 
 general surroundings, and seemed so impossible of re- 
 tention by the memory, became at last absorbed by the 
 recollection with the utmost ease. 
 
 Houdin, the great French conjuror, through long 
 and intelligent practice, was able to pass rapidly by 
 a toy-window and tell the names and location of nearly 
 forty objects exhibited therein; and his son could 
 excel even this marvelous feat ; and the feat was done 
 with scarce an appreciable effort. 
 
 Instances like those, and the case of an experienced 
 railway conductor who can go through a long train of 
 cars and remember the face of every passenger whose 
 fare he has collected, and that of the Fifth Avenue 
 Hotel waiter who daily receives and restores five hun- 
 dred hats without making a mistake — serve to demon- 
 strate the fact that, as the memory through sedulous 
 
30 THE ART OF MEMORY. 
 
 cultivation in any especial line attains a high degree of 
 development therein, the task or undertaking which 
 it at first accomplishes only by severely conscious en- 
 deavor is ultimately performed by almost unconscious 
 action — yet all the more surely and faithfully by rea- 
 son of the very spontaneity which marks it. It is 
 through involuntary, rather than deliberate, action of 
 the senses that the highest degree of excellence is at- 
 tained in many kinds of physical and intellectual pro- 
 ficiency. 
 
 The skilled type-writer who has learned by long 
 practice to touch his keys with such unerring precision, 
 and the trained telegrapher who can click off his dots 
 and dashes with such astonishing accuracy, perform 
 their work in a great degree automatically. 
 
 The piano virtuoso, by dint of arduous discipline, is 
 able to execute the most intricate fantasias or im- 
 promptus with the greatest ease, and yet with true fidel- 
 ity of expression. 
 
 The artistic actor, who is received with plaudits 
 wherever he appears, may have become so familiar 
 with his role as to perform it almost unconsciously. 
 The late John T. Eaymond grew into the part of Col, 
 Sellers so completely that he could enact it with but a 
 slight sense of his own personality; Joseph Jefferson 
 is accredited with the statement that to play Rip Van 
 Winkle was as easy for him as eating his supper; and 
 the elder Booth, it is said, frequently imagined while 
 playing Kichard III. that he really was that monarch. 
 
WHAT MEMORY IS. 31. 
 
 and on several occasions was with diflBiculty prevented 
 from slaying a sixth Kichmond in real earnest ! 
 
 It is through the t^iiconscious memory, then, rather 
 than the conscious, or deliberate, that the mind is en- 
 abled to attain its keenest perceptions — to reach the 
 loftiest flights of fancy; through instinctive recollec- 
 tion are the most notable and enduring results 
 achieved. For that it is essential that the mind be 
 placed in sympathy with whatever is sought to be con- 
 ceived and realized. 
 
 The grandest and most inspiring thoughts come 
 unbidden; they are not brought forth by laborious and 
 protracted effort; they flash up from Memory's sugges- 
 tions, as from a pure and sparkling spring gushes forth 
 the crystal tribute gathered drop by drop since long 
 ago. As Ovid says: ^^Est deus in nobis; agitante calesci- 
 miis illo,^^^ 
 
 The faculty of memory seems to have been bestow^ed 
 by an all-wise Providence in advance of the reasoning 
 powers, that a bounteous fund of knowledge and sensi- 
 bility and thought might be garnered by the wise and 
 provident, to be unceasingly replenished and augment- 
 ed in the years to come, and out of whose abundant 
 stores the teeming mind might build imperishlabie 
 structures of exalted thought and lofty sentiment and 
 gorgeous imagery, to adorn, in splendor and in majesty, 
 the hills and valleys and the plains of Time. 
 
 **'There is a god ■within its; when he moves we are inspired** 
 
CHAPTER III. 
 
 MAEVELS OF MEMORY. 
 
 "How are such an infinite number of things placed with such 
 order in the memory, notwithstanding the tumult, marches and coun- 
 termarches of the animal spirits'." 
 
 Jeremy Coulier. 
 
 To the average individual of the present day, edu- 
 cated by the hot-house methods with which our school 
 system, as a whole, has gradually become permeated, 
 and which do not tend to the best development of the 
 memory powers, the accounts which history and tradi- 
 tion have handed down to us of marvelous feats of 
 memory performed by noted men of the past must seem 
 well-nigh incredible; and yet, an ample volume might 
 be filled with well authenticated instances of remarka- 
 ble memory achievements by distinguished men of both 
 ancient and modern times. 
 
 While it is true that there are occasional instances 
 of abnormal memory development along certain lines, 
 among persons possessing a very inferior grade of men- 
 tality, yet, as a rule, the greatest memories are found 
 to be those of the greatest men — the two superlatives 
 
 (32) 
 
MARVELS OF MEMORY. 33 
 
 being uniformly correlative; and, so cardinal a faculty 
 is that of memory, it may be safely said that there can- 
 not be a great mind without a memory also great. 
 
 While history has furnished many instances of the 
 remarkable powers of memory possessed by distin- 
 guished men, yet there are hundreds — yea, thousands 
 — of cases in which men who have been prominent in 
 the world of intellect have not been accredited by his- 
 torians with being possessed of exceptional memories; 
 and yet, good memories they must have had, in the very 
 nature of things. One of the chief reasons why history 
 has been silent regarding the memory-power of a vast 
 majority of the world's celebrities undoubtedly is that 
 their memories retained the essence of what had been 
 received by them rather than the letter, and thus their 
 cases did not furnish that direct iterative evidence of 
 their memory capacity which history would be apt to 
 note. The general statement that this or that person- 
 age had a capacious memory would in itself have little 
 significance as an historical fact; the strong quality 
 of his memory would not impress our understanding 
 unless details were given of specific performances, so 
 that some comparison might be made with one's own 
 abilities in similar lines. 
 
 The mind of a Dante, a Dryden, a Beranger, or a 
 Goethe might, having absorbed the choicest thoughts 
 of all the ages, render them forth from that matrix, the 
 plastic brain of genius, as renascent in assuming new 
 and more entrancing forms of beauty, to be the wonder 
 of all the ages yet to come; but, nevertheless, a Lipsius, 
 
 3 
 
34 THE ART OF MEMORY. 
 
 who could repeat the whole of Tacitus; a Leibnitz, who 
 knew the ^neid by heart; or a Daguessereau, who 
 could repeat a poem of considerable length after a 
 single hearing, might leave a far stronger impress on 
 history regarding his powers of memory. 
 
 And then, too, history may often fail to do justice 
 to its men of genius. When, in the eyes of Hume, Will- 
 iam III. is a tyrant, and in those of Macaulay possesses 
 the virtues of a saint, what shall we say of the discrim- 
 inating judgment of historians? And when Sir Walter 
 Raleigh, who in attempting to write a history of the 
 world, endeavors in vain to get the facts concerning a 
 street brawl under his very window, how can it be ex- 
 pected that a complete and truthful record has been 
 kept of the attainments of the men at whose genius we 
 marvel ? 
 
 Historians are only human, after all; they have 
 their loves and hates, in common with the rest of hu- 
 manity; and we may be sure that, in transmitting to 
 posterity their versions of the annals of the past, they 
 have, through passion or prejudice, or the lack of au- 
 thentic information from those who were contemporary 
 with the personages of whom they are writing, left un- 
 said many a word of well deserved praise or censure. 
 
 Still, in spite of all the omissions and transgres- 
 sions of history, many conspicuous examples of mem- 
 ory achievement by distinguished men of the past have 
 come down to us, and a brief mention of some of those 
 instances may not be devoid of interest and instruc- 
 tion. 
 
MARVELS OF MEMORY. 35 
 
 Mithridates, the great Pontic king, and relentless 
 foe of the Komans, knew the names of all his soldiers. 
 It is said that in his empire no less than twenty-two 
 languages and dialects were spoken, and that he could 
 converse with fluency in each of them. 
 
 According to Pliny, Charmides, the Greek, could 
 recite the contents of every book in his library, which 
 was by no means a small one. 
 
 Caesar possessed the remarkable power of being able 
 to dictate to half a dozen secretaries at the same time, 
 in as many different languages. No detail of public 
 business ever escaped his memory, and on a certain 
 occasion, finding it necessary to recall a law-suit which 
 had taken place twenty years before, he gave all the 
 details of the case without hesitation. It is said that 
 he could repeat from memory more than eight thou- 
 sand lines of poetry. 
 
 Cleopatra, the peerless Egyptian queen, who suc- 
 ceeded in so completely captivating both Csesar and 
 Antony, was able to converse fluently in ten or eleven 
 languages. 
 
 Crassus, who with Caesar and Pompey formed the 
 first Eoman triumvirate, had frequent occasion, while 
 praetor in Asia, to adjudicate cases; and it is said that 
 he could understand the testimony and pronounce judg- 
 ment in any language or dialect that happened to be 
 spoken in his presence. 
 
 Hortensius, the great Roman orator, and rival of 
 Cicero, had such a retentive memory that he could 
 easily carry in his mind every point in an opponent's 
 
36 THE ART OF MEMORY. 
 
 argument, down to the minutest detail, even though the 
 discussion might last for hours. On a certain occasion, 
 haying made a wager with one Sienna, he attended an 
 auction sale lasting the whole day, at the close of which 
 he was able to recall the name of every object sold, the 
 price paid therefor, and the name of every purchaser, 
 in their proper order. All this was accomplished with- 
 out a single error, as was proved by the records of the 
 clerk, who kept an account of all the transactions. 
 
 Seneca was able to repeat, after one hearing, two 
 thousand proper names in their exact order, either for- 
 ward or backward. It frequently happened that per- 
 sons in his audiences, for the purpose of testing his 
 memory, would each recite a verse to him, which, when 
 all had finished, he would repeat seriatim and without 
 hesitation; and not only this, but he would thereupon 
 repeat the verses in reverse order. 
 
 In one of his works he gives quite a curious and 
 amusing illustration of memory power: 
 
 A certain author had written a poem of consider- 
 able length, and, as was the custom of the time, read 
 it in public, the assemblage being a very large one. On 
 the reading being concluded, a man stood up in the 
 audience and denounced the author as a plagiarist, 
 claiming that he himself had written the poem, in proof 
 of which he offered to recite it from beginning to end. 
 The audience, with one voice, demanded that he should 
 substantiate his claim, whereupon he recited the poem 
 all the way through, without an error, and defied the 
 author to do the same; which the latter, to his extreme 
 
MARVELS OF MEMORY. 87 
 
 mortification, was unable to do, and the audience 
 promi3tly decided that the man who had recited the 
 poem from memory must be the true author. On the 
 verdict being declared, however, the man frankly stated 
 that he had really never heard the poem before, but had 
 committed it to memory while the author was reading 
 it. But, in spite of this admission, he received even 
 greater honor for his wonderful memory than did the 
 author for his talent in writing the poem. 
 
 Eusebius, the great ecclesiastical historian, is au- 
 thority for the statement that had it not been for the 
 tenacious memory of Esdras, the Hebrew Scriptures, 
 which were burned by the Chaldeans, would have been 
 irretrievably lost. 
 
 Charlemagne, the greatest military figure of the 
 Middle Ages, could talk fluently in eight languages. 
 He paid great attention to the study of every language 
 spoken in his empire. 
 
 Avicenna, the renowned Moslem philosopher and 
 physician, when barely ten years of age knew the 
 Koran by heart, and much Arabic poetry besides. 
 
 The foregoing are a few of the examples of great 
 memory power possessed among the ancients — in- 
 stances which literature has preserved to us. That 
 they are incomplete as to detail may well be regretted, 
 as well as the fact that, in the cases of a large majority 
 of the distinguished men of former ages, no specific 
 mention is made of their powers of memory; and yet, 
 from the records which we have, meager though they 
 be in that regard, it is evident that the master minds 
 
38 THE ART OF MEMORY. 
 
 of far-off time, no less than is the case with those of 
 the present day, must have possessed rare memory 
 power. 
 
 Let us now turn to some of the notable examples 
 of great memories of modern times, in the preserva- 
 tion of which instances history has fortunately been 
 far more provident than in the cases of great men's 
 memories in the ages of the past. 
 
 Scaliger, the younger, whose extraordinary memory 
 and prodigious learning were the marvel of the age in 
 which he lived, committed to memory the whole of the 
 Iliad and Odyssey in three weeks. He could with ease 
 repeat a hundred lines after a single reading. 
 
 "Eare'^ Ben Jonson said in his later years that he 
 was able to repeat verbatim from memory all the works 
 that he had ever written, as well as a number of books 
 that he had read. 
 
 Sir Walter Scott frequently astonished his friends 
 by exhibitions of his wonderful memory. Every now 
 and then he would entertain them by reciting long 
 poems, after having heard the same read only once — 
 and that years before. On one occasion he repeated 
 to a party of friends the whole of CampbelPs "Pleas- 
 ures of Hope,'' after reading the poem through twice. 
 
 Bulwer knew by heart all the Odes of Horace, as 
 well as his other poems. 
 
 Pascal, the eminent French philosopher, knew the 
 whole Bible by heart, and could repeat any verse or 
 paragraph without hesitation, when called upon. It 
 is said that, up to the time when his health began to 
 
MAKVELS OP MEMORY. 39 
 
 fail, he never forgot anything that he had ever read 
 or thought. 
 
 Landor carried his library in his head; it was his 
 custom to give away a book after reading it, his reason 
 being that he could retain in his memory all of a book 
 that was worth keeping, and that it was thus useless 
 to burden himself w^ith the care of it. 
 
 It was said of Gibbon that a book was of no further 
 use to him after his mind had once absorbed its con- 
 tents. His power of mental retention was marvelous, 
 as was also that of Carlyle, each of them carrying a 
 prodigious amount of historical and of other informa- 
 tion in his memory. 
 
 Poule, Buffon and Byron knew their own works by 
 heart. Bryant could repeat any of his poems from 
 memory. 
 
 Izaak Walton tells us that Bishop Saunderson could 
 repeat all the Odes of Horace, all of Tully's "Offices,'' 
 and the greater portion of Juvenal and Perseus. 
 
 Cardinal Mezzofanti was, it is generally admitted, 
 familiar with a greater number of languages and dia- 
 lects than any other man who ever lived. Dr. Russell, 
 his biographer, states that at the age of seventy-two 
 the cardinal was at the height of his powers, and could 
 speak thirty languages fluently and nine fairly well, 
 besides nineteen more or less imperfectly, and that he 
 could read eleven more. In addition to all those lan- 
 guages, he knew more than forty dialects, each so dif- 
 ferent from the parent tongue as to virtually consti- 
 tute a different language; so that, altogether, accord- 
 
40 THE ART OF MEMORY. 
 
 ing to Dr. Russell, the cardinal was master of no less 
 than one hundred and eleven languages and dialects, 
 more than a score of which he had acquired in the last 
 twenty years of his life. Mezzofanti declared that he 
 never forgot a word which he had once learned. 
 
 Magiiabechi, the celebrated Florentine librarian, 
 possessed such a retentive memory that his head was 
 called a "universal index.'' He knew the location of 
 every book in the vast library of which he had charge, 
 and was familiar with all the great libraries of the 
 w^orld. He was able to read in all ancient and modern 
 languages that had a literature, and more than once 
 stated he could repeat the titles of more than half a 
 million books written in many languages on a great 
 diversity of subjects. 
 
 Max Mtiller, the great German scholar, was suffi- 
 ciently familiar with eighteen different languages to 
 be able to speak or write at will in any one of them. 
 
 Elihu Burritt, the "learned blacksmith/' knew, it 
 is asserted by his friends, all the languages of Europe 
 and most of the Asiatic tongues. 
 
 Cuvier, the greatest naturalist of his da^^, had a 
 prodigious memory. Shortly before his death he w^rote 
 to a friend that he had the materials for three impor- 
 tant works in his head, all arranged and ready to be 
 written down. He could state the names of over five 
 thousand animals, as could also Agassiz. 
 
 Dr. Asa Gray, the distinguished botanist of Har- 
 vard College, knew the names of eight thousand plants. 
 It has been estimated that Victor Huqo used more than 
 
MARVELS OF MEMORY. 41 
 
 eight thousand different words in his ordinary worlv as 
 an author. Milton had a vocabulary of more than sev- 
 enteen thousand words, and Shakespeare the extraordi- 
 nary one of nearly twenty-five thousand. 
 
 Dr. Johnson was said to never forget anything that 
 he had at any time seen, heard, or read. 
 
 Professor Cunningham, the Scottish theologian, 
 could recite Virgil and Horace from beginning to end. 
 George Borrow, the noted English linguist, while at 
 St. Petersburg published a little book named ^'Tar- 
 gum/^ in which occurred translations by him in prose 
 and poetry from no less than thirty languages. 
 
 Lord Bolingbroke, the distinguished English states- 
 man, complained of the exceeding tenacity of his mem- 
 ory, and gave it as an excuse for limiting himself to 
 reading only the best authors. It is stated by his friend 
 Pope that he could write on any subject as well without 
 his books as wdth them. 
 
 Niebuhr, the historian, at seven was a marvel of 
 boyish erudition. In his youth he occupied a position 
 in one of the government offices at Copenhagen, and 
 on one occasion a book of accounts was burned which 
 contained matters of great importance. Mebuhr, by 
 an effort of his memory, restored the entire contents. 
 
 Bossuet, the distinguished French ecclesiastic, 
 knew the whole Bible by heart, as well as all of Homer, 
 Horace and Virgil — an accomplishment the story of 
 which almost staggers belief! 
 
 Antoine La Motte, the famous French poet and 
 dramatist, possessed a strength of memory which seems 
 
42 THE ART OF MEMORY. 
 
 almost incredible. On a certain occasion Voltaire, 
 then a very young man, read to La Motte a tragedy 
 which he had just completed. The reading was list- 
 ened to throughout with the closest attention, and upon 
 its conclusion La Motte said: "Your tragedy is most 
 excellent, and I can safely venture to predict its suc- 
 cess. One thing, however, annoys me; you have al- 
 lowed yourself to plagiarize in the second scene of the 
 fourth act.'' Voltaire, greatly chagrined at this accu- 
 sation, defended himself as best he could, insisting that 
 the play in its entirety was his own composition. "You 
 will pardon me for calling your attention to the fact,'' 
 said La Motte, "but I can assure you that I do not make 
 the statement without being able to support it with 
 proper proof; I will therefore recite this scene to you, 
 which pleased me so much when I first read it that I 
 committed it to memory and am confident that I have 
 not forgotten a word of it." La Motte then repeated 
 the whole scene without the slightest hesitation, and 
 with great apparent animation. Voltaire was utterly 
 overcome with amazement, and scarcely knew what 
 to say. After enjoying the young author's discomfiture 
 for some moments, La Motte said: "Do not be dis- 
 tressed, my young friend; no one but yourself is enti- 
 tled to the credit of writing this scene, for it is as 
 much yours as all the rest of the play; but it impressed 
 me as being so noble and touching that I was unable 
 to resist the pleasure of committing it to memory as 
 you went along in your reading." 
 
MARVELS OF MEMORY. 43 
 
 Edward Henry Palmer, the great English Oriental-' 
 ist, could speak every European language; was master 
 of the Turkish, Persian, Arabic, and Hindustani 
 tongues, and also the dialect of the gypsies, and even 
 deceived natives as to his nationality. On one occasion, 
 while at Paris, he happened to be conversing with a 
 Zouave, or "Turco," a native Arab. After the colloquy 
 had proceeded a little while, the Arab said, "Why do 
 you wear these clothes?" Palmer replied, "Why, how 
 should I dress?" "Dress like what you are!" was the 
 indignant response; to which was added, "like a Mus- 
 lim!" 
 
 Von der Gabelentz, the noted German linguist and 
 ethnologist, was equally at home in Suabilis, Samoyeds, 
 Hazaras, Aimaks, Dyaks, Dakotas, or Kiriris, and could 
 translate from Chinese into Manchu, compile a gram- 
 mar or correct the speech of the Fiji Islands, New Heb- 
 rides, Loyalty Islands or New Caledonia. 
 
 Sir William Jones, the distinguished linguist, was 
 thoroughly familiar with thirteen languages, and was 
 able to read in thirty others with comparative ease. 
 
 Thomas Fuller, the noted English divine and author, 
 once undertook that, having walked from Temple Bar 
 to the farther end of Cheapside, in London, he would 
 repeat, after his return, the names on all the signs on 
 both sides of the street, and give them in their order, 
 first as seen going and then as seen returning. He ac- 
 complished the feat with absolute correctness. It is 
 said that he could write a manuscript page by setting 
 down the first word of each line, then the second, and 
 
44 THE ART OF MEMORY. 
 
 SO on, until the page was completed, composing the 
 matter as he so proceeded. 
 
 Prescott, the American historian, is said to have 
 composed and finished his narratives in his mind before 
 a single word of them was committed to paper. M. de 
 Lacepede, a noted French writer on Natural History, 
 possessed the same remarkable facult}^ — composing 
 and correcting his works mentally before writing them 
 down. 
 
 Jeremy Taylor wrote his "Liberty of Prophesy ing'^ 
 without access to books. He could memorize his own 
 sermons with the utmost ease. His ability in this re- 
 spect was so phenomenal that some of his friends used 
 to facetiously say of him that he began committing his 
 sermon to memory on the ringing of the first bell for 
 service ! 
 
 Professor Lawson of England sometimes examined 
 his classes in the Hebrew and the Greek Scriptures 
 without once referring to a book. He declared to a 
 friend on a certain occasion that if by any chance all 
 the existing copies of the Bible should be destroyed, 
 he could restore from memory all the text with the ex- 
 ception of a very few chapters. After a single perusal 
 of a sermon he could repeat it verbatim from the pulpit. 
 
 A most remarkable story is told of a French novelist 
 who in his earlier years had been a printer by trade. 
 He possessed such a prodigious memory that he is 
 said to have composed a novel and set it in type at the 
 same time. If this account be reliable, it is probably 
 
MARVELS OF MEMORY. 45 
 
 the only case on record in which a book was printed 
 without being first prepared in manuscript. 
 
 Ignatius de Eossi, the noted Italian scholar, had a 
 marvelous memory. He was once paying his colleague, 
 Canon Lattanzi, a visit at his home in Tivoli, where 
 the canon had also invited a few other friends. In the 
 course of the conversation the subject of the wonder- 
 ful mnemonical powers of Eossi came up, w^hen the lat- 
 ter stated that if any one ]3resent would repeat a line 
 from any one of the four great poets of Italy he would 
 undertake to recite the one hundred lines immediately 
 following. That Eossi could do this seemed incredible, 
 but the test was made, and to the amazement of all the 
 feat was accomplished with perfect success. 
 
 But of all the great memories of modern times that 
 of Eichard Person w^as probably the most wonderful. 
 He knew almost the whole of Homer, Horace, Cicero, 
 Yirgil and Livy; he could repeat whole plays from 
 Shakespeare and complete books from "Paradise Lost,'' 
 scenes from Foote, and scores of pages from Gibbon's 
 ^^Decline and Fall," or Eapin's works. He knew by 
 heart the whole of "Mortal Tale of the Dean of Bada- 
 jos," and Edgeworth's "Essays on Irish Bulls," and 
 could repeat from beginning to end Smollett's "Eoder- 
 ick Eandom" and other noted English novels. He could 
 recite a newspaper page after one reading, and said 
 that he would undertake to repeat the entire contents 
 of a wreck's issues of the "London Morning Chronicle." 
 
 One of the most marvelous feats of recent times 
 was performed in August, 1897, at Sondrio, capital of 
 
46 THE ART OF MEMORY. 
 
 the Valtellina district, in the northern part of Italy, by 
 Signor Edoe, professor in the Institution di Lorenzo^ 
 who, on a wager, repeated from memory, and without 
 making a single mistake, the whole of Dante's immortal 
 poem, "Divina Commedia,'' which consists of nearly 
 one hundred cantos, an amount of matter about equal 
 to the number of words contained in the New Testa- 
 ment. The feat occupied about twenty-four hours in its 
 accomplishment, lasting from 6 p. m. on one day until 
 2 p. m. the following day. It was achieved in the pres- 
 ence of a committee of associate professors and literary 
 men, who, at about midnight, divided into two parties, 
 alternately sleeping and listening until the recitation 
 was finished, the text being carefully followed by 
 prompters during the w hole time, all in order that there 
 might be no question as to the genuineness of the per- 
 formance. This feat was accomplished after a prep- 
 aration that was comparatively short, considering the 
 great length of the poem, and is perhaps the most won- 
 derful exhibition of verbal recollection in recent times, 
 —which goes to show that, with all its defects, this 
 commercial age of ours is able to, at least now and 
 then, produce its masters of the great art of Memory. 
 
 Among the well authenticated instances of marvel- 
 ous precocity in relation to the memory faculty, occur- 
 ring in modern times, may be mentioned the following: 
 
 William Wotton, an English prodigy, born in 1666, 
 could translate Greek and Latin readily at the age 
 of five; and when eleven years of age perfectly under- 
 stood, besides Latin and Greek, Hebrew, Arabic and 
 
MARVELS OF MEMORY. 47 
 
 Syriac, as well as most of the modern languages. He 
 was then familiar with history, both sacred and pro- 
 fane, and was well versed in divinity, law, mathematics, 
 chronology and antiquities; in fact, he had acquired 
 a universal education at the age of only eleven. 
 
 Bishop Thirlwall, the historian, was a prodigy of 
 learning. He was able to read Latin when only three 
 years old, and at the age of four read Greek with an 
 ease that amazed all who heard him. When seven years 
 of age he wrote an essay, "On the Uncertainty of Hu- 
 man Life,'' which was subsequently included in his 
 "Primitiae," or "First Fruits," published while the boy 
 was in his twelfth year. The book contained nearly 
 forty sermons, besides a number of essays and poems. 
 Perhaps in the whole history of literature there is not 
 another author whose first book was published before 
 he was yet in his teens. 
 
 John Stuart Mill began studying Greek at three 
 years of age, and before he was eight had devoured 
 the works of Hume, Gibbon and Robertson, and also 
 read the whole of Herodotus, Xenophon's "Anabasis," 
 the "Cyropsedia" and "Memoriabilia" of Socrates, be- 
 sides parts of Lucian and Isocrates and six of the "Dia- 
 logues" of Plato. 
 
 Another case of wonderful precocity is that of John 
 Philip Baratiere, who was born in Anspach, Bavaria, 
 on Jan. 10, 1721. His powers of memory were so mar- 
 velous that when only four years of age he could con- 
 verse in French, German and Latin. At six he had 
 mastered Greek, and at eight was familiar with He- 
 
48 THE ART OF MEMOKY. 
 
 brew. When ten years old he translated from Hebrew 
 into French the "Travels of Benjamin of Tudela," en- 
 riching the same with valuable annotations. In one 
 winter, while yet a young boy, he read twenty large 
 folios, with all the intelligence of a vast, comprehensive 
 mind. At a very early age he produced a voluminous 
 work of great excellence on Egyptian antiquities. He 
 was also precociously proficient in mathematics. This 
 wonder among prodigies died in his twentieth year. 
 
 But perhaps the greatest marvel of precocity in all 
 ages was Christian Henry Heinecken, whose birth oc- 
 curred at Lubeck, Germany, on Feb. 6, 1721, less than 
 a month later than that of Baratiere. At ten months of 
 age he could talk, and when fourteen months old knew 
 the histories in both the Old and New Testaments. In 
 his thirtieth month he was familiar with geography, 
 anatomy, and the history of the nations of antiquity, 
 understood the use of maps, and knew five thousand 
 Latin words. In his fourth year he had become con- 
 versant with ecclesiastical history and also the doc- 
 trines of divinity, with their proofs from the Bible. 
 Further, he knew two hundred hymns and their tunes, 
 and eighty psalms ; fifteen hundred verses and sentences 
 from the Latin classics; could repeat many chapters 
 from the Bible; understood arithmetic, and was famil- 
 iar with the history of Europe; and at the Court of 
 Denmark he delivered twelve speeches without once 
 faltering. He could, moreover, talk fluently in German, 
 French, Low Dutch and Latin. His stupendous mem- 
 ory caught and retained every word that he read or 
 
Marvels of memory. 49 
 
 heard. This unexampled prodigy lived only until June 
 27, 1725, being less than four-and-a-half years old at 
 the time of his death. 
 
 A few examples will now be given of extraordinary 
 power in various lines of memory in the case of per- 
 sons evincing a general intellectual capacity not more 
 than mediocre, in some instances even insignificant in 
 that general regard. Thomas Keid, Scottish philoso- 
 pher and author of various works on mental science, 
 tells of a London auctioneer who used to sell goods at 
 auction all day, and when evening came would write 
 down the denomination and price of every article sold, 
 and with each the surname and initials of the pur- 
 chaser. 
 
 Baillie relates a story of a waiter in a London res- 
 taurant, who, on a wager of a few pounds, memorized 
 the entire contents, advertisements and all, of a daily 
 paper of eight pages, accomplishing the feat in only 
 four hours. 
 
 An Englishman named William Lyon, a strolling 
 player, had a most astonishing memor^\ One evening, 
 at Edinburgh, while passing a social evening with a 
 party of friends, he made a wager of a bowl of punch 
 that he could the next morning repeat from memory 
 the contents, from beginning to end, of the "London 
 Daily Advertiser." At the appointed time the test was 
 made, and he accomplished the task without making 
 a single error, the matter including all sorts of foreign 
 and local news, from the important down to the trivial; 
 the quotations of various railway and other stocks and 
 
50 THE ART OP MEMORY. 
 
 bonds, legal notices of every description, the current 
 prices of all kinds of provisions, etc., and advertise- 
 ments of every character imaginable. 
 
 Dr. Macklin, the noted actor and dramatist, tells a 
 story of a man who called upon the Greflfter Fagel, a 
 Dutchman of note, for the purpose of exhibiting his 
 wonderful powers of memory, offering to subject him- 
 self to any test that might be demanded. He was 
 handed a newspaper which happened to be lying on the 
 table, and requested to read it through and repeat the 
 contents verbatim. He thereupon read the paper as 
 desired, and, after doing so, repeated the entire con- 
 tents without omitting a single word, to the exceeding 
 amazement of Fagel, who could not find words ade- 
 quate to express his admiration of the man's wonder- 
 ful mnemonical power, upon which the latter said : "Oh ! 
 this is nothing; shall I repeat the same backward?'' 
 "That is impossible!" exclaimed Fagel. "I will prove to 
 you that it is not, if you will have the patience to 
 listen," replied the stranger, who accordingly proceed- 
 ed without the slightest hesitation to demonstrate his 
 ability to perform the feat, beginning at the end of the 
 last column and ending with the title. 
 
 An English mnemonician once presented himself to 
 Frederick the Great for the purpose of giving an exhi- 
 bition of his poAvers, Shortly afterwards the Prussian 
 king invited a friend, who was a poet of some note, 
 to pay him a visit. The poet complied, and at an ap- 
 pointed time read to the king a poem of considerable 
 length which he had just finished. The Englishman, 
 
MARVELS OF MEMORY. 51 
 
 in the meantime, was in the room, and so situated that 
 he could hear every word of the poem, but was entirely 
 concealed from view. When the reading of the poem 
 had been concluded, Frederick remarked that the poem 
 could hardly be original, as there was a foreigner pres- 
 ent who could repeat the poem from memory. Upon 
 a sign from the king, the stranger made his appearance, 
 and was asked if he had ever heard of such and such a 
 poem (mentioning the composition just read). "Oh! 
 yes,'' was the response; "I know the poem by heart." 
 To the poet's amazement and chagrin he then recited 
 from beginning to end the poem which the king's visitor 
 had taken infinite pains in composing; whereupon, the 
 mortified author, succumbing to a sudden fit of rage, 
 immediately tore the manuscript into shreds. Upon 
 being told of the circumstances under which the Eng- 
 lishman had become familiar with the poem, the poet's 
 wrath became sufficiently appeased for him to be quite 
 willing to do penance for his outburst of passion by 
 rewriting the poem from a second recital of it by the 
 stranger, who had no difficulty in going through with 
 it as before. 
 
 In Friars Hill^ West Virginia, there lives a man 
 not far from forty years of age, named George W. Mc- 
 Millon. He seems to remember everything that he 
 ever read or knew. He can give the name, birthday, 
 date and hour of death, of every president of the United 
 States not now living; the majority or plurality by 
 which each was elected, and the minutest published 
 details of all their lives. He can relate the particulars 
 
62 THE ART OF MEMORY. 
 
 of every visit he has made during his life; can give the 
 names of all the persons he has met within two weeks 
 previous, and what each person said. He can also quote 
 chapter after chapter from the Bible, and recite poems 
 of three thousand words in length without missing a 
 single word. 
 
 The Toledo ^'Bee'' recently told of a most extraor- 
 dinary case of memory power, that of a man named 
 Clark, residing in New York City. He can remember 
 the number of votes cast by each of the chief political 
 parties in each state of the United States at each of the 
 last four national elections. He knows the number of 
 square miles in every country in the world, and in every 
 state in the Union. He can quote from Shakespeare 
 for hours without making a mistake, and is able to re- 
 cite the first four books of Homer's "Iliad" in the orig- 
 inal Greek. He can learn any language in two weeks 
 sufficiently well to read its literature with enjoyment. 
 He is familiar with the writings of all the classic au- 
 thors in English, Latin and Greek; which includes, in 
 his case, that he can repeat page after page of the works 
 of any of them, and that it would be difficult to give a 
 quotation from any one of the classics which he could 
 not promptly locate and quote the preceding and fol- 
 lowing passages. He is also more or less familiar with 
 standard authors in French, German and Italian, and 
 his researches have even extended into Chinese, Japan- 
 ese, Arabic and Sanskrit. He can give every important 
 date in history, and has also a considerable knowledge 
 of the science of music. 
 
MARVELS OF MEMORY. 53 
 
 Dr. Moffat, the distinguished African missionary, 
 once preached a long sermon to a tribe of wild negroes, 
 on the conclusion of which he sat down to rest himself 
 Shortly afterwards he noticed a commotion a little dis- 
 tance away, quite a crowd having gathered about one 
 negro, who was talking to them in an earnest, impas- 
 sioned manner, his discourse being accompanied with 
 frequent gestures of the arms and body. Curious to 
 find out what the negro w^as saying that could so inter- 
 est his hearers. Dr. Moffat approached closer, when, 
 to his astonishment, he found that the native was 
 preaching his, the reverend investigator's, own sermon 
 over again, word for word, and even with the inflections 
 and accompanying acts of gesticulation! 
 
 In the early part of the present century there was an 
 old beggar living at Stirling, Scotland, who was called 
 "Blind Alick.'' He knew the Bible by heart so thor- 
 oughly that if a sentence was read to him he could at 
 once name the book, chapter and verse; or if the latter 
 were first indicated he could quote the exact words. A 
 man once tested the accuracy of his memory by repeat- 
 ing a verse, in doing which he purposely made one 
 verbal error. Alick named the place in the Bible where 
 the passage occurred, at the same time pointing out the 
 error of the quotation. The man then asked him to 
 repeat the ninetieth verse of the seventh chapter of 
 Numbers. Without hesitation, Alick replied: "There 
 is no such verse; the chapter has only eighty-nine 
 verses.'' 
 
54 THE ART OF MEMORY. 
 
 In 1895 quite a sensation was caused in St. Pe- 
 tersburg by the advent there of an illiterate peasant 
 woman, seventy years of age, from Olonetz, named 
 Irma Andrejewna Fedosova, who, it is said, could re- 
 peat upwards of 19,000 folk-songs and poems, a rhyth- 
 mic repertoire, comprising fairy stories, legends, ro- 
 mances of love, camp, and battle, and comic and tragic 
 tales of every variety — an accumulation whose real 
 magnitude can hardly be conceived by the ordinary 
 mind. A noted Kussian litterateur, having accidentally 
 heard of this woman's wonderful powers, had brought 
 her to the capital, and, with the assistance of an asso- 
 ciate, he spent several weeks writing down her treas- 
 ure of folk-lore, with a view to publishing it. 
 
 "The Popular Science Monthly'' of January, 1880, 
 tells of a lady possessing most wonderful memory pow- 
 ers, which were notably developed at a very early age. 
 Her name was Dorothy Schlozer, and she was a na- 
 tive of Hanover. Before reaching her third year she 
 had learned Low German, and within three years fol- 
 lowing had mastered French and German, other lan- 
 guages being soon afterwards learned, also with re- 
 markable rapidity. She knew Latin and Greek before 
 attaining her fourteenth year, and was in every respect 
 a good classical scholar. She was proficient, also, in 
 every branch of polite literature, and in many of the 
 sciences. 
 
 The same periodical also records a most peculiar 
 case of memory power in a youth named Hicks, who 
 was employed in one of the railroad yards near Koches- 
 
MARVELS OF MEMORY. 56 
 
 ter, N. Y. He could give the number of any one of 
 nearly three hundred locomotives on simply hearing 
 its bell ring. He was subjected to frequent tests, and 
 was invariably correct. When we consider that the 
 range of sounds possessed by engine-bells is very lim- 
 ited, probably not exceeding an octave, and that the 
 variety of sounds which this youth must have thus been 
 able to distinguish and carry in his memory exceeds 
 two score for each tone, the performance almost sur- 
 passes belief! 
 
 By the foregoing striking examples of great mem- 
 ory attainments, and especially those regarding persons 
 who have been eminent in literature or otherwise dis- 
 tinguished as historical characters, it seems to be amply 
 demonstrated that high intellectual ability, either 
 special or general, and superior memory-power go hand- 
 in-hand; that while there have been notable instances 
 in which the possession of abnormal memory develop- 
 ment along certain narrow lines has been accomplished 
 with mediocre, or even very inferior, general mental 
 ability, yet that a high order of intellect and a broad 
 retentive memory are inseparable; for mind is built 
 upon memory — other foundation than that there can- 
 not be. With that foundation deep and broad, so is the 
 superstructure lofty in the sight of men and of large 
 capacity; thus Nature, the great architect, builds mind. 
 A tenacious memory, in a restricted sense, may exist 
 at the expense of intellect; but where a great mind 
 exists, a great memory must exist also. As a rule, the 
 more powerful the intellect the more capacious must be 
 
66 THE ART OF MEMORY. 
 
 the memory; in which is meant, not that parrot-like 
 memory which embodies the form rather than is in- 
 spired by the essence — which has affinity for cold, ster- 
 ile facts rather than warm quickening ideas — which 
 absorbs but seldom gives forth; not a merely auto- 
 matic memory such as that, but the intelligent, effi- 
 cient memory, which discards the trivial and unprofit- 
 able, retaining only the worthy and serviceable, and 
 so assimilating the same as to make it a beneficial 
 possession, to be transmuted, it may be, into pearls of 
 thought far transcending in worth and beauty aught 
 from which they were thus sublimed. 
 
 History has failed to tell us of any notable memory 
 achievements by certain among the master-minds of 
 the world; none such is recorded of Shakespeare, Cer- 
 vantes, or Goethe — that crowned king! those mighty 
 lords! of the intellectual spirit-land; a very unfortunate 
 omission in their cases, it may seem, and yet their 
 powers of memory could not have been other than phe- 
 nomenal; but those powers were, it must be, of that 
 comprehensive nature which absorbs ideas rather thai? 
 literal facts — the latter only as they have an essential 
 bearing on the former — and which rejects the chaff, re- 
 taining nought except the golden grains of thought, 
 whose destiny, with such genius, is to issue forth once 
 more, as from richer soil, regenerate in new forms and 
 instinct with a higher life which the master has 
 breathed into them. 
 
 Thoughts originated by lesser intellects and ab- 
 sorbed by greater undergo in the alchemy of the mind 
 
-i 
 
 MARVELS OF MEMORY. 57 
 
 a metamorphosis, reappearing in a garb more rich and 
 beauteous by far than that which they first assumed. 
 Such ethereal chemistry may be termed the subliming- 
 work of Genius; but behind it all — its foundation, its 
 inspiration — there is, there must be, Memory in its 
 grandest and its noblest form — the Memory of Ideas, 
 
CHAPTER IV. 
 
 MNEMONICS, PAST AND PRESENT. 
 
 *'By simple and mechanical methods one man shall do that in a 
 month which shall cost another of equal ability whole years to exe- 
 cute." Dr. Priestly. 
 
 "Marshal thy notions into a handsome method. One will carry 
 twice more weight trussed and paclved up in bundles than when it 
 lies untoward, flapping and hanging about his shoulders. Things or- 
 derly fardled up under heads are most portable." 
 
 Thomas Fuller. 
 
 "Use the most proper methods to retain the ideas you have ac- 
 quired; for the mind is ready to let many of them slip, unless some 
 pains be taken to fix them upon the memory." 
 
 Isaac Watts. 
 
 The necessity of employing artificial means to as- 
 sist the memory in attaining its highest capabilities, 
 or even of reaching a reasonable point of excellence, 
 has been recognized by the most intelligent minds from 
 the earliest times, and great men in all ages have not 
 hesitated to admit their dependence on mnemonics as a 
 means of storing away in their minds much useful 
 knowledge that would otherwise have forever faded 
 away. 
 
 (58) 
 
MNEMONICS, PAST AND PRESENT. 59 
 
 Mnemonics, after all, is but another term for the 
 art of systematic memorizing, and possesses proper- 
 ties which are of inestimable value to the seeker after 
 knowledge, but which, unfortunately, receive far too 
 little appreciation from the average individual. Of the 
 multifarious impressions received by the mind from 
 time to time, each one that is deemed worthy of being 
 remembered may, by the aid of mnemonics, be deposited 
 in its proper apartment of the memory, from whence 
 it can be brought forth at will with but slight effort. 
 
 Mnemonics makes the most of what is given into 
 memory's safe-keeping; preserves an orderly arrange- 
 ment of memory's possessions, rendering them avail- 
 able on demand, and thus may be said to substitute 
 In large degree certainty for chance. 
 
 There seems to exist a comparatively widespread 
 belief, created for the most part by a certain class of 
 writers, that mnemonics interferes with the natural 
 working of the memory — ^that so-called "natural mem- 
 ory'' does not, and should not, employ devices of any 
 kind to increase its efficiency. That idea, however prev- 
 alent though it may have become, and rightful as objec- 
 tion may be to many pseudo-aids falsely termed mne- 
 monical, is essentially untrue. If genuine and properly 
 applied, mnemonics, instead of inpeding the proper ac- 
 tion of the memory, greatly facilitates its working along 
 natural lines. Its chief point of excellence is that it 
 prevents the memory from falling into slovenly habits, 
 which it is almost certain to do unless rightly guided. 
 
 In the case of a well cultivated memory, its stores 
 
60 THE ART OF MEMORY. 
 
 are carefully assorted and properly labeled tor ready 
 reference. If the memory be an uncultivated one, it is 
 liable to fail in responding on occasions of dire need, 
 because its contents are so illy arranged that there is 
 no certainty of their being available when wanted. 
 
 In the realm of mentality that only is natural which 
 is guided by intelligence. All genuine knowledge is re- 
 ciprocally complemental with reason; true mental 
 growth is governed by laws which are immutable — 
 they are thus natural, and these laws also include Mem- 
 ory, the very foundation of knowledge. To do anything 
 in the most natural way is to do it in a manner which 
 is based on sound principles, which are discerned by 
 intelligence, and their verity confirmed by experience, 
 — and on this basis it can hardly be called "natural'^ 
 for the memory to be encouraged to passively receive 
 whatever is poured into it, with the expectation that 
 these impressions and ideas will somehow or other take 
 care of themselves! The memory is natural only if un- 
 derstanding and judgment be employed in the storing 
 away of whatever the mind apprehends, even though 
 this task may not be performed in the most advan- 
 tageous manner; whether or not it be done through the 
 exercise of the reasoning powers is the touchstone by 
 which we may determine if our memory be a natural 
 one or not. 
 
 Most of us trust our memory as if it were possessed 
 of almost illimitable power. We pour into it indis- 
 criminately everything that our senses take cognizance 
 of, and seem to expect that by some sort of intuition it 
 
MNEMONICS, PAST AND PRESENT. 61 
 
 will contrive to preserve all those impressions, and in 
 an orderly manner, and be ever prepared to deliver on 
 demand whatever of its stores may be called for. 
 
 In the training of all our other faculties except the 
 memory, however, it is deemed necessary to use method; 
 unless method were employed, intellectual growth, in 
 even a moderate degree, would be an impossibility; 
 in every stage of a liberal education method is an all- 
 important factor. 
 
 We grow in knowledge through a systematic course 
 of study; we are able to take each successive step 
 because the last step has strengthened and broadened, 
 the foundation of our intellectual being. We find it 
 necessary to employ method in every phase of life in 
 which progress is possible; but with an inconsistency as 
 singular as it is inexcusable, we allow a vast propor- 
 tion of the ideas and impressions taken in by our mind 
 to run at large, as it were, blindly trusting that some- 
 how, without intelligent effort on our part, they will 
 distribute themselves with such perfect propriety as to 
 be readily available at all times! 
 
 While there is, to a minor extent, an instinctive 
 classification in the memorizing of knowledge which 
 the mind receives, yet this is relatively limited in effect, 
 as should naturally be the case with such work unless 
 intelligently done; and the result when an immethod- 
 Ical manner of preserving impressions has been allowed 
 to prevail is that our memory is not what may be termed 
 reliable; that which has been intrusted to its custody 
 it may yet, unanchored, have within reach, but unless 
 
62 THE ART OF MEMORY. 
 
 such matter is conveniently available it must generally 
 be of little practical use to its possessor, and it cannot 
 be rated as truly available unless put away in a sys- 
 tematic manner. 
 
 To so deposit Memory^s archives that they may be 
 brought forth at will, is an art, and this art, translated 
 into a significant term, is mnemonics. 
 
 According to Pliny, Cicero, Quintilian, and other 
 writers of antiquity, who both recommended and prac- 
 ticed mnemonics, its invention originated with Simon- 
 ides, the famous Grecian poet of Ceos, who flourished 
 about 500 B. C. 
 
 The circumstances under which he came to originate 
 his system are said to have been as follows : 
 
 The victor in one of the series of Olympian games, 
 inflated with vanity over his success, desired Simonides 
 to compose a poem commemorating the event, to which 
 the poet assented, for a stipulated price. In due time 
 the poem was completed, the victor being extolled in 
 the most flattering terms, according to contract, but 
 in the poem Simonides happened to speak also in praise 
 of Castor and Pollux, the gods of boxing and equestrian 
 exercise in Grecian mythology. His patron, who con- 
 sidered that he had bargained for a poem devoted ex- 
 clusively to laudation of his own exploits, thereupon 
 took dire offense because of this alleged violation of the 
 agreement, and refused to pay Simonides more than 
 half the amount agreed upon, telling him to collect the 
 other half from those who had shared his own glories 
 in the poem. Shortly afterw^ards a banquet was given 
 
MNEMONICS, PAST AND PRESENT. 63 
 
 in honor of the victorious contestant, to which Simon- 
 ides was invited. Before the conclusion of the feast 
 he was called out by a messenger, and had scarcely left 
 the building when the ceiling fell in, burying the enter- 
 tainer and all his guests in the debris; and when the 
 relatives and friends of the victims came to identifv and 
 take away the remains for burial, they found the bodies 
 so crushed and mutilated as to be impossible of recog- 
 nition. It happened, however, that Simonides remem- 
 bered the place which each guest had occupied at the 
 banquet table, and by means of that the remains were 
 identified. 
 
 It was upon this event that mnemonics is believed 
 to have been founded. Simonides seems to have shortly 
 afterwards invented a complete system of artificial 
 memory based upon this tragic occurrence, and to have 
 taught it with great success. 'His principles were sub- 
 sequently introduced and developed at Kome by Metro- 
 dorus, the friend of Epicurus, and constituted the 
 groundwork of all mnemonics for many centuries. 
 
 The essential features of that system, originated by 
 Simonides, and which is commonly termed "the topical 
 system,'^ are as follows: 
 
 A building was pictured in the mind, divided and 
 subdivided in a certain order; this order was thoroughly 
 committed to memory, and each room represented by 
 some animal, bird or other living creature, with which 
 things or ideas to be remembered were arbitrarily asso- 
 ciated. 
 
 Each of these "memory" apartments was capable of 
 
64 THE ART OF MEMORY. 
 
 containing fifty different objects or ideas, arranged as 
 follows: Nine numbers occupied each of the four walls 
 and the floor; the side opposite the entrance represented 
 the units, the right hand side the tens, the left side the 
 twenties, the rear wall the thirties, and the floor the 
 forties, Nos. 10, 20, 30, and 40 being placed just above 
 their respective walls, and 50 in the center of the roof. 
 Other apartments were added and memorized from 
 time to time, as required, the symbols for each room 
 being left to the judgment or fancy of the memorist. 
 
 With the decline of civilization, which culminated 
 in the destruction of the Koman empire, mnemonics dis- 
 appeared entirely from view, and did not reappear until 
 nearly the close of the Middle Ages. 
 
 In the latter part of the thirteenth century Eoger 
 Bacon, the learned English monk, wrote a treatise on 
 the subject of Memory. It was never printed, but is pre- 
 served among the manuscripts at Oxford. 
 
 A few years later Raymond Lully, the noted Span- 
 ish missionary, wrote a work on mnemonics, which, 
 owing to its complicated features, does not appear to 
 have obtained a very wide circulation, either then or 
 in after times, although its principles have been fully 
 elucidated by later writers, especially of the fourteenth 
 and fifteenth centuries, most of whom made alleged 
 improvements on Lully's method. 
 
 Shortly after the invention of printing. Jacobus Pub- 
 licius, a native of Florence, wrote several short articles 
 on mnemonics, which were compiled into a volume con- 
 taining fourteen leaves, or pages, and illustrated with 
 
MNEMONICS, PAST AND PRESENT. 65 
 
 wood-cuts of a very crude character. The book was of 
 little utility, however, the system which it advocated 
 proving too cumbersome for practical use. Antiqua- 
 rians believe this book to be the first one containing 
 wood-cuts printed with movable types. 
 
 A score of years later Peter of Cologne published 
 a system, based on Publicius' method, being, like the 
 former, of the "topicaF' order. At about the same time 
 Conrad Celtes, a German poet of some distinction, an- 
 nounced a system, also of the topical kind, but in which 
 letters of the alphabet were substituted for the rooms 
 or apartments used in previous systems. 
 
 A comparatively short time after the publication of 
 Celtes' method, there appeared a teacher of mnemonics 
 named Petrus de Eavenna, who traveled throughout 
 Italy, giving public exhibitions, and being received 
 everywhere with great enthusiasm. On one occasion, 
 as a test of his powers, he played a game of chess and 
 at the same time dictated two letters on subjects named 
 by the audience, while another person present threw 
 dice, and a fourth recorded the throws. On the game 
 of chess being concluded, Ravenna repeated from mem- 
 ory all the moves, in their proper order, recited every 
 word contained in the two letters, backwards, and told 
 each throw of the dice, forward and backward. Ra- 
 venna continued to teach and give public exhibitions 
 in Italy for many years, and was subsequently per- 
 suaded to visit Germany and France, where he like- 
 wise astonished his audiences by the wonderful feats 
 of memory which he performed. He published a work 
 
 5 
 
66 THE ART OF MEMORY. 
 
 on mnemonics which passed through nine or ten edi- 
 tions. 
 
 In 1533 a work on Memory was issued by a Dutch 
 writer named De Krypse. The topical method was used 
 as a basis, several innovations being introduced and 
 the whole profusely illustrated with curious wood-cuts. 
 
 In the latter part of the sixteentli century Thomas 
 Watson, an English poet, published a treatise on mne- 
 monics, based also on the topical system, but a capacious 
 wall being used, instead of one or more rooms of a 
 house, the wall being arbitrarily divided into a large 
 number of spaces, each symbolizing a particular object^ 
 the various objects being classified in a designated man- 
 ner. That which was to be memorized was associated 
 with one or more of those objects, as under the old 
 system. 
 
 In the beginning of the seventeenth century, Lam- 
 bert Schenkel, a German mnemonieian, who had culti- 
 vated his memory in certain branches to a remarkable 
 degree, began giving public exhibitions of his powers, 
 traveling from place to place through Germany, France 
 and Belgium, and teaching his system, which was re- 
 ceived with great favor wherever he went. SchenkeFs 
 feats consisted chiefly in repeating numbers and discon- 
 nected words which were given him by his audiences, 
 and also reciting sentences both for^^ard and back- 
 ward. He could repeat three hundred arbitrarily-con- 
 nected words, and more than two hundred sentences, 
 all in the exact order in which he heard them. Schenkel 
 had a remarkable career, being denounced from the 
 
MNEMONICS, PAST AND PRESENT. 67 
 
 pulpits as a sorcerer and conjurer, and persecuted 
 therefor, — at one time barely escaping the torture of 
 the Inquisition on account of those accusations. He 
 wrote a book on mnemonics, the publication of which he 
 long found extreme difficulty in securing, but eyentu- 
 ally the tide turned and Schenkel obtained from Kino- 
 Henry TV, the exclusive privilege of teaching mne- 
 monics all over France, a penalt}- being imposed of 
 4,000 francs on any who should attempt to teach the 
 art without his consent, one-third of which fines were to 
 be turned over to Schenkel himself. He guarded the 
 secret of his system very jealously, exacting an oath of 
 secrecy from all his pupils; but the demands for instruc- 
 tion became so numerous that he was unable to attend 
 to them all, and so he commissioned one of his pupils, 
 named Martin Sommer, to teach the system, a certain 
 portion of his earnings to be turned over to Schenkel. 
 Sommer, however, broke the compact, and in 1619 pub- 
 lished, in two pamphlets, the secrets of Schenkel's sys- 
 tem, the which later writers have examined and pro- 
 nounced simply an elaboration of the ancient topical 
 system. 
 
 In 1618 one John Willis published a mnemonical 
 system containing a number of novel and original fea- 
 tures. He gave rules for memorizing the ordinary 
 affairs of every-day life, then for words, phrases and 
 sentences, and finally for long discourses— progressing 
 by easy stages from one to the other; this was accom- 
 plished by means of brief memorandums made accord- 
 ing to certain rules. Further on in his work he taught 
 
68 THE ART OF MEMORY. 
 
 how to memorize anything seen, heard or read, without 
 recourse to notes; one of the means employed being to 
 propose a series of twenty-two questions, which were 
 to be applied to the subjects to be memorized. In an- 
 other portion of his book he used the antiquated topical 
 system as a basis, taking an imaginary house of two 
 rooms, and placing therein symbolic objects, repre- 
 sented by colors, as follows: Black, white, blue, red, 
 gold, silver, purple, yellow, green, cinnamon — ten in all. 
 
 In 1648 one Stanislaus Winckelmann issued a treat- 
 ise on mnemonics, employing the pictorial system of the 
 ancients for the usual purposes, but in addition he de- 
 vised what is believed to be the first ^^figure alphabet'' 
 — a means of memorizing numerals by causing each 
 of the digits to represent certain consonants, using the 
 vowels in connection therevv^ith to form words, which 
 are to be memorized, thus preserving the figures in 
 their proper order. 
 
 In view of the fact that nearly all of the memory 
 systems which have been promulgated since Winckel- 
 mann's time have bad the fig2ire alphabet as their basis, 
 a glance at the key which he used may not be amiss, 
 and the same is here reproduced: 
 
 1 
 
 2 3 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 
 
 B 
 
 C F G 
 
 I. 
 
 M 
 
 N 
 
 E 
 
 S 
 
 T 
 
 P 
 
 K V 
 
 
 
 
 
 
 
 W 
 
 Z 
 
 
 
 
 
 
 
 Each figure is thus represented by one or more con- 
 sonants, the vow^els and the aspirate H being used in- 
 
MNEMONICS, PAST AND PRESENT. 69 
 
 discriminately in connection with tlie consonants to 
 form words or sentences; by the latter being memo- 
 rized, a translation of the original number can be made 
 w^henever desired. Thus BiG EaT would denote 1480; 
 PaLe WiNe, 1517; PaiNTS, 1709; BaRReL, 1885; PuR- 
 SeR, 1898 — and so on. 
 
 In the latter half of the seventeenth century Leib- 
 nitz, the great German philosopher, also wrote on the 
 subject of mnemonics, the chief portion of his treatise 
 being devoted to an elucidation of his theories regard- 
 ing the memorizing of numbers, and especially those 
 of chronology. He made some improvement on Winck- 
 elmann's figure alphabet, but beyond that originated 
 nothing of especial value. 
 
 In 1730 Dr. Richard Grey published a work entitled 
 "Memoria Technica," designed chiefly to assist the 
 memorizing of historical dates. This is the first known 
 English work in which syllables are used to express 
 figures. He invented a figure alphabet which was quite 
 different from those of Winckelmann and Leibnitz, each 
 of the numerals representing only one consonant. The 
 following is Dr. Grey's key, either the upper or lower 
 letter or combination being used at will: 
 
 a 
 
 e 
 
 1 
 
 
 
 u 
 
 an 
 
 01 
 
 ei 
 
 ou 
 
 y 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 
 
 b 
 
 d 
 
 t 
 
 f 
 
 1 
 
 s 
 
 P 
 
 k 
 
 n 
 
 z 
 
 A word or phrase was constructed out of the date 
 to be memorized, to which was prefixed the first sylla- 
 ble of the most conspicuous word denoting the event. 
 
70 THE ART OF MEMORY, 
 
 Thus, SHAKE also (the two words) would signify that 
 Shakespeare was born in 1564; WASHapie, that Wash- 
 ington was born in 1732; 'ROBapan, that Robinson Cru- 
 soe was published in 1719; COUone, that Columbus 
 discovered America in 1492; PRINT a fit, that printing 
 was invented in 1433 — and so on. The number of dates 
 which it is possible to construct by means of Dr. Grey's 
 key is, however, very limited, as about half of the con- 
 sonants are excluded, and, instead of the vowels being 
 used ad Uhitiim, as by Winckelmann's method, each 
 vowel is restricted to represent only one numeral, which 
 so limits the vocabulary that but a comparatively few 
 dates can be indicated. 
 
 One of the most successful teachers of mnemonics 
 during the past hundred years was Gregor von Fein- 
 aigle, a native of Baden, who, in 1807, visited Paris and 
 there lectured and taught his system with great success. 
 Thence he proceeded to various other cities in France, 
 and afterwards to Germany, devoting his entire time 
 to lecturing and teaching, and being most favorably 
 received wherever he went. In 1811 he visited Eng- 
 land, where his abilities were also promptly recognized, 
 and where he taught his system extensively. Feinaigle, 
 like Schenkel and others of his predecessors, made a 
 great secret of his system, and exacted the most solemn 
 pledges from his pupils not to reveal the same or any 
 portion thereof, within a certain period, without first 
 obtaining his express permission. One of his disciples, 
 however, whom he had authorized to teach his method 
 in certain parts of Germany, betrayed his master's con- 
 
MNEMONICS, PAST AND PRESENT. 71 
 
 :fi(ience, and, during the same year that Feinaigle ap- 
 peared in England, published a voluminous work on 
 the subject of mnemonics, extending to nearly five hun- 
 dred pages, in which Feinaigie's system was divulged 
 in all its details and also were set forth the essential 
 features of the previous mnemonical systems of any ma- 
 terial value. Feinaigle adopted a figure alphabet of his 
 own for memorizing numbers, and used the topical meth- 
 od as a basis for recollecting facts and events. He ap- 
 plied his system to a wide range of subjects, among the 
 principal of which were the teaching of history, of 
 geography, and of languages — the memorizing of prose 
 and poetry being also an important feature. 
 
 In 1823 M. Aime Paris, a Frenchman, published a 
 work on mnemonics, in which he discarded almost en- 
 tirely the topical system, which had been used so gener- 
 ally in former times, and made an important improve- 
 ment to Feinaigle's figure alphabet which greatly facili- 
 tated the forming of fitting words to represent num- 
 bers. A phrase or sentence was constructed embodying 
 that which was to be memorized, the last word of 
 which indicated the date. The chief portion of Paris^ 
 book was devoted to giving rules and illustrations for 
 the memorizing of numbers, especially historical dates. 
 Paris taught his system throughout France for many 
 years, with great success. 
 
 In about 1840, Major Beniowski, a Pole, who had 
 been a student of Aime Paris, located in London and 
 began teaching mnemonics, and within the next couple 
 of years published two small pamphlets on the subject. 
 
72 THE ART OF MEMORY. 
 
 He claimed to have made certain important discoveries 
 in the phenomena of memory, and probably originated 
 the ideas from which were subsequently developed the 
 "intermediate'' or "correlation'' theory, used by various 
 teachers of mnemonics. 
 
 In 1843 Carl Otto, a Danish mnemonician, traveled 
 in Germany, teaching his art, and published in the 
 same year a treatise on mnemonics. His method w^as a 
 simplification of that of Aime Paris, but did not di- 
 verge materially from the general plan adopted by that 
 mnemonician. 
 
 In 1845 Francis Fauvel Gouraud, of the University 
 of France, published in New York and London a work 
 on mnemonics, which received wide attention at the 
 time. The system was based largely on that of Aime 
 Paris, but claimed many original features. It was toO' 
 cumbersome, however, to be of practical benefit, and, 
 although extensively advertised, failed to secure popu- 
 lar recognition. 
 
 In the same year an American named Pliny Miles 
 published a system based on that of Aime Paris, but 
 introducing certain features that were entirely new. 
 He originated the idea of memorizing difficult or un- 
 known words by using well known words or phrases 
 whose sounds correspond very nearly with those of the 
 words to be memorized. Thus, the battle of Marengo 
 would be suggested by "Marry and go;" Manitoba, by 
 "Man at a bar;" Borodino, by "Borrow a dinner;" Sas- 
 katchewan, by "Sis catch a swan;" Keconnoitre, by 
 "Reach an oyster!" etc. The chief feature, however, 
 
MNEMONICS, PAST AND PRESENT. 73 
 
 that Miles originated was the substitution of what he 
 termed ^^nomenclature tables'' for the topical method. 
 He arranged a series of words from 1 to 100, each word 
 representing a particular number. This list was to be 
 thoroughly committed to memory, so that the mention 
 of a word would instantly suggest its corresponding 
 number, and facts or dates could be associated with 
 those words as desired. Miles applied his principles 
 to a list of historical personages, giving their ages and 
 dates of death; also to quite a number of other subjects 
 requiring the use of figures. 
 
 Dr. Hermann Kothe, a German teacher of mnemon- 
 ics, published, in 1848, an able work on Memory, and 
 was the first mnemonician who is known to have devel- 
 oped the system afterwards copied and elaborated by 
 Pick, Loisette, and others, of connecting words of dis- 
 similar import by means of intermediates, or "correla- 
 tions;" thus the words "chimney" and "leaf" would be 
 connected as follows : "Chimney — smoke — wood — tree 
 — leaf." "Pillow" and "ink" would be connected thus: 
 "Pillow — feather — quill — pen — ink." 
 
 William Stokes, a celebrated English mnemonician, 
 published in London, in 1865, a book on Memory, which 
 has had a remarkably successful sale. It is based 
 largely on the system of Miles. He has also published 
 numerous other books and pamphlets, designed as aids 
 to the memory. 
 
 At about the «ame time Dr. Edward Pick published 
 in London an interesting and valuable work on mne- 
 monics, in which he went exhaustively into the prin- 
 
74 THE ART OF MEMORY. 
 
 ciples of Memory, as interpreted by him, insisting, 
 among other things, that no more than two ideas shonld 
 be considered by the mind at the same time. His sys- 
 tem was based on that of Carl Otto's, whose pupil he 
 had once been, and he also elaborated Dr. Kothe's the- 
 ory of using intermediates to connect dissimilar words. 
 Lyon Williams, in 1866, George Crowther, in 1870, 
 and F. Appleby, Charles Hartley, and J. M. Granville, 
 in 1880, published works on Memory, all possessing 
 meritorious features; and during about the same 
 time John Sambrook of England elaborated Gouraud's 
 method of memorizing figures by using words the 
 sounds of whose vowels corresponded with those in the 
 numerals, with the exception that the long sound of "I'' 
 was appropriated to "five'' and the short sound of that 
 letter given to "nine." Mr. Sambrook noticed that, 
 with these exceptions, the numerals from 1 to 10 each 
 had a different sound, and with this fact as a basis he 
 •constructed a mnemonical system of great originality. 
 The following will illustrate his method of applying 
 well known words to the sounds of the various nu- 
 merals : Gun, tooth, tree, floor, hive, stick, sexton, gate, 
 tin. 
 
 In 1882 A. E. Middleton published, in London, a little 
 book of some merit as a compilation, at least, entitled 
 "Memory Aids, and How to Use Them;" and in 1885 
 another interesting book, entitled "All About Mne- 
 monics," which was revised and enlarged in 1888, un- 
 der the title "Memory Systems." The latter book gives 
 a list of the various mnemonical systems of any note 
 
MNEMONICS, PAST AND PRESENT. 75 
 
 that have appeared since 1325, and gives a mnemonical 
 table of 100 words, vi^ith which to associate facts in his- 
 tory; it also includes hints for retaining geographical 
 facts, cultivating musical memory, committing prose 
 and poetry, learning languages, lecturing and report- 
 ing without notes, and performing various mnemonical 
 feats. 
 
 In about 1884, Ambrose Loisette, an American 
 teacher of mnemonics, visited London, and there began 
 teaching his system. In 1886 he located in New York, 
 and soon afterwards began teaching, charging a good, 
 liberal fee for the course of lessons and requiring each 
 student to sign a bond for |500 that he would not dis- 
 close the system or any part of it. Loisette's method 
 is based on the Kothe system of using ^intermediates'' 
 to link together disconnected words, and he copies 
 the figure alphabet of Miles almost exactly, to trans- 
 late numbers into words. He also gives rules for al- 
 most all other sorts of memorizing. His book is 
 called "Physiological Memory, or the Instantaneous 
 Art of Never Forgetting,'' and is divided into six 
 parts, Nos. I. and II. being termed "Kecollective An- 
 alysis," No. III. "Eecollective Synthesis," No. IV. 
 "Predicating Correlation," No. V. "Instantaneous Gor- 
 dian Knot," No. YI. "Certainty of Never Forgetting." 
 
 In the same year (1886) appeared a book by M. L. 
 Holbrook, entitled "How to Strengthen the Memory," 
 which makes no pretensions to being a memory system^ 
 but contains much useful advice to memory students. 
 
 Prof. Asa S. Boyd, of Baltimore, a teacher of mne- 
 
76 THE ART OF MEMORY. 
 
 monies, published also in 1886, a book entitled "Modern 
 Mnemotechny/' the same being an elaboration of Plinj 
 Miles' system of translating figures into words. 
 
 The year 1888 saw several books on Memory pub- 
 lished. The principal ones were: "Natural Method of 
 Memorizing and Memory Training," by Prof. W. W. 
 White, of New Haven, Conn.; "Memory and Its Doe- 
 tors," by Dr. Edward Piek, and "Memory; What It Is, 
 and How to Improve It," by David Kay. The latter is 
 not what might be termed a "system," in a teehnieal 
 sense, but is eomprehensive, and written with marked 
 ability. 
 
 In the same year, John A. Shedd, of New York, pub- 
 lished a Memory system, ealled "The Education of the 
 Memory." His method of memorizing numbers is to 
 construct a phrase or sentence, the number of letters in 
 each word corresponding with the figure to be mem- 
 orized. Thus, Eome was burned by Nero in the year 64: 
 that fact would be indicated by the phrase, Burned 
 Rome. In 1544 occurred the birth of Tasso: the recall- 
 ing of that date and the event which it commemorates 
 would be accomplished by memorizing the sentence, A 
 great poet horn. To recollect the date when the great 
 historian, Gibbon, was born (1737), it is only necessary 
 to keep in mind the following: A history was written. 
 1769 signifies the birth of Napoleon : that would be re- 
 called by the sentence, A strange, mighty conqueror. 
 And if we imagine Napoleon to have afterwards used 
 the expression, "A Waterloo I found,'' we would thereby 
 be reminded of 1815, and what it meant! A renoioned 
 
MNEMONICS, PAST AND PRESENT. 77 
 
 man died, would indicate the year of Lafayette's death 
 (1834); as would A literary genius risen suggest the year 
 of Kipling's birth (1865). The main feature of Shedd's 
 system is the memorizing of historical dates in that 
 way. In 1890 Shedd published a pamphlet entitled 
 "How to Eemember/' which contains some features of 
 interest, but does not pretend to elucidate any addi- 
 tional system. 
 
 In 1890-91 James P. Downs, of New York, iDublished 
 a series of six pamphlets on Memory, containing much 
 that is original and useful. These pamphlets bear the 
 following titles: 
 
 I. The Mastery of Memorizing; 
 11. Quickness of Perception; 
 
 III. Eye and Ear Memory; 
 
 IV. The Study of Languages; 
 V. Memory and Thought; 
 
 YI. Memory Training of the Young. 
 
 In 1893 a book on mnemonics, entitled "Memoranda 
 Mnemonica," by James Copner, was published in Lon- 
 don. In this book historical facts, numbers and mis- 
 cellaneous information are symbolized by doggerel 
 rhymes, the system being similar in this respect to that 
 taught by Stokes. 
 
 The foregoing is a condensed narration of such facts 
 in the history of mnemonics as the writer has deemed 
 worthy of mention, covering from the time of Simon- 
 ides, twenty-four centuries ago, down to the present 
 day, and giving especial attention to the period that 
 has elapsed since the revival of learning. In such nar- 
 
78 THE ART OF MEMORY. 
 
 ration, the names of all writers on mnemonics have 
 been given whom the writer believes to have contribu- 
 ted original, suggestive, or interesting features to the 
 study of the science. 
 
 Hundreds of treatises of little or no value have been 
 written on that, as on other sciences, whose authors^ 
 names even can scarcely be discovered, though search 
 be made through all the nooks and crannies of bibli- 
 ography. Such writings it would have been superflu- 
 ous to mention, as well as others, of some slight literary 
 merit, perhaps, but whose alleged mnemonic methods 
 have either contained too little originality or been too 
 complex to be of utility. 
 
 And with all the copious writing on mnemonics that 
 has been indulged in during the past half dozen cen- 
 turies, what work can be pointed out as standard au- 
 thority on the subject? What psychologist, what de- 
 votee of Mnemosyne can establish a well grounded 
 claim that he has discovered the veritable secret of how 
 to train the memory so that it may attain its highest 
 powers consistent wdth being an efficient aid to the best 
 development of the mind? 
 
 Nearly two generations ago Isaac Pitman invented 
 Phonography, and published a book expounding the 
 ]3rinciples which he had established. To-day his sys- 
 tem is probably in more general use than all others 
 combined; no one has yet seemed able to devise a 
 method which is its acknowledged superior. 
 
 Musical counterpoint had reached as high a state of 
 development a century and a half ago as it has ever 
 
MNEMONICS, PAST AND PRESENT. 79' 
 
 attained since that time; and the sublime symphonies 
 of Beethoven, the incomparable fugues of Bach, and 
 the inspiring oratorios of Handel, have never been 
 eclipsed by succeeding generations, and stand to-day 
 as master-pieces of genius, and are likely to occupy that 
 proud position through all future time. 
 
 Euclid, sometimes called the "Father of Mathemat- 
 ics,'' wrote his "Elements of Geometry'' more than 
 twenty centuries ago; his geometrical demonstrations 
 are still used in our best institutions of learning to a far 
 greater extent than those of any other mathematician. 
 
 But what can be said of the writers on mnemonics? 
 Who ever hears, now-a-days, of those mnemonicians so 
 celebrated in their day, as Ravenna, Schenkel and 
 Winckelmann? What has become of the once lauded 
 Memory systems of Feinaigie and Aime Paris? And 
 who would think of poring over the ponderous volume 
 of Gouraud (even if one could readily find a copy!) in 
 order to learn how best to cultivate the memory? Why 
 is it that out of the hundreds of treatises on mnemonics 
 that have appeared in the past, not one (with the ex- 
 ception of a few of the comparatively recent works) 
 may be said to have survived? 
 
 Can it be that the true principles of mnemonics had 
 never been discovered? that after all the years, and the 
 decades, and the centuries of thought Vv^hich had been 
 devoted to investigating the processes of the memory, 
 and originating and elaborating theories regarding the 
 proper method for its development, the real key-note 
 had not been sounded, and no rational plan devised for 
 
80 THE ART OF MEMORY. 
 
 educating the memory to its best capabilities — not to 
 be the master, but the servant, of the mind? Can it be 
 that the hypotheses advanced by mnemonical teachers 
 of the past have been built on too insecure a founda- 
 tion, and the machinery employed in their application 
 too complex and cumbersome to render the systems of 
 practical benefit? Let us investigate: 
 
 Although the topical system, so extensively used in 
 olden times, is now practically obsolete (and very prop- 
 erly so), yet during the age in which it prevailed that 
 system was no doubt the most feasible one that could 
 well have been devised. In those days there were not 
 the multifarious demands upon the memory that exist 
 at the present time. The known world was condensed 
 into a comparatively narrow compass, so that all geo- 
 graphical knowledge then possible of attainment was 
 extremely limited. Science, properly speaking, had not 
 been born. There was no geology nor botany, no zo- 
 ology nor ornithology; it was astrology instead of as- 
 tronomy, and alchemy instead of chemistry. It was 
 an age of superstition; mythology dominated over all 
 else in its influence on the feelings and actions of men. 
 
 Human history, in the knowledge of the ancients, 
 had scarce begun; and as chronology had not then been 
 established upon a uniform basis, the memorizing of 
 historical dates was not of sufficient importance to re- 
 c^uire serious consideration in mnemonics — and there- 
 fore a feature which occupies such a prominent place 
 in modern systems was then of but small consideration. 
 
 Education was thus confined to but a few branches, 
 
MNEMONICS, PAST AND PRESENT. 81 
 
 and the most advanced thought of the age was ab- 
 sorbed mainly in philosophy, oratory, lyric poetry, 
 drama and the arts — war being regarded as the great- 
 est of all the arts, with perhaps architecture second, 
 and painting third. 
 
 As men of learning in that age were comparatively 
 few in number, the art of i3rinting yet undiscovered, 
 and the material used for writing purposes extremely 
 costly, it is evident that books could be produced only 
 Tvith great labor and at considerable expense. The 
 ownership of a book was considered by its proprietor 
 as equivalent to the possession of at least a small for- 
 tune, and the volume was guarded as jealously as the 
 miser hugs his secret hoard. Therefore, such knowl- 
 edge as was published through the medium of books 
 was disseminated almost entirely by means of oral 
 transmission — its retention by the hearer being se- 
 cured through conversations about it, and one or more 
 repetitions of the matter usually. 
 
 The chief things, then, which the people of those 
 days found it necessary or desirable to retain in the 
 memory were whatever of interest or value there might 
 be in books which was within their scope of compre- 
 hension, together with what might develop from time 
 to time in the incidental affairs of life — for the preser- 
 vation of which a pictorial system of mnemonics was 
 undoubtedly the best suited, its adoption being greatly 
 encouraged by the peculiar suggestiveness of the myth- 
 ological teachings of the age. 
 
82 THE AKT OF MEMORY. 
 
 Let us now pass over the many centuries which, to 
 almost the time of our own generation, intervened since 
 Kome was in the midst of her material and intellectual 
 glories, and during which vast period mnemonics made 
 but little divergence (except crude forms of the figure 
 alphabet) from the main features of the ancient system,, 
 and let us proceed to investigate, in a brief way, some 
 of the theories advanced in mnemonical systems of the 
 present age. 
 
 The most significant improvement which followed 
 the primitive topical system, so infeasible and cum- 
 brous in the present age, was the invention of the figitre 
 alpliahet, now much improved, which was designed for 
 the translation of figures into words, and is used chiefly 
 for the memorizing of historical dates. That alphabet, 
 as now constructed^ is so vast an improvement over the 
 undeveloped forms in which it formerly existed as to 
 render comparison almost an absurdity. At first there 
 seemed an entire lack of method in the arrangement of 
 the alphabet; now, there is a reason why each letter 
 used is made to represent some particular numeral; 
 there is some peculiarity of resemblance in either form 
 or sound that greatly assists the retention of the al- 
 phabet in the memory — thus facilitating the transla- 
 tion of figures into words, and vice versa. 
 
 The alphabet here given is, with some modifications, 
 the same as that used half a century ago; it is as fol- 
 lows: 
 

 
 1 
 
 c (soft) 
 
 1 
 
 s 
 
 
 z 
 
 
 5 
 
 6 
 
 f 
 
 b 
 
 V 
 
 P 
 
 MNEMONICS, PAST AND PRESENT. 83 
 
 2 3.4 
 
 n m r 
 
 7 
 
 8 
 
 9 
 
 t 
 
 th 
 
 d 
 
 g (soft) 
 
 J 
 ch 
 
 c (hard) 
 g (hard] 
 k 
 
 
 sh 
 
 q 
 
 The theory on which the figure alphabet is thus ar- 
 ranged is as follows: 
 
 is represented by c (soft), s and z. The letter c is 
 the first letter of "cipher;'' z is the first letter of "zero;" 
 s has the same sound as c (soft), and all three are cog- 
 nates; that is, they are formed by the same organs of 
 speech, without a change in the position thereof. 1 is 
 represented by /, which it closely resembles in appear- 
 ance; 2 by n, which has two stems, or downward 
 strokes; and 3 by m, which has three stems. 4 is indi- 
 cated by r, which is the last letter of the word "four,'' 
 in several languages. Z, m, n, and r can also be thought 
 of as the liquids, representing the first four numerals. 
 
 5 is represented by / and v, which are cognates, and 
 both of which letters are in the word "five," being the 
 only consonants therein; v is also the Eoman numeral. 
 
 6 is indicated by &, which resembles it in appearance; 
 and its cognate p is a & inverted. 7 looks somewhat 
 like a capital T, written; / is also the last letter of 
 "seven," in French {sept), and d is a cognate of t; and 
 
84 THE ART OF MEMORY. 
 
 to these is added lli. 8 is resembled by g more closely 
 than by any other letter; / has the same sound as g 
 (soft), and to these cli and sli are added, whose sounds 
 do not materially differ from the others. A written 
 9 and a q look almost alike; k and c (hard) are cog- 
 nates of q, and g (hard) more nearly resembles Ic in 
 sound than it does any other letter. A digraph, ng, 
 is also added, to be used as a syllabic terminal only; in 
 other cases those letters count as two figures; thus, in 
 "mornin(/" it would be 9; in "a^?^eP' it would be 28; in 
 "a/?<7le'' it would be 29. 
 
 It will be noticed that the numerals are represented 
 only b}^ consonants, the vowels (in which are included 
 ID and 7/, as also //, except in the digraphs indicated), 
 having no value as numerals, but being used at will, in 
 connection with the consonants, to form words. X is 
 omitted from the list entirely, as it is used so infre- 
 quently and is really a combination of two consonants, 
 — h and s; it has, too, when at the beginning of a word, 
 a different sound — that of z; it can be used, therefore, 
 only to represent the number 90 [Us). The only case 
 in which li acts to alter the value of a consonant is 
 when used as a part of cli or sh. 
 
 The following rules are to be observed : 
 
 1. In the translation of words into figures it is the 
 phonetic value only that is considered; the sound gov- 
 erns, instead of the spelling; thus, "laugh" would be 
 15; "phrase'' would be 540; "trophy'' would be 745. 
 
 2. Silent letters have no value; thus "p/itMsic" 
 would be 709; "pneumatic" would be 2379; "plou(/7^" 
 w^ould be 61. 
 
MNEMONICS, PAST AND PRESENT. 85 
 
 3. Doubled or repeated consonants count as only 
 one figure: "rill/^ for instance, being 41, instead of 411; 
 "mufe,'' 35 and not 355; "Llama,'' 13 instead of 113. 
 
 4. Either c (soft) s or z, when it is the first letter of 
 a word or sentence denoting a number, is disregarded 
 in integral numbers, the prefixed cipher being useless; 
 thus, "century'' would be 274; "siren" would be 42; 
 "zebra" would be 64. In all cases, however, it counts 
 asO: thus, "select sermon" would be 1970432; "zealous 
 citizen" would be 100702. 
 
 5. S, when added to a word, to form the possessive 
 case, has no value; thus "John's hand" would be 8227; 
 "bird's nests" would be 6472070. 
 
 The following will illustrate the translation of fig- 
 ures into words : 
 
 Ice. 5 
 
 Ale. 6 
 
 Inn. . 7 
 
 Home. 8 
 
 War. 9 
 
 Foe. 
 Bee. 
 Tea. 
 Jew. 
 Key. 
 
 The vital objection to the figure alphabet as a me- 
 dium by which numbers with the facts or events to 
 which they relate may be memorized, is that there is 
 so seldom any reciprocal suggestiveness between that 
 to which a number may be intended to refer and the 
 word or sentence into which the number may be trans- 
 lated; and, unless there is some direct relation or con- 
 trast, some similarity or oppositeness of appearance 
 or quality — in short, some association not too obscure, 
 by which the remembrance of one will be pretty apt 
 
Sa THE ART OF MEMORY. 
 
 to recall to mind the other — the method cannot but 
 be of little utility, even though there has been not a 
 little ingenuity displayed in its construction. And 
 that this vital defect exists may be amply demon- 
 strated by a few illustrations: for instance, Marius, 
 the great Eoman general, was born in 155 B. C. Out 
 of these figures about the best that can be done is to 
 form the phrase "Leave-off;" what relation that phrase 
 bears to the distinguished Roman it is difficult to per- 
 ceive! 
 
 Again: The year 562 B. C. represents the occa- 
 sion of comedy being first exhibited — and it was also 
 the year in whic'h Anacreon was born. "Fabian" 
 seems to be the only word that can be constructed 
 out of the date mentioned — and again we seek in vain 
 for some suggestive comparison. 
 
 King Canute was born in 995. "Gay calf" can be 
 constructed out of the figures forming that date, but 
 the relation between that animal and the Danish con- 
 queror is not easy to determine. 
 
 In 653 the Colossus of Rhodes is reputed to have 
 been destroyed. "Befoam" is the only word that can 
 be tortured out of those particular figures! 
 
 Here we have a few more illustrations : 
 
 The Franciscan Order was founded in 1209. Elimi- 
 nating the "1" when the date is above 1000, and we 
 have 209, out of which we are able to construct the 
 word "nosegay." Paracelsus was born in 1493; the 
 only mnemotechnic word is "Requiem." Benjamin 
 Franklin's birth occurred in 1706; "Disobey" is the 
 
MNEMONICS, PAST AND PRESENT. 87 
 
 best we can do with that date. We are able to form 
 only the word "Damage'' out of 1738, the year of 
 HerschePs birth, and only the word "Defame" out of 
 1753, the year in which the British Museum was found- 
 ed. The Moscow Uniyersity was founded in 1755; 
 "Wood-fife" is the key word to that event! The battle 
 of Jena was fought in 1806: that date must be indi- 
 cated by "Joyous boy," and "Shelf" must be relied 
 upon to remind us of Waterloo and 1815! Victoria 
 was crowned Queen of England in 1837; the word 
 "Ashamed" can hardly be supposed to readily remind 
 us of that event. Alexandria was founded in 332 B. C. ; 
 ^^Mammon" is the only word that can be formed from 
 that number. 
 
 Many other illustrations of a similar character 
 might easily be given, but the above will suffice to 
 clearly show how impracticable the figure alpliahet is 
 as an aid to the memorizing of historical dates; and 
 as the number of figures is increased, so is the difficulty 
 augmented of constructing words and sentences to 
 correspond with them. In the case of some numbers 
 the vocabulary is but a brief one, and even then the 
 words are in large proportion such as are far from 
 familiar to the average individual. 
 
 After all, but one sensible conclusion can well be 
 arrived at concerning the figure alpliahet as a medium 
 for memorizing dates — or indeed numbers having any 
 significance whatever; it is admittedly ingenious, but 
 it is of small efficiency in practice — and the wonder 
 is that such a considerable number of mnemonicians 
 
88 THE ART OF MEMORY. 
 
 have been so wofully deceived by its allurements. 
 At first its plan seems a very fascinating theory — but 
 when the attempt is made to put it into practice, the 
 machinery is soon found to be seriously defective, and 
 the method is finally abandoned in despair. 
 
 If an historical date could be easily and certainly 
 translated into a word or phrase which would be in 
 some way suggestive of the event to be memorized, 
 it would be a most wonderful discovery, and consti- 
 tute an enduring principle of mnemonics which could 
 not but be of incalculable value to all true votaries 
 of the mnemonical art. But, unfortunately for the 
 cause of mnemonics, it so happens that the date of an 
 historical occurrence can rarely be translated into a 
 word or expression which has any sort of legitimate 
 relation to the event which is to be memorized; and, 
 even if an association between the two ideas could 
 be formed, there is little doubt that the effort involved 
 in the construction of words out of letters in the figw^e 
 alphahety and associating the same in some way with 
 the event to be memorized, would uniformly be much 
 more arduous than that required to memorize the date 
 by pure force of will — the association itself, in a large 
 majority of cases, being, of necessity, purely arbitrary 
 and artificial. 
 
 If an historical event could usually be satisfactorily 
 indicated by a common, instead of a proper, noun, il: 
 might then be possible generally to construct, out of 
 the letters in the figure alphabet representing the date 
 of the event, an adjective or verb, or both, which would 
 
MNEMONICS, PAST AND PRESENT. 89 
 
 indicate some suggestive quality or action of the noun 
 denoting the occurrence; but most historical events 
 are best indicated by proper, instead of common, nouns. 
 The name of the place where a famous battle took place, 
 that of the victorious commander, is what must gen- 
 erally be relied upon to impress the event upon the 
 memory; and any other historical event is also best 
 recalled in a similar manner. There are, of course, 
 exceptions to this rule, but they are comparatively 
 few. 
 
 A proper noun cannot be in most instances dis- 
 tinguishably qualified; nor can there usually be at- 
 tributed to it with reference to a particular event any 
 suggestive action — and thus ordinarily no natural 
 mnemonical association can be formed between the 
 proper noun and any other part of speech; and if the 
 association be not a natural one, it cannot well be 
 permanent in the memory. 
 
 It thus becomes evident that the -figure alpliahet, as 
 ven a moderately reliable exjjedient for the mem- 
 orizing of historical dates, is practically without 
 merit; the process is too cumbersome, is too uncertain 
 in application, and, as is sufficiently demonstrated by 
 what we have herein said, it is not based on intrinsic 
 mnemonical principles; and all such being the case 
 the conclusion is necessarily involved that the sys- 
 tem is a hindrance rather than a help. 
 
 The method of memorizing an historical date by 
 constructing a sentence, each word of which shall con- 
 tain the requisite number of letters to unite with the 
 
90 THE ART OF MEMORY. 
 
 other words in forming the date, and then mentally 
 associating this sentence with the event, is even more 
 impractical than the 'figure alphabet plan. In the first 
 place, as each w^ord, by that plan, represents but one 
 figure, no less than three words, instead of one or two, 
 are required to form a sentence in the case of a large 
 majority of historical dates. Unless at least one of 
 those words is made to represent an action or quality, 
 a sentence cannot be constructed; and the word or 
 words is very liable to have one or more synonyms, 
 not one of them probably containing the same number 
 of letters as the word selected. On attempting to 
 recall this sentence at some time in the future there 
 is no certainty that some one of those synonyms would 
 not come into the mind instead of the word originally 
 chosen, and thus a serioTis error would be made in 
 the date. Thus, the phrase, "A grand, luminous star," 
 might be originally chosen to indicate the year of 
 Massinger's and Selden's births (1584). On trying to 
 recall the phrase at some future time, the word "clear," 
 or "bright," or "radiant," or "brilliant" — each con- 
 taining a different number of letters — might be thought 
 of, instead of "luminous;" as might also, instead of 
 "grand," some longer or shorter synonym thereof, thus 
 bringing the event into even a wrong century! 
 
 In the next place, as there are comparatively few 
 cases in which the form of a sentence cannot be altered 
 so that the order of the words will be different, how 
 natural it would be in trying to recollect a date once 
 memorized to sometimes reproduce the words of a 
 
MNEMONICS, PAST AND PRESENT. 91 
 
 sentence in a different order from that formerly em- 
 ployed — especially if the sentence as reconstructed hap- 
 pens to be the more grammatical of the two. 
 
 Then, too, comes the further difficulty of memor- 
 izing parts of speech other than common nouns — for 
 the latter, representing better than those others ideas 
 readily apprehensible, are the most easily retained in 
 the memory. 
 
 Another difficulty which must be frequently expe- 
 rienced, is that of constructing sentences sufficiently 
 suggestive of their corresponding events that on any 
 sentence being recalled the mind w^ill readily associate 
 the same with the event which it represents. This 
 difficulty may be appreciated by reference to a few 
 illustrations taken at random. Thus, "Dramas in ink" 
 indicates the year when Shakespeare's works were first 
 published (1623); "Combats seven cycles," means the 
 year when the Seven Years War began (1756); "Nel- 
 son's brilliant exploits," is made to represent 1798, 
 when was fought the battle of the Nile; the battle 
 of Balaklava, fought in 1854, is recalled by the sen- 
 tence, "Cavalry's fatal ride;" "General insults gen- 
 eral," is supposed to bring to memory the fact that 
 Burgoyne's surrender at Saratoga occurred in 1777; 
 "Lightning no flint-lock," that friction matches were 
 invented in 1829; and "Distinct distant voices," that 
 the telephone was invented in 1876! 
 
 Add to the foregoing objections the difficulty here- 
 tofore noticed, of associating in the mind the proper 
 noun denoting the historical event with- any other 
 
92 THE ART OF MEMORY 
 
 part of speech, and you have a system that is not only 
 demonstrated to be impracticable, but absolutely ridic- 
 ulous. 
 
 And now as to the theory of connecting dissimilar 
 words by the use of (so-called) "correlations" or "inter- 
 mediates." It is claimed by the advocates of that 
 theory that any two or more words, no matter how 
 diverse in meaning- they may chance to be — or, in 
 fact, whether singly they possess any meaning at all — 
 may be connected by easy and natural steps, so that 
 the recurrence to the memory of an^^ one of the original 
 words, or any one of these steps or "correlations," 
 will cause to be renewed to the recollection all of the 
 remaining words, thus assuring the revival in the 
 memory of the original word desired. 
 
 This feat is accomplished by adopting any one of 
 the following methods for forming "correlations" 
 v/hich may seem the most suitable in each particular 
 case: 
 
 First — By Analogy; which would include words of 
 similar meaning or possessing similar qualities, or 
 which have properties bearing some relation to each 
 other; also words resembling each other in sound, but 
 different in meaning. 
 
 Second — By Antithesis; w^hich would include words 
 of opposite meaning or possessing contrary properties. 
 
 Third — By Coincidence; which includes Avords 
 neither similar in sound, nor of either similar or oppo- 
 site meaning, but which the mind has instinctively 
 associated, one with the other, even though there may 
 be no direct relation betwen the two. 
 
MNEMONICS, PAST AND PRESENT. 93 
 
 The ^'correlation'' theory seems extremely plausible 
 when first presented in all its glowing colors to the 
 average mind, and it is often only after a protracted 
 test thereof that the memory student becomes resigned 
 to relinquish the alluring idea that he is one of the 
 fortunate ones who was destined to develop a phe- 
 nomenal memory by the instrumentality of that sys- 
 tem — a plan he had ardently welcomed as a most 
 wonderful mnemonical discovery. Such a disappoint- 
 ment, however, is as inevitable as it is logical, and a 
 verdict of condemnation must invariably follow a fair 
 trial in the case of any theory which is as sophistical 
 as it is fascinating. 
 
 It is indeed true that any word may be connected, 
 after a fashion, with any other word, by means of 
 so-called "correlations'' — but what a lavish expense 
 of time and mental drudgery is frequently necessary 
 in order to accomplish the task! 
 
 The process is a slow and painful one, at best; and 
 its utter artificiality, instead of stimulating, cannot 
 but tend to, in some degree, weaken the natural powders 
 of the mind, if long persisted in. 
 
 The very assumption that any two words may be 
 connected by a chain of intermediate words, implies 
 the necessity of conceding the utmost latitude in their 
 selection, in order that the desired result may be 
 brought about. Two words may easily be so vastly 
 dissimilar in sound or meaning, or both, that they 
 cannot be connected except in a fashion that reaches 
 the utmost degree of incongruity. This is particularly 
 
94 TUB ART OF MEMORY. 
 
 the case with proper nouns, which, as they usually 
 possess no verbal meaning in themselves, cannot be 
 ^'correlated'' except by employing words to which few 
 of them bear any appreciable natural relation, except 
 it may be the accidental one of sound — which, of 
 course, includes such words as may be brought into 
 requisition through the transgression of punning, fre- 
 quently in its most aggravated form. To be able, 
 therefore, to form "correlations" with reasonable cer- 
 tainty and dispatch it is requisite that a person be not 
 only well educated and a rapid thinker, but also 
 expert at punning — a talent whose cultivation can 
 hardly be considered worthy of encouragement at the 
 expense of other mental faculties. And, after a person 
 shall have succeeded in linking two words together 
 by means of "correlations," is there any assurance that 
 he will be able to retain in his memory with any sort 
 of permanency the various links in* the chain, as well 
 as the hundreds of other "correlations" that he must 
 have, or already had, occasion to invent in endeavoring 
 to make a practical use of the system? In pursuing 
 the system he must, of necessity, use some words or 
 their synonyms more than once; and so what certainty 
 is there that he will know where each one belongs 
 when he desires to revive the various links in a par- 
 ticular chain? 
 
 And, assuming that all of those incidental ob- 
 stacles could, by great labor, be overcome, of what 
 secondary practical use is the connection of dissimilar 
 words? What especial end is subserved, either in the 
 
MNEMONICS, PAST AND PRESENT. 95 
 
 affairs of every-day life, or in connection with the 
 tasks and pleasures of the mind and memory? Is the 
 real direct gain equivalent to a tithe of the time and 
 labor involved? Can there be a benefit sufficient to 
 compensate for the forcing of the thoughts into un- 
 natural channels, obviously antagonistic to the best 
 development of the intellectual faculties, as tending 
 to a habit of disjointed whimsical thinking? 
 
 The fact is, as experience has abundantly shown, 
 that the time and labor employed in inventing "corre- 
 lations" and committing them to memory is vastly 
 greater than that required for arbitrarily memorizing 
 the desired word or idea, supplemented by occasional 
 repetition (which latter would be necessary in the other 
 case, also). 
 
 The whole "correlation" theory, which at first may 
 seem so plausible and fascinating, requires only a brief 
 trial to cause its permanent rejection; it does not, and 
 cannot, accomplish with certainty the desired object, 
 and it employs means that are unnatural and not 
 practical, for accomplishing that which can be done 
 effectively and durably only by a process based on 
 true mnemonical principles. It is a vain delusion, 
 hugged at first with glowing enthusiasm, it may be, 
 as a long-hoped-for discovery in mental science, but 
 destined to be ultimately discarded by all as a most 
 arrant imposition, deserving not the dignity to be 
 considered as forming the basis of a true mnemonical 
 system, but only to be treated as illustrative of w^hat 
 ingenuity and perseverance may accomplish in word- 
 
96 THE ART OF MEMORY. 
 
 juggling — which art, it must be admitted, is deline- 
 ated by the ^^correlation" theory in the most artistic 
 and thorough manner. But "the game is not worth 
 the candle;'^ the theory not worth the student's "mid- 
 night oil.'' As a matter of fact, for reasons already 
 stated, comparatively few historical dates, at the most, 
 can be reliably impressed upon the memory through 
 the employment of any of the methods which have 
 been described. It is only by accident, now and then, 
 that a properly constructed phrase or sentence can be 
 translated from the material furnished so as to be 
 significant of a particular historical event and embody 
 the corresponding date. Diligent experiment will show 
 that in the case of a vast majority of historical dates 
 there can be no significant allusion so made thereto — 
 and unless that can be done, how can the dates be re- 
 liably memorized by those methods? — and yet devices 
 such as have been indicated are proposed in all serious- 
 ness as systems by which any historical date may be 
 memorized! That they are entirely impracticable as 
 methods for this purpose only a brief trial will suffice to 
 amply demonstrate — and when we come to consider that 
 the memorizing of historical dates is, after all, only a sin- 
 gle feature of memory culture, it becomes evident that 
 that which constitutes but a single branch of the mne- 
 monical art cannot be properly considered a system — 
 for a system worthy the name should include appli- 
 cability to every important class of information desired 
 to be recollected. Up to the present time such a sys- 
 tem has not been produced; there is no single work 
 
MNEMONICS, PAST AND PRESENT. 97 
 
 that has covered the whole field of memory culture — 
 and indeed which has not been silent regarding some 
 of its most important branches. 
 
 It is a curious fact that nearly every memory system 
 of note has made the matter of historical dates its 
 chief feature — memory development in other direc- 
 tions receiving comparatively little attention. While 
 it is important that the ability should be acquired of 
 memorizing historical dates with facility and certainty, 
 yet that is only one of the subjects which memory 
 culture should embrace. As there are various lines of 
 mental activity, so are there various departments of 
 memory, each worthy of cultivation according to indi- 
 vidual needs, and each resting upon its own peculiar 
 foundation. 
 
 7 
 
CHAPTER V. 
 
 ATTENTION. 
 
 "Memory, the daughter of Attention, is the teeming mother of 
 •wisdom." T UPPER. 
 
 "The great art of Memory is Attention." Beattie. 
 
 "Attention is llie stuff that Memory is. made of, and Memory is 
 accumulated genius." Lowell. 
 
 "In the power of fixing the attention lies the most precious of 
 the intellectual habits." Robert Hall. 
 
 "When the ideas that offer themselves are taken notice of, andy 
 as it were, registered in the memory, it is attention." Locke. 
 
 "The permanence of the impression which anything leaves on 
 the memory is proportionate to the degree of attention which \N'as 
 originally given to it." Dugald Stewart. 
 
 As Mind is erected upon the groundwork of Mem- 
 ory, so the great foundation stone of Memory is Atten- 
 tion. 
 
 Attention, in its common signification, may be de- 
 fined as the contemplation by the mind of any particu- 
 lar thing, action, or idea, to the exclusion of all else. 
 
 (98) 
 
ATTENTION. 99 
 
 While this definition implies the exercise of the 
 mental faculties in a more than ordinary measure, yet 
 there are various degrees of vigor and intelligence 
 with which the mind may seize upon anything pre- 
 sented for its consideration — and it is the degrees 
 possessed of the characteristic power referred to of 
 excluding self-consciousness and concentrating the 
 mental energies upon any particular object, that in 
 large measure distinguish one person's intellectual ca- 
 pacity from that of another. 
 
 It can hardly be gainsaid that the ma,n who pos- 
 sesses the power of complete mental absorption — of 
 with fixed attention holding the object of contempla- 
 tion, however intricate its composition or profound its 
 depth, before the mind until its innermost meaning is 
 fully grasped, has within him the real germ of genius; 
 genius whose proper development may be attained 
 through a judicious expenditure and husbanding of 
 energies and strength which need not be more than 
 ordinary — provided always that there be a favorable 
 environment. And we may be sure that he who pos- 
 sesses that power but partially must occupy a lesser 
 position in the Avorld of intellect — which may be no 
 higher than that of mediocrity, and perhaps may be 
 that of inferiority to average mankind. 
 
 But while intentness of contemplation is most 
 surely essential to insure the retention in the memory 
 of any image or idea which is presented to the intelli- 
 gence, yet brief exercise of that faculty will not always 
 suffice; if the subject be one of complex character, 
 
100 THE ART OF MEMORY. 
 
 there must also exist the power to devote sufficient 
 continuity of thought to its examination that its full 
 import may be distinctly engraved upon the mind — and 
 only through that power also in most cases will the 
 knowledge become an abiding possession of the mem- 
 ory. 
 
 It is that ability to concentrate the attention upon 
 a subject of thought until its deepest signification is 
 fully understood, which is the essential element of the 
 mental superiority by which one person achieves suc- 
 cess, while another who does not possess that power 
 meets with unhappy failure; for in the case of the 
 former not only is there a clear apprehension of what 
 is before the mind for consideration, but there are 
 also unconsciously called forth such impressions on the 
 same subject as have been imprinted on the memory 
 at various times in the past, and with them such 
 ideas as they may have suggested — all of which, roused 
 quickly like a feudal organization, combine to fur- 
 nish material for bringing most favorably into exer- 
 cise the creative forces of the mind; while in the other 
 case (that of the slackened bowstring and consequently 
 of the weak, wavering arrow-flight which misses the 
 mark of success), there being only a superficial under- 
 standing of the subject and but an imperfect recollec- 
 tion of what has at previous times been only lightly 
 impressed upon the memory in the same connection, 
 intellectual advancement is hedged about by most 
 serious obstacles, even though the mind be one of the 
 first order otherwise than in the respect indicated. 
 
ATTENTION. 101 
 
 Attention, when cultivated in a sufficient degree, 
 merges into Concentration, or the ability to focus the 
 whole mind upon any subject with which it may under- 
 take to become familiar. It is the possession of this 
 power that enables the trained stenographer to cor- 
 rectly report a speech, despite the distracting influ- 
 ences by which he is most commonly surrounded; or 
 through which the musical conductor is able to listen, 
 for the time being, to any one of the various instru- 
 ments in his orchestra which he desires, excluding all 
 other sounds from his perception, and shifting his at- 
 tention from one instrument to another at will. 
 
 Many instances are on record of soldiers being 
 wounded in battle who were wholly unaware of the 
 fact until after the excitement of the conflict had sub- 
 sided — their attention having been so completely en- 
 grossed in the struggle as to render them oblivious to 
 all physical sensation. 
 
 Some of the most noted actors have been known to 
 become so thoroughly absorbed in thrilling portions 
 of favorite scenes, that they actually believed them- 
 selves to be the very characters they were imperson- 
 ating. In illustration of this remarkable power, there 
 may be mentioned a well-attested instance of a certain 
 actor who had a chronic lameness, which caused him 
 not a little inconvenience, to say nothing of the suffer- 
 ing that he was occasionally compelled to undergo 
 during the more acute stages of his affliction. While 
 before the footlights, however, the scenes in which he 
 was taking part seemed so real to him that he became 
 
102 THE ART OF MEMORY. 
 
 totally oblivious to his physical defect and was able to 
 move about the stage with apparently as much ease as 
 his fellow actors. 
 
 It is related that Socrates, in one of the campaigns 
 in which he was engaged, became, while on the march, 
 so deeply engrossed in a line of philosophical inquiry 
 which greatly interested him, that he began walking 
 more and more slow^ly, until, finally he stopped, the 
 army meanwhile passing him and at last leaving him 
 standing in the highway alone, absorbed in his thoughts 
 and completely lost to all sense of his person or sur- 
 roundings. A courier was subsequently sent back to 
 asc^ertain what had become of the great philosopher, 
 who was found standing in the same spot, gazing in- 
 tently on the ground and so profoundly absorbed in 
 reflection that he was with difficulty aroused from his 
 abstraction, and he then could hardly be made to 
 realize that the army was more than a score of miles in 
 advance, and that he had gone without food and sleep 
 for a day and a night. 
 
 Inventors often become so thoroughly engrossed 
 by their investigations that the hours glide by almost 
 unperceived. Edison has been known to attain such 
 complete absorption in an experiment that he would 
 remain occupied for twenty-four hours at a time, 
 wholly unaware that more than a brief period had 
 elapsed. 
 
 It is this capacity for acute and prolonged attention 
 that enabled a Champollion to penetrate the secret of 
 the hieroglyphic inscriptions on the monuments of 
 
ATTENTION. 103 
 
 ancient Egypt, and restore to the world a long perished 
 language through the meagre clue of the Rosetta stone; 
 that enabled an Agassiz to unfold the wonderful story 
 of Earth's vicissitudes, as told by the rocks, and an 
 Audubon to familiarize himself with the whole world 
 of ornithology; that made it possible for a Euler, sit- 
 ting alone in his prison cell, to mentally solve the most 
 abstruse mathematical problems, or a Humboldt to 
 penetrate the profoundest depths of cosmic evidences. 
 It is through possessing this power of intense and 
 continued attention and application that a Cuvier is 
 able to hold within his mental grasp the whole history 
 of the fossil world, and the colossal mind of a Shake- 
 speare to fathom the ocean of man's past thought and 
 experience and gather from its profound depths the 
 choicest gems that ever were inclosed within the magic 
 setting of language, to grace the precious diadem of 
 literature. 
 
 "Genius is nothing but prolonged attention," says 
 Helvetius. 
 
 While that definition may be lacking in complete- 
 ness, yet surely it cannot but be admitted that Atten- 
 tion is the seed of Genius. The tree cannot grow ex- 
 cept there first be the germ ; without Attention there 
 cannot be Memory, and w^ithout Memory Knowledge 
 cannot develop^ — much less can there come into ex- 
 istence that rare and w^onderful faculty which we call 
 Genius. 
 
 As Attention is so highly essential to the develop- 
 ment of a good memory, it thus follow^s as a logical 
 
104 THE ART OF MEMORY. 
 
 deduction that a defective memory is mainly due to 
 the lach of attention. 
 
 The verity of that deduction is especially manifest 
 in the case of the first presentation of an idea to the 
 senses. As a general rule the first impression of any- 
 thing is the most enduring in the memory, and nat- 
 urally, for at that time most usually the curiosity is 
 more deeply aroused than on any occasion afterwards 
 — and curiosity begets animation ; the impression made 
 at that time, therefore, is apt to be much more vivid 
 than when the idea presented to the mind has lost, in 
 a sense, its newness, or novelty. 
 
 It may indeed be set down as a general rule that 
 the distinctness and permanence with which an idea or 
 fact is retained in the memory is in direct proportion 
 to the vividness of the first impression. 
 
 Each succeeding time that an object of thought is 
 contemplated by the mind, the impression produced 
 thereon is naturally less strong than the preceding 
 one — except, perchance, in cases wherein some special 
 emotion is excited or where by the intervention of the 
 will an added measure of attention may be compelled, 
 which of course is not spontaneous. A vivid first im- 
 pression is therefore essential to best secure the re- 
 tention of anything in the memory, and the strictest 
 attention is necessary for the creation of a vivid first 
 impression. 
 
 Attention properly cultivated eventually becomes 
 a habit, and having once reached a fair degree of de- 
 velopment, it then operates in great measure instinct- 
 
ATTENTION. 105 
 
 ively, or unconsciously, just as any other habit — and 
 thus that kind of task which may at first have been 
 achieved only by severe and protracted effort will ulti- 
 mately be accomplished with ease and dispatch, and 
 with a greater degree of excellence ; for then when the 
 mind becomes engaged in the contemplation of any 
 subject, substantially no effort will be required to 
 cause every other subject to be excluded from the men- 
 tal vision, as the mind will do that of itself, without 
 spurring and well-nigh spontaneously, and do it expe- 
 ditiously also. 
 
 Attention, then, is the most important of all requi- 
 sites in the development of memor}^, and no effort 
 should be spared to strengthen and improve it. Noth- 
 ing that is worthy of attention at all should be contem- 
 plated carelessly, or examined except with thorough- 
 ness, for what is fully comprehended is not easily for- 
 gotten, and that which is but imperfectly understood 
 soon fades away from the memory ; and, moreover, see- 
 ing or hearing in a careless or superficial manner only 
 engenders and fosters a habit of inattention, which is 
 the very bane of memory. 
 
 The whole energies of the mind should always be 
 concentrated on the subject under consideration, which 
 should not be abandoned until its details shall have 
 been fully mastered, however unimportant many of 
 them may seem — for any one of them may prove to 
 be an arch-stone on which the stability of the whole 
 structure depends. "One thing at a time, and that 
 done well," is not less applicable to the cultivation of 
 
106 THE ART OF MEMORY. 
 
 memory than to any other of the most important 
 practical affairs of life — for what is once properly 
 considered by the mind thus becomes a permanent, 
 instead of a merely transitory, possession: it is better 
 by far to know a few things well than a great many 
 things but imperfectly : it is of infinite importance that 
 the foundation should be the enduring rock rather 
 than the shifting sands: the building up of knowledge 
 should surely rather be upon the firm, solid, reliable 
 basis of Attention and Thoroughness, than upon the 
 yielding, unsteady, vacillant elements of Inattention 
 and Sciolism; for in the one case it means a noble 
 edifice, a treasury of talent and genius — in the other 
 a weak, clumsily wrought fabric, a storehouse of the 
 odds and ends of mediocrity or inferiority. Which 
 should be chosen? Like Eeuben, shall it be said unto 
 thee: "Unstable as water, thou shalt not excel?'' 
 "But/' it may be asked, "how can the attention be 
 surely secured and maintained if there be a lack of 
 curiosity regarding the subject presented to the mind?" 
 
 The answer is — by the exercise of the Will. While 
 curiosity [other emotions and feelings, too] may prop- 
 erly be considered among the most powerful of all 
 the incentives for directing and preserving the atten- 
 tion, yet it is unadvisable to rely upon mere curiosity 
 as an expected tool by means of which those things 
 may be infallibly impressed upon the memory which 
 are the most worthy of preservation. 
 
 The natural trend of curiosity is too apt to be in 
 the line of the more trivial and ephemeral matters of 
 
ATTENTION. 107 
 
 life — the things which may attract the passing fancy 
 
 of to-day, but to-morrow prove of little or no true 
 
 significance, scarce worthy to have ever occupied a 
 
 place, however temporary, in the consciousness, much 
 
 less to be deliberately treasured in the memory. Bad 
 
 habits are, unfortunately, far more easily formed than 
 
 good ones; it seems as if the former are instinctive, 
 
 and that the latter cannot attain a better than flaccid 
 
 quality except by assiduous culture. 
 
 Dry den has well said: 
 
 "111 habits gather by unseen degrees; 
 As brooks make rivers, rivers run to seas." 
 
 The memory, as well as any other department of 
 man's being, may acquire deleterious habits; if the 
 school-boy were left to follow at will his own impulses, 
 his memory would seldom develop in the direction best 
 adapted to his moral and intellectual well-being and 
 progress. His thoughts must be watchfully guided 
 until childhood shall have merged into youth and youth 
 into manhood, when he is supposably qualified to in- 
 telligently assume the direction of his own thoughts 
 through the years of the future. But, even then, it 
 cannot reasonably be expected that his mental powers 
 will be developed to a degree even approximating their 
 possibilities, otherwise than by the application of self- 
 discipline — and this cannot be effectually inaugurated 
 and preserved save through the exercise of the Will. 
 Every rational being should possess a deep seated^ de- 
 termination to make the most of his intellectual facul- 
 ties — and the first and most essential step in this 
 direction is to cultivate the memory. If that be done 
 
108 THE ART OF MEMORY. 
 
 only upon correct principles, the development of the 
 mind moves with speed and is certain of accomplish- 
 ment; and as Attention is more important than all 
 other requisites in the cultivation of the memory, so 
 the intelligent exercise of the Will is the most vital 
 factor in the securing of Attention. By an effort of 
 the will an interest which may not at first naturally 
 exist, can actually be created; properly directed will- 
 power can compensate for the lack of native enthu- 
 siasm in a subject, until eventually that interest which 
 was once more or less forced, will have become in a 
 great degree spontaneous; things which were formerly 
 to us prosaic in the highest degree, distasteful even, 
 will grow to possess positive attractiveness. 
 
 It is earnestly urged that there be an intelligent 
 discrimination as to what the memory shall be en- 
 couraged to retain; let the chaff be cast aside, that 
 there may remain only the golden grain; let each sub- 
 ject selected for consideration by the mind be regarded 
 attentively until thoroughly mastered, before the next 
 is taken up; and let the same rule be applied to each 
 part of the same subject. 
 
 Let the student proceed step by step in that way, 
 with Attention as the motto of his march and the rally- 
 ing-cry of his mental forces, and the time will surely 
 come when what was at first a task will have become 
 a genuine pleasure — when what may once have seemed 
 impossible of achievement will be accomplished with 
 ease; and finally, when the development of the Memory 
 and the Mind in an intelligent and systematic manner 
 will have brought its bountiful and deserved reward. 
 
CHAPTER VI. 
 
 ASSOCIATION. 
 
 *'Next to the effect of Attention is the remarkable influence pro^ 
 duced upon memory by Association." Dr. Abercrombte. 
 
 "It is by means of Asisociatiou that we recall to mind past idea.s 
 and s.eDsations." Kay. 
 
 "The more relations or likenesses that we find or can establish 
 between objects, the more easily will the view of one lead us to recol- 
 lect the rest." Bex\ttie. 
 
 "Loilled in the countless chambers of the brain, 
 Our thoughts are linked by many a hidden dhain; 
 Awake but one^and lo! what myriads' rise! 
 Each stamps its image as the other flieis," 
 
 Rogers. (Pleasures of Memory.) 
 
 Next in importance to Attention as an essential 
 factor in the development of Memory, comes Associa- 
 tion. By Association is meant that peculiar property 
 possessed by the mind of linking an impression received 
 by it with some other impression already in the mem- 
 ory, so that by the recollection of either the other also 
 is apt to be recalled. 
 
 (109) 
 
110 THE ART OF MEMORY. 
 
 While we must employ Attention to fix anything in 
 the memory, it is necessarily through Association that 
 we are able to revive it. Who does not appreciate the 
 inestimable value of Association as a means of bring- 
 ing back to mental view faces and forms and events of 
 the misty past, which in no other way could have been 
 restored to our remembrance? 
 
 The sight of a tree, a hedge, or a brook may cause 
 the renewal within us of a world of tender memories I 
 A hill, a bridge, or a field coming into view for the first 
 time in many years, will often revive clearly in our 
 minds and touchingly to our hearts scenes that to pre- 
 vious efforts of the memory had long since departed 
 from our recollection. An autograph or a picture will 
 bring back distinctly to our mental vision features and 
 forms almost forgotten, it had seemed. A flower be- 
 tween the leaves of a book, when gazed upon in the 
 after years of life, may touch as with spirit-hand what 
 we thought was a vanished chord, and cause a thrill 
 once more of that rapture which was felt on the occa- 
 sion when the flower was flrst plucked — perchance in 
 some sweet May-day of our youth. The notes of some 
 familiar song of childhood^s days, when heard again for 
 the first time after the lapse of many years, will revive 
 in our remembrance the faces and the voices of the de- 
 parted dear ones who sang that song in the long ago. 
 
 Indeed, is there any one Avhose heart has not often 
 beat quick with the sweet, and yet pensive, memories 
 revived through the magic power of Association? — and 
 who that is imbued with the spirit of true appreciation 
 
ASSOCIATION. Ill 
 
 would willingly exchange those memories for aught 
 that the insubstantial riches of this world can pur- 
 chase? Surely, no merely earthly pleasures, however 
 enticing, are fit to be compared with the profound and 
 enduring, celestial, Joys of Memory. 
 
 Association is indeed a necessary and one of the 
 most potent means by which impressions of the past 
 may be preserved in the memory. It may be likened 
 to a chain, whicn may consist of many links, each one 
 being an essential part of the whole, and the connection 
 between the various links being both natural and pow- 
 erful. 
 
 In illustration of the remarkable power of reviving 
 past impressions possessed by Association, an amusing 
 anecdote is related of a certain physician, of somewhat 
 eccentric disposition, who, accompanied by his servant, 
 Avas driving several miles in the country to visit a pa- 
 tient. On arriving at a certain point, he branched off 
 from the highway onto an abandoned road, overgrow^n 
 with brushwood, but which soon emerged into the main 
 road. 
 
 After driving a short distance on this disused road 
 he stopped, and turning suddenly to his servant, said : 
 ^'Do you like o^^sters?'' The servant was somewhat 
 surprised at being asked such an odd question, but 
 promptly answered, "Yes, sir.'' 
 
 The doctor said nothing more and the journey was 
 resumed. About a year afterwards the two happened 
 to be again journeying on the same road, and the doctor 
 diverged into the deserted road as before. Stopping 
 
112 THE ART OF MEMORY. 
 
 at the same point as he had previously done, the doctor 
 turned abruptly to his servant, as on the former occa- 
 sion, and said: "How do you like them best?'' "Fried, 
 sir,'' was the ready reply! 
 
 That was a most suggestive example of the remark- 
 able power of Association; although a whole year had 
 passed by since the first question was put by the doctor 
 to his servant, yet, when the same spot was reached 
 again and a question asked that, by itself, was obscure 
 and could not be intelligently answered, the servant, 
 whose thoughts were now so full of his master's former 
 inquiry, at once instinctively associated the two ques- 
 tions and was able to give a prompt answer. 
 
 It is a peculiar psychological fact that an isolated 
 idea (if such there can be, in a complete sense) cannot 
 remain in the memory; it must at once become associ- 
 ated with some other idea or impression, or it will for- 
 ever vanish. Every idea that we have is associated 
 with one or more other ideas, and it is only by follow- 
 ing back the lines of association that an impression can 
 be reproduced; and it is self evident that the more im- 
 pressions there are associated with the thing to be re- 
 membered, the more ready and certain is its recollec- 
 tion. It is as if there were several paths converging 
 into one: it is only necessary to find any one of those 
 paths to be on the way to reach the desired goal; and 
 the more paths, the greater the chance of some one of 
 them being discerned. The reason why memory itself 
 is possible lieB in the fact that ideas suggest ideas: if 
 it were possible (a conception which has been well- 
 
ASSOCIATION. 113 
 
 doubted) for an idea to obtain entrance into the mind 
 without connection with any other idea (instinctive or 
 acquired), it could not be reproduced — a truth which 
 is verified by the uniform observation of us all as to the 
 correlation of ideas in our own minds. For anything 
 to become fixed in the memory it must be linked to 
 something already in the brain : hence the greater our 
 stock of knowledge the easier for it to be augmented. 
 
 Any impression made on the mind is always accom- 
 panied with some other impression of more or less dis- 
 tinctness, and between which and the dominant im- 
 pression there may or may not be a natural association; 
 the circumstances surrounding the entrance of an im- 
 pression into the mind may be such that the accom- 
 panying impression is entirely foreign to the main one, 
 but yet it will often adequately serve to revive the dom- 
 inant impression. 
 
 It is always better that the association should be a 
 natural rather than an accidental one; but sometimes 
 the least congruous associations are crowded into the 
 mind by some peculiar recondite agency, and become 
 the means by which some of the most important im- 
 pressions made on the mental powers are reproduced — 
 and they may often prove none the less serviceable in 
 spite of their total incongruity. 
 
 Association may be divided with tolerable exact- 
 ness into three general classes: Incidental, Natural, 
 and Artificial. 
 
 Incidental Association is where there is a connec- 
 tion in the memory between things seen or events which 
 
 8 
 
114 THE ART OF MEMORY. 
 
 occurred at the same time or place, without reference 
 to their relation to or dependence upon each other. The 
 following anecdote will serve to illustrate this form of 
 Association: 
 
 Some years ago a gentleman who was traveling on 
 one of our western railroads was requested by a lady 
 sitting near him to hold her birdcage for a few mo- 
 ments, while she would make some changes in her toi- 
 let. He complied, but had scarcely taken the cage 
 from her hand when the train plunged down an em- 
 bankment, some of the passengers being severely hurt, 
 and all not a little shocked by the sudden disaster. 
 The gentleman was fortunate enough to escape injury, 
 but ever afterward the sight of a birdcage was suffi- 
 cient to remind him of the accident, in all its painful 
 details. 
 
 Here is another illustration: 
 
 The author was once passing the evening at a the- 
 atre where the opera of "Pinafore" was the attraction. 
 During a certain scene, when the lights were partially 
 turned down, a bat came in through some open window 
 and began flying vigorously about the house, to the 
 exceeding discomfiture of many of those present, who 
 knew not the cause of the general commotion which 
 took place, and to the consequent amusement of others. 
 Ever since that time the sight of a bat, and even the 
 thought of one, has rarely failed to bring most vividly 
 to mind the circumstances of that evening, and espe- 
 cially that scene in the opera in which the bat took an 
 unbidden part — although two ideas more disconnected 
 than those could not well be imagined. 
 
ASSOCIATION. 115 
 
 Taking an imaginary journey along the paths and 
 by-ways of history and pursuing the same line of illus- 
 tration, why might not the sight of a cherry-tree in- 
 stinctively call up before the mind's eye the immortal 
 hero of Valley Forge and of Yorktown? — or that of an 
 egg bring to us in quaint attire the intrepid discoverer 
 of America? An apple might easily suggest the illus- 
 trious Newton or the traditional William Tell, and a 
 spider's web remind one of the heroic Bruce or the 
 zealous Mahomet. Some companion's mentioning an 
 asp would of course conjure up in our thoughts the 
 peerless Egyptian queen whose charms fascinated the 
 mighty Csesar and enthralled the eloquent Antony; 
 and, by a proper expansion of the imagination, a bale 
 of cotton before our eyes or mental vision might put us 
 in mind of "Old Hickory" and the battle of New Or- 
 leans; and the sight of a goose might carry us in imag- 
 ination back to ancient Rome and its traditional de- 
 livery from destruction! 
 
 While it often happens that most powerful and per- 
 manent impressions are made on the memory by Inci- 
 dental Association, yet its exercise should be encour- 
 aged as little as possible, for that which it causes the 
 memory to retain is essentially of a miscellaneous char- 
 acter, impossible of methodical arrangement, and the 
 process by which it is received into the consciousness 
 is not of that nature which is calculated to properly 
 develop thje memory powers. Incidental Association 
 is purely automatic in its action, being usually brought 
 into exercise under wholly abnormal conditions, and is 
 
116 THE ART OF MEMORY. 
 
 thus to a considerable extent beyond the control of the 
 will. 
 
 Natural Association is the perception of a genuine 
 and apparent relationship between something which 
 has already been apprehended by the mind, and some- 
 thing else which has just been introduced to it. It is 
 the recognition of either a similarity, relevancy or con- 
 trast, or else ideal or scenic contiguity, subsisting legit- 
 imately and not obscurely between two or more things, 
 events, facts or ideas. For instance, when an idea pre- 
 sents itself to the mind, the latter instinctively classi- 
 fies it, as it w^ere, or deposits it with previous ideas of 
 the same class or character, if the same exist; and the 
 greater the number of ideas thus stored away, the 
 stronger the probability is that any one of them can be 
 reproduced when desired. Thus, a fact ascertained in 
 some particular department of Natural History will, 
 by a process of natural selection, associate itself with 
 other facts of a like nature previously knowm. The 
 same is true in regard to historical events, and inci- 
 dents in the lives of noted men — and, in fact, most 
 probably with reference to everything in the realms of 
 either sensibility or thought. A person, we will say, 
 • in reading about whales, learns that this denizen of the 
 sea has a larger brain than any other living creature. 
 On some other occasion he learns that the canary bird 
 has a larger brain, in proportion to its size, than any 
 other bird or any beast; that fact naturally associates 
 itself with the other. Later on he ascertains that the 
 largest human brain was that of Tourguenielf, the 
 
ASSOCIATION. 117 
 
 novelist, which weighed nearly half as much again as 
 the average brain — the next larger being that of Cu- 
 vier, the great naturalist, whose brain w^as one-tenth 
 smaller than Tourguenieff's. At another time he 
 learns that some of our most distinguished men have 
 had undersized brains — among whom were Dickens, 
 Byron and Lamb — and this leads the student to reflect 
 whether, after all, it is not the quality, rather than the 
 size, of the brain that determines intellectual power. 
 All those facts, having entered the mind, will, by rea- 
 son of their obvious affinity, naturally cluster together, 
 and the recollection of one is likely to revive the others 
 in the memory, one by one. 
 
 While perusing a newspaper we happen to come 
 across an item that somebod}^ or other has recently 
 died at a very advanced age. That instance naturally 
 reminds us of others of a similar nature which we have 
 read of at various times, and, among them, may pos- 
 sibly call to our remembrance the cases of Democritus, 
 the Greek philosopher, and Hippocrates, "The father 
 of Medicine," each of whom lived to the rare old age 
 of 103 — and also remind us of the curious fact that 
 both of those personages were born in the same year 
 (B. C. 460), their deaths occurring in B. C. 357. That 
 recollection, in turn, may recall to us the fact of the 
 remarkable longevity of the Countess of Desmond, who 
 was known to Sir Walter Ealeigh, and who. Bacon 
 tells us, cut three sets of teeth, and reached the great 
 age of 140: of Thomas Parr, a farm laborer of Shrop- 
 shire, England, who attained the extraordinary age of 
 
118 THE ART OF MEMORY. 
 
 152 — and then did not die of old age! — of Henry Jen- 
 kins, who was called as a witness in an English court, 
 and testified regarding events of which he had been an 
 eje-witness a hundred and fifty years before, and who 
 died at 169; and also of Peter Czartan, a Hungarian 
 peasant, who transcended the more modern records in 
 longevity by reaching the prodigious age of 185 — hav- 
 ing been born in 1524, and dying in 1709 — thus having 
 lived in three different centuries! 
 
 The subject of human longevity is also likely to call 
 up in our minds that of longevity in the animal king- 
 dom, and some of the curious facts in regard thereto. 
 We remember, for instance, that the extraordinary age 
 of three hundred years is sometimes attained by the 
 elephant, while the rhinoceros is permitted to barely 
 reach twenty — and we marvel that such is the fact — 
 and that the bear's life is comprised within a score of 
 years, while that of the camel may stretch out to an 
 hundred. We wonder why the swan lives to be an hun- 
 dred years of age and the crane only one-fourth as 
 many; why the crow often rivals the swan in lon- 
 gevity, while the blackbird's span of life must be em- 
 braced within a baker's dozen of years — and why the 
 limit of the wren's life is only three years, while the 
 lark may live the length of a wren's life half a dozen 
 times over. We are puzzled to understand why the 
 tortoise's life may linger out to an hundred years, and 
 the squirrel's span be barely seven or eight — and why 
 it is that the pike and carp reach the extraordinary age 
 of a hundred and fifty years, while the eel can live but 
 
ASSOCIATION. 119 
 
 a brief ten. Naturalists may indeed explain to us 
 that duration of life is based on the period required to 
 attain maturity^but we cannot help wondering at it 
 all, just the same, and by the learning of each addi- 
 tional fact do other facts of a similar nature previously 
 learned, naturally become revived in the memory 
 through the power of association. 
 
 The subject of longevity in the animal kingdom and 
 in the human family, may very easily suggest that of 
 long reigns of various potentates in the world's history. 
 The unusually long reign of Queen Victoria, who as- 
 cended the throne of England in 1837, naturally sug- 
 gests the query as to whether her reign has ever been 
 surpassed in length by that of any other sovereign. 
 On looking over the pages of our memory we find im- 
 printed thereon the fact that George III. of England 
 was king during the remarkably long period of sixty 
 years: that Louis XIV. of France reigned sixty-one 
 years; and also that Egypt's greatest king, Kameses 
 II., exceeded even the extraordinary records already 
 mentioned — having occupied the throne of the Phara- 
 ohs during no less a period than sixty-seven years! 
 
 Let the student notice what a natural line of asso- 
 eiation is the following: We will assume, for the pur- 
 pose of illustration, that it is midsummer, and on a day 
 when all seems the reverse of heavenly except the 
 mercury, which is near the 100 degree mark. 
 
 It would at such a time be perfectly natural for the 
 subject of hot weather to be uppermost in the mind, 
 and for the query to arise as to where is the hottest 
 
120 THE ART OF MEMORY. 
 
 place on the earth's surface. On reflecting for a few 
 moments we perhaps recollect to have sometime read 
 that on the southwest coast of Persia, in the region 
 bordering on the Persian Gulf, the mercury often 
 reaches 128°, Fahrenheit, as it does also in the interior 
 of Australia; and that in the vicinity of Massowah, on 
 the Abyssinian coast of the Red Sea, a temperature o*f 
 133° is frequently attained, the mercury having at 
 times been known to reach the almost incredible height 
 of 160°! 
 
 The subject of excessive heat might easily suggest 
 its opposite, and in a corner of our memory we find 
 the fact preserved that the greatest degree of natural 
 cold ever experienced, as determined by authentic 
 measurement, was at Yerkhoyansk, Siberia, where the 
 thermometer has been known to register a tempera- 
 ture of 85° below zero; and that we once also learned 
 that the greatest daily range occurs in certain parts of 
 Arizona, where there is frequently a change of 80° in 
 twelve hours. 
 
 In natural sequence it then occurs to us that on 
 another occasion we* read that the dryest place in the 
 world is probably between the first and second cata- 
 racts of the Nile — where rain has never been known 
 to fall. That information is well associated in the 
 mind with the fact that the place of greatest annual 
 rainfall is at Cherra Poonjee, in Assam, where it reaches 
 the enormous average of 610 inches — the depth during 
 one year having made the extreme record of 905 inches! 
 The latter figures are better appreciated when we re- 
 
ASSOCIATION. 121 
 
 fleet that the average annual rainfall of the world is 
 but 36 inches! 
 
 The subject of rainfall may easily suggest the sub- 
 ject of rivers, and we find no difficulty in recollecting 
 that the Amazon is the largest, and the Missouri the 
 longest (4,100 miles); and we are perhaps likely to re- 
 member also that the Desaguadero River, in Bolivia, is 
 the most elevated, being 13,000 feet above sea level. 
 
 The subject of rivers naturally suggests that of 
 lakes, and we perhaps remember that the most elevated 
 lake, except the lakes of the Himalayas, is Lake Titi- 
 caca, Bolivia, 12,600 feet above the level of the sea; the 
 highest body of salt water being Great Salt Lake, 
 Utah, 4,200 feet above sea-level; the largest fresh- 
 w^ater lake being Lake Superior, and the deepest. Lake 
 Baikal, Siberia, which latter is in some places 4,500 
 feet deep — two-thirds of which is below sea level; the 
 largest inland sea being the Caspian. In this con- 
 nection we may also chance to remember that the low- 
 est body of water is the Dead Sea, 1,300 feet below the 
 surface of the ocean; and that Lake Urumiah, Persia, 
 is the saltest body of water in the world, the same con- 
 taining twent^^-two per cent of salt, while ordinary sea- 
 water contains but three. 
 
 The subject of lakes and seas may suggest that of 
 tides, and our memory may again tell us that the low- 
 est tides are at Panama, where they average only about 
 two feet, while in the Bay of Fundy the tides have been 
 known to reach the enormous height of from fifty to 
 sixtv feet. 
 
122 THE ART OF MEMORY. 
 
 The subject of tides might easily suggest that of 
 waterfalls, and we perhaps remember that the highest 
 waterfall is in the Yosemite Valley, and is 2,550 feet 
 high. 
 
 Does not the above chain of thought illustrate nat- 
 ural lines of Association? — and would not those facts, 
 even if learned at odd times, naturally cluster to- 
 gether? 
 
 The foregoing examples are given to illustrate the 
 retentive power of the memory through Natural Asso- 
 ciation — the various impressions which are received 
 from time to time linking themselves, one by one, with 
 previous impressions, until perhaps a long concatena- 
 tion of facts and ideas is acquired by the memory, the 
 recollection of any one of which naturally causes the 
 others to be successively revived and with comparative 
 ease — thought's electric current being readily con- 
 ducted, or spontaneously progressing along the chain. 
 
 Impressions thus received and stored away are as- 
 sociated together by what may be termed Similarity, 
 or Eesemblance — that is, not being necessarily all im- 
 mediately related in thought or presented to the mind 
 consecutively, but possessing features to a certain 
 extent genealogically allied, a genealogy of many 
 branches. 
 
 With Similarity as an associating force, might also 
 be included its antonym. Contrariety — for, although 
 things are usually remembered far more easily by their 
 resemblances than by their differences, yet there are 
 striking exceptions to this rule, as the universal expe- 
 
ASSOCIATION. 123 
 
 rience of mankind can amply attest. He who is hope- 
 lessly immersed in the depths of poverty would be far 
 more forcibly reminded of his forlorn condition by the 
 vision of a gorgeous mansion with its luxurious sur- 
 roundings, than by the sight of some other humble 
 hovel like his own. They w^hose "way of life is fall'n 
 into the sear, the yellow leaf" can better realize the 
 oppressive weight of their years by listening to the 
 merry prattle of childhood, than by comparing their 
 ow^n situation with that of others whose sands of life, 
 too, have nearly run. The malefactor, condemned to 
 an ignominious death as the penalty for his crimes, 
 never so truly appreciates the incomparable boon of 
 life and liberty as when immured in the lonely cell 
 from whence he is destined to emerge only to meet his 
 deserved fate upon the scaffold; and the priceless 
 blessings of health never stand out in such glowing 
 colors before man's mental vision as when he is lan- 
 guishing on a bed of sickness. When the dreary blasts 
 of winter are relentlessly beating about us, how vividly 
 do we picture to ourselves the balmy days of early sum- 
 mer! When encompassed by the horrors of "grim vis- 
 aged war,'' how alluring seem the delights of gentle 
 peace! — and what can be so suggestive of the glorious 
 sunshine as being shut up in total darkness? But, 
 powerful though Association by Contrariety may some- 
 times be, yet its influence is limited to but narrow 
 bounds. Being based upon contrasts, it can be made 
 available only when contrasts exist — and even then 
 they must usually be strong, and are seldom effective 
 
124 THE ART OF MEMORY. 
 
 except from the standpoint of adversity. The enjoy- 
 ment of plenty does not remind us of the miseries of 
 want; light seldom suggests darkness; nor does the 
 possession of robust health suggest the pangs of dis- 
 ease. To have our liberty is not to thus be reminded 
 of a prison cell; the sunshine of prosperity does not 
 suggest to us the shadows of adversity; nor when we 
 are in the heyday of youth do we think upon the in- 
 firmities of age: pleasant subjects seldom suggest un- 
 pleasant ones — although unhappy experiences are 
 pretty certain to remind us of their opposites. Thus, 
 Association by Contrariety can hardly be said to de- 
 serve being classed as an independent associating force^ 
 but rather as a branch of Association by Similarity. 
 
 Another form of Natural Association is that of Con- 
 tiguity, or Adjacency; and this may be subdivided into 
 Contiguity of Thought, and of Vision. 
 
 In the reception and storing away of concrete ideas 
 (as of things or events) by the mind, as in Incidental 
 Association and Association by Similarity, their con- 
 sideration in continuous order is not so essential to 
 their retention in the memory as in the case of ideas 
 of an abstract nature, in which latter their successive 
 contemplation by the mind would be more necessary 
 in order that each impression might be made with suf- 
 ficient distinctness and force to weld it to its prede- 
 cessor. This branch of Natural Association would 
 properly come under the head of Contiguity of 
 Thouixht — which would also include so-called ^^verbal- 
 memory,'' or the recollection in its exact phraseology 
 
> 
 
 ASSOCIATION. 125 
 
 of anything heard or read — the retention of each idea 
 thereof in the memory being mainly dependent on con- 
 secutive vivid conceptions^ made seriatim of all the terms 
 of its series or connection. 
 
 Contiguity of Vision is where there is presented to 
 the sight a number of things simultaneously, which 
 may be of a varied character and situated at different 
 distances from the point of vision, and which are not 
 viewed in any particular order, but in a casual way, 
 •it may be, or at the pleasure of the observer, which 
 through a developed sense of their association may be 
 recalled at will, in any order desired — or the whole 
 may be brought before the mental vision at the same 
 time; as, the recollection of various objects in a store- 
 window, or the prominent features of a landscape — or, 
 in fact, any aggregation of objects to which the eye has 
 been attracted. 
 
 This form of association, being confined mainly to 
 sight perceptions, is of a far less exalted character than 
 Contiguity of Thought — which latter is the most im- 
 portant and valuable of all kinds of association; and 
 while it is to a great extent instinctive in its operation, 
 yet it may be greatl^^ cultivated by proper training. 
 
 Artificial Association is employed for memorizing 
 isolated facts, events and circumstances, and ideas gen- 
 erally, where no natural relationship is apparent. If 
 that is done in a systematic manner, however, it may 
 be made to merge, in a certain degree, into Natural 
 Association — as comparisons may be conceived and 
 resemblances discovered which would not be disclosed 
 
126 THE ART OF MEMORY. 
 
 under ordinary conditions. Things represented ab- 
 stractly, as in the case of numbers, or proper names, 
 or different events happening at the same time or place 
 but bearing no relation to each other, would be con- 
 nected by Artificial Association, as would heteroge- 
 neous facts in general. 
 
 Thus astronomers, by arbitrarily grouping the stars 
 into constellations, are able to memorize their posi- 
 tions far more easily than without this artificial aid. 
 
 Various historical facts can also be recollected 
 much more readily and certainly by means of Artificial 
 Association than without its assistance, for a careful 
 search through the pages of history reveals some cu- 
 rious coincidences. For instance, we learn that Plato 
 was born in the same year that Pericles died (B. C. 429). 
 We discover that Aristotle and Demosthenes were both 
 born in the same year (B. C. 384), and also died in the 
 same year (B. C. 322), which was the year following 
 that of the death of Alexander the Great; and that 
 Ovid was born in the same year that Cicero was put to 
 death (B. C. 43). 1564 was in some respects the most 
 remarkable year since the dawn of the Christian era — 
 for in that year Michael Angelo and Calvin died, and 
 Shakespeare, Marlowe, Galileo, and Buxtorf came into 
 the world. In the year that Marlowe died (1593) Izaak 
 Walton was born, he dying in the same year that Mid- 
 dleton was born (1683), the latter dying in the year that 
 Curran was born (1750). In the year that Galileo died 
 (1642) Kichelieu also died, and Newton was born. In 
 the year tliat Newton died (1727) Gainsborough was 
 born. 
 
ASSOCIATION. 127 
 
 It is related that Diogenes and Alexander the Great 
 both died on the same day (in B. C. 323); and that 
 Shakespeare and Cervantes also died on the same day 
 (April 23, 1616), it being the former's birthday. Ex- 
 Presidents John Adams and Thomas Jefferson died on 
 the same day (July 4, 1826), exactly half a century after 
 the Declaration of Independence; and James Monroe 
 just five years later (July 4, 1831). 
 
 The first five presidents ended their terms of service 
 each in the sixty-sixth year of his age, and, had John 
 Quincy Adams been elected for a second term, he also 
 would have ended his term in his sixty-sixth year. 
 
 The name of our first martyred president can never 
 be effaced from the memory of the American people; 
 and the name of the vice-president who served during 
 his first administration need not be forgotten, for, most 
 fittingly in every sense, it is literally — imperishably — 
 interwoven with the former's name, as is here indi- 
 cated : abraH AMLINcoln. 
 
 Franklin Pierce was elected president in 1852. 
 How easy to recall the date by bearing in mind that 
 the last two figures denote the number of weeks in a 
 year. He was the fourteenth president; that is indi- 
 cated by F. P., the initials of his name, and by the fur- 
 ther fact that there are fourteen letters in his name. 
 It may be adverted to as an interesting circumstance, 
 that his has been the only administration thus far in 
 which no cabinet changes occurred during the entire 
 term. 
 
 Enoch's age when he was translated was 365 years. 
 
128 THE ART OF MEMORY. 
 
 The poet Claudian was born in 365, which corresponds 
 with the number of days in a year. That, also, is the 
 number of islands contained in the Bermudas. 
 
 In 580 Latin ceased to be a spoken tongue: the 
 Catacombs of Eome are 580 miles long. 
 
 The word VIBGYOK was long ago coined by Dr. 
 Watts to assist students in recollecting the names and 
 order of the primary colors (those developed from the 
 solar beam by the prism) — the initial letters of those 
 names, in their order, forming the word above-mem- 
 tioned, thus: 
 
 Violet. 
 
 Indigo. 
 
 Blue. 
 
 Green. 
 
 Yellow. 
 
 Orange. 
 
 Bed. 
 
 (A real phrase, BY VIGOE, would be a less cumber- 
 some key, though tagged with the need of a slight cen- 
 tral adjustment to fit this order.) 
 
 The word CABAL is said to have originated in the 
 time of Charles 11. — the initial letters of the names 
 of his Cabinet Ministers forming the word, thus: 
 
 Clifford. 
 
 Ashley. 
 
 Buckingham. 
 
 Arlington. 
 
 Lauderdale. 
 
ASSOCIATION. 129 
 
 The initials of the words denoting the four points 
 of the compass form the word NEWS — whence its 
 origin. 
 
 Every musical student remembers that one of the 
 first things he learned was that the letters in the spaces 
 of a musical staff form the word FACE. The sentence 
 "GooD AlE and BeeF" was long ago invented to assist 
 the student in recollecting the names of the major 
 keys containing sharps — the first and last letters of 
 each word, excepting the conjunction ^^and," denoting 
 the keys in regular progression. 
 
 The four parts in a mixed vocal quartette, in their 
 be represented by the word BEAD, the letters thereof 
 indicating the keys in their regular order. 
 
 The four parts in a mixed vocal quartette, in their 
 proper order, may be represented by STAB, which may 
 be used either backwards or forwards — the initial let- 
 ters of the words indicating the various letters forming 
 the acrostic, thus: 
 
 Soprano. 
 
 Tenor. 
 
 Alto. 
 
 Bass. 
 The acrostic A PALM VALE includes the principal 
 terms used to denote time, or tempo, in musical compo- 
 sitionS; thus: 
 
 Allegro: Fast. 
 
 Presto: Very fast. 
 
 Adagio: Quite Slow. 
 
 Largo: Very slow. 
 
 Moderato: Moderately fast. 
 
130 THE ART OF MEMORY. 
 
 Vivace: With briskness. 
 
 Andante: Somewhat slow. 
 
 Lento : Slow. 
 
 Energico: With energy. 
 The Chinese vocabulary is said to consist of about 
 43,560 words or idea-characteristics, which corresponds 
 with the number of square feet in an acre. 
 
 There are 24 hours in a day; add one cipher and w^e 
 have the number of bones in the human body; add four 
 ciphers and we have the distance in miles to the moon; 
 there are also 240,000 varieties of insects. 
 
 Those examples of Artificial Association are given 
 to show how facts which are of a more or less isolated 
 character may be securely tied together, as it were, by 
 intelligently combining certain accidental features and 
 associating them in the mind : the remembrance of one 
 is apt to recall another, and that may bring to mind 
 still another — and so on, until much may be revived 
 in the memory that would otherwise have faded away 
 from the lack of strength in the original incidental as- 
 sociating forces. While it is true that no solitary idea 
 can remain in the memory, yet it is demonstrable by 
 easy experiment, as we have indicated how, that many 
 an idea which would otherwise disappear through the 
 absence of a cognate idea with which to become 
 promptly associated, may be indelibly preserved in the 
 memory through the proper employment of Artificial 
 Association. 
 
 Usually when an idea knocks for admittance to the 
 memory, there is no certainty that the mind can be re- 
 
ASSOCIATION. 131 
 
 lied on to at once respond with an associating idea to 
 which the new-comer may be firmly linked. If exist- 
 ing at all, the relationship may be so obscure as to ren- 
 der the formation of a natural association that will be 
 of an enduring character extremely doubtful: in such 
 case the only reliable hope of attaining the desired ob- 
 ject will be through the intelligent exercise of Artifi- 
 cial Association; and in how to perform that to the 
 best advantage, and in how to most profitably employ 
 Natural Association in the storing of ideas, consists 
 the great Art of Memory. 
 
 Let it be borne in mind, then, and moreover, that 
 while the depth of impressions will naturally diminish 
 more or less with advancing years and a brain contin- 
 ually becoming less plastic, yet the capacity to form 
 associations is naturally augmented by experience and 
 may be wonderfully increased by practice, which in- 
 crements of " advantage should long make ample 
 amends for any decrease of primary receptive power; 
 and by them may always the most avail be derived 
 from the least labor. By employing proper methods 
 of association, that only is preserved in the memory 
 which is deemed worthy of retention, it being stored 
 away carefully and properly indexed, so that it may be 
 brought forth at will. 
 
 In memory development the first thing is to im- 
 press, and the next to associate — and the association 
 should be made as promptly as possible, in order that 
 other, and perhaps wholly irrelevant, impressions may 
 not intervene to weaken the association ; and let it also 
 
132 THE ART OF MEMORY. 
 
 be remembered that the impression should first be 
 clear and vivid before any association is attempted, for 
 strong and enduring associations cannot be formed 
 with weak impressions. And it should be further ob- 
 served that all associations should be in pairs — that 
 is, no more than two ideas or sensations should be con- 
 sidered together (all others being excluded as com- 
 pletely as possible, and at least from direct contempla- 
 tion for the time being), and those two should be in- 
 tently regarded and compared with each other until a 
 complete association is formed in the mind before pro- 
 ceeding further. 
 
 The impressions which we derive through Inci- 
 dental Association may be said to almost invariably 
 form themselves, so to speak; that is, to come into ex- 
 istence without our effort, or even consent: while in 
 nearly all other cases the associations are largely of 
 our own making, and, as to whether they be strong or 
 weak, properly or improperly formed, the responsibil- 
 ity rests mainly with us. In Artificial Association it 
 is entirely so, and in Natural Association it is the case 
 to a very considerable extent. 
 
 While there is a certain intuition, or natural selec- 
 tion, in a great degree, in Natural Association — ideas 
 which have an afiinity for each other instinctively clus- 
 tering together in the memory — ^yet the value and per- 
 manence of the associations formed depend largely 
 on their degree of appositeness perceived and the thor- 
 oughness by which are strengthened those ties of rela- 
 tionship whereby the various impressions are linked 
 
ASSOCIATION. 133 
 
 together — and, that keenness and discipline in those 
 regards shall be attained and developed most advan- 
 tageously in his case, should be the aim of every one 
 who desires the real and permanent improvement of 
 his memory. The forming of inapt associations should 
 be most jealously guarded against, for they are pro- 
 ductive of incalculable harm, leading the memory by 
 imperceptible degrees into careless and immethodical 
 habits, frojn which it ultimately w^ill be unable to 
 break away except by the most severe discipline — 
 while the observance of the true laws of association 
 will enable the memory to not only become richly 
 stored wiith those things which are the most worthy of 
 preservation, but to increase in power to a degree that 
 can scarcely be exaggerated — for the possibilities of 
 the memory are truly beyond estimation — the capacity 
 of that mighty auxiliary of the mental senses is indeed 
 well-nigh illimitable! 
 
CHAPTER VII. 
 
 CLASSIFICATION OF MEMOKY. 
 
 Impressions reach the memory mainly through 
 three channels, which may be termed, respectively, 
 the senses of Sight and Sound (Hearing), and the fac- 
 ulty of Thought, or Reason. 
 
 The remaining senses of Taste, Touch, and Smell 
 also convey impressions to the memory, it is true; but 
 these, being comparatively insignificant in the scope, 
 amplitude, and suggestiveness, of their functional pow- 
 er in that regard, need not be particularly considered 
 in connection with memory development. 
 
 The impressions produced on the mind and senses 
 through the agency of Sight, Sound and Thought, may 
 be divided into two classes — passive and active. 
 
 Sight and Sound impressions are purely passive in 
 their nature, while Thought impressions may be either 
 passive or active, or a combination of both. For in- 
 stance, anything which w^e see or hear is an impression 
 produced on us by something existing outside of our 
 mentality — while that which is apprehended through 
 our thought, or reason, may either proceed from ex- 
 traneous sources or be caused wholly or partially 
 
 (184) 
 
CLASSIFICATION OF MEMORY. 135 
 
 within ourselves; thus, anything that we do, whether 
 by word or act, may make as strong and enduring an 
 impression on the memory as what we see or hear : and 
 what w^e do — that is, any volitional act that we per- 
 form — is inspired by Thought, either conscious or un- 
 conscious. 
 
 '^Thought" impressions, therefore, cover the widest 
 field of all, and, being more evanescent in their nature 
 than the others, are properly the main consideration 
 in memory culture. 
 
 The impressions w^hich are the most readily treas- 
 ured in the memory are those of Sight — their reproduc- 
 tion being in general purely mechanical, and the effect 
 imaged forth anew, as it were, upon the retina of the 
 eye, their faithfulness of detail depending chiefly on 
 the attention, or fervor, with which the impressions 
 were first received. The endeavor which we sometimes 
 make to recall sights or scenes once witnessed, is not 
 specifically an exertion of the intellect, but is an at- 
 tempt to put our mind into the same state as when 
 the original impression was formed; and it is upon 
 the degree of success which we attain in such efforts 
 that depends the integrity with which impressions are 
 revived ; that fact is true not only in regard to impres- 
 sions of things seen, but also has a bearing with respect 
 to all other departments of memory. 
 
 ^^Sound'' impressions come next to those of Sight in 
 the permanence with which they establish themselves 
 in the memory; and that they are thus secondary to 
 the impressions of Sight is due chiefly to two causes: 
 
136 THE ART OF MEMORY. 
 
 In the first place, there are not the possibilities of 
 variety, at least of pleasure few will deny or question, 
 in Sound impressions that exist in those of Sight — and 
 thus the element of interest, or curiosity (so valuable 
 as an aid to the memory), is not exerted to the same 
 extent in the former as in the latter case, to stimulate 
 the retentive powers of the memory. In the second 
 place, what is heard cannot produce as clear an im- 
 pression as what is seen — ^the receptive powers of the 
 eye being, appropriately in the conditions of man's en- 
 vironment, superior to those of the ear^ — therefore the 
 reproduction cannot be as vivid, and as faithful in 
 detail. 
 
 Except where otherwise indicated, as in the next 
 illustration, in the generic comparisons made in the 
 chapter between Sight and Sound impressions, it is 
 understood that both are placed on the same basis — 
 the impression in each case being considered as senso- 
 rial merely, and not as involved in its incidence with 
 circumstances of acute emotion or any more than the 
 most minor necessarily coincident exercise of the intel- 
 lectual faculties: thus Sounds, so combined as to repre- 
 sent Ideas, as in the case of oral utterance, are, as to 
 proper perception, blended with Thought impressions,, 
 and accordingly when incident conformably to the 
 conative impulse do not create sensations which are 
 independent of those impressions, nor may their recol- 
 lection become so while the latter remain in the mem- 
 ory; so that Sound impressions are not in general to 
 be understood as including anything which expresses 
 Ideas any more than are those of Sight. 
 
CLASSIFICATION OF MEMORY. 137 
 
 A realizing sense of the relative permanence of 
 Sight, Sound, and Thought impressions may be at- 
 tained without limiting ourselves to those just referred 
 to as occurring practically separate, by taking a mental 
 review of the experiences of early years. Of what we 
 saw we find a great deal impressed on our memory in 
 most vivid and enduring colors — but how much, com- 
 paratively, does the memory retain of the sounds we 
 heard? — forgotten, probably, are even the voice tones 
 we once knew and loved. A few stray chords of lul- 
 laby, or the like, may still respond to recollection, it 
 is true — but when summed up, how little they all 
 amount to, compared with the memories of what we 
 saio! — And the thoughts that passed through our mind 
 — what do we remember of them? and to what a very 
 trifling extent can we reproduce those same thoughts 
 at will! 
 
 Let us take another and more distinctly specific il- 
 lustration: A person starts off for a pleasant foot- 
 jaunt, purposing to treasure in his memory all that he 
 can regarding the scenes and incidents of his stroll — 
 what he shall see and hear and think. He ranges 
 among hills and valleys, through woods and along 
 streams, feasting his vision on picturesque landscapes 
 and wandering amid varied scenes of sylvan and other 
 rural beauty. In after-time what will he remember 
 best — that which was seen, or what was heard, or the 
 appropriate reflections which passed through his mind 
 during the excursion? 
 
 To all that there is but one answer: The Sight im- 
 
138 THE ART OF MEMORY. 
 
 pressions will be by far the most vivid and permanent 
 of all, the Thought impressions the least so; the mem- 
 ory being thus proved to require a greater amount of 
 cultivation for the retention of the latter, than in the 
 case of either of the other two classes. 
 
 Things that we have seen require but little asso- 
 ciation with aught heard or thought, to be revived in 
 the memory — while sounds heard, unless familiarized 
 by repetitions, need to be more or less associated in 
 memory with the surroundings or accompaniments of 
 their incidence in order to be remembered with any 
 degree of ac^curacy. Thus, an event occurs in our ex- 
 perience which produces a very deep impression on our 
 mind at the time. In recalling it afterwards, that 
 which we saiv comes first to our memory, that which 
 we heard next, and what we tliougM last — the Sight im- 
 pressions being the most independent of all, as well 
 as the most lasting, while it is usually extremely diffi- 
 cult to revive a particular train of thought in the mind 
 after a lapse of any considerable length of time; there- 
 fore Thought impressions require by far the greatest at- 
 tention in memory culture — for that which instinctive- 
 ly or unconsciously engraves itself upon the memory is 
 naturally far more easily reproduced than that which 
 ordinarily depicts itself only in transitory and soon fad- 
 ing colors and must depend for its revival on a sheer 
 effort of the will, necessarily more strenuous by far if 
 without the reinforcement of a systematic association 
 of the original ideas, or impressions. 
 
 But while it is true that anything seen, heard or 
 
CLASSIFICATION OP MEMORY. 139 
 
 thought creates its own proper sensation, yet the sen- 
 sations often mingle with each other so indistinguish- 
 ablj in their incidence that they seem, at the time, as 
 if blended in one impression. That semblance exists 
 only at first, however — the impressions, as time pro- 
 gresses, becoming more and more separated in the 
 memory according to their respective degrees of vital- 
 ity; those which are the most enduring in their na- 
 ture remaining delineate in spite of the disintegrating 
 hand of Time, and those which are the most evanescent 
 gradually becoming less distinct in their features and 
 depending chiefly on association with other impressions 
 for their recognition and availability. 
 
 It is the province of mnemonics to equalize the va- 
 rious classes of impressions as much as possible — or 
 rather, to lift the lower up towards the higher — to 
 increase the vitality of that which has inferior powers 
 of endurance — to strengthen this and that weak place, 
 so that what is ephemeral may become more lasting — • 
 that which is inherently weak may be made more 
 strong — the mediocre be made to reach toward the ex- 
 cellent. 
 
 On the theory that all impressions are more or less 
 blended together, some mnemonicians have divided 
 memory into only two kinds — Mechanical and Intel- 
 lectual. Others have classified it into "Topical,'' or 
 the recollection of events in the order in which they 
 happened; "Eote," or the remembrance of anything 
 spoken or written in the exact phraseology in which it 
 was uttered or read; "Intellectual,'' or the recollection 
 
140 THE ART OF MEMORY. 
 
 of anything by noting its resemblance to something 
 else already in the memory; and ''Imaginative/' or the 
 power of imaging forth in the mind past sensations 
 in their original form, or nearly so. 
 
 The latter is undoubtedly a logical (though it be 
 not a scientific) classification, considering memory in 
 the broad sense of a blended or compound impression, 
 — for inter alia, it is manifest that events in which we 
 have personally participated are the most easily rec- 
 ollected of all, while the reproduction of a former state 
 of mind is the most difficult — those two representing 
 the lowest and highest grades of memory power. But 
 on the basis of that classification it would seem diffi- 
 cult to construct a practical memory system whose mas- 
 tery w^ould enable the, average individual to materially 
 improve his memory powers in the especial lines in 
 which he might be interested; a classification of mem- 
 ory by grades rather than hinds, though accompanied 
 with hints or suggestions on how to advance from one 
 grade to another, can prove of but little practical bene- 
 fit in improving the memory. 
 
 ''Imaginative" memory, as above defined, cannot be 
 possessed by the average individual — it can belong 
 only to genius — and the man of genius "is born, not 
 made.'' A graded classification of memory, and gen- 
 eral hints on the cultivation of that faculty, do not 
 suffice for its development from the practical, individ- 
 ual, standpoint. It is not enough that the student 
 should be told that the various grades of memory are 
 thus and so — that one particular grade is the lowest, 
 
CLASSIFICATION OF MEMORY. 141 
 
 and some other one the highest ; and that he may start 
 at the lowest round of the ladder of Memory, and by 
 attention and perseverance be assured of eventually 
 reaching the top. Practically regarded, such teaching 
 is what makes the "jack-of -all-trades, the master in 
 none" of real mnemonics' diverse curric'ula. General 
 suggestions for improving the memory might indeed 
 be given w^hich would be not without value — but that 
 is not enough; there should be specific directions for 
 the cultivation of each department of memory, so that 
 the student may know just what to do in order to 
 develop any particular branch that he desires; and 
 while there are but three main channels by which most 
 impressions reach the memory, yet memory has many 
 subdivisions; and as it is one of the peculiarities of tlie 
 mental oy^ganization, that the cultivation of one generic 
 h^anch of memory is of little or no assistance in the im- 
 provement of another, it follows that each department of 
 memor}" should be considered by itself — by which 
 means, moreover, the memory student will be enabled 
 to first attain practical results of benefit and efficiency 
 in the particular branches in which he is especially in- 
 terested. 
 
 For the essential purposes of memory education it 
 is not strictly necessary that the various classes of im- 
 pressions (differentiated as to channels) should be con- 
 sidered separately — for the impressions which are most 
 worthy of being treasured in the memory are really 
 those which are a combination of two or more classes: 
 thus, the particulars of a lecture are better remem- 
 
142 THE ART OF MEMORY. 
 
 bered when the lecture is illustrated than when it is 
 not; the retention in the memory of the details of a 
 musical entertainment is assisted by the sight of the 
 surroundings and by the individualities of the perform- 
 ers; in reading a narrative, the scenes and incidents 
 are more easily impressed on the memory if the book 
 is replete with illustrations than as if it is without 
 them. 
 
 For the purposes of memory culture, then, we will 
 consider memory as being a combination of two or more 
 classes of impressions, and proceed to ascertain how 
 many Jcinds of memory are recognizable — in other 
 words, to resolve it into various divisions and subdivi- 
 sions, so that we may be the better able to determine 
 specifically what is desirable of accomplishment in 
 memory development, and then see about the adoption 
 of practical means for attaining the end sought. 
 
 Memory may be separated into the following gen- 
 eral divisions: 
 
 Locality. Discourse. 
 
 Form. Literature. 
 
 Color. Diction. 
 
 Figures. Proper names. 
 
 Events. Music. 
 
 Facts. 
 Those various divisions or departments of memory 
 will be considered in the pages which are to follow, 
 and rules and suggestions given for cultivating each 
 particular branch — all of which are offered after the 
 expenditure of many years of earnest research, reflec- 
 
CLASSIFICATION OF MEMORY. 143 
 
 tion, and experiment, and in the firm conviction that 
 by a faithful observance of the methods thus set forth, 
 the powers of the memory will in each case be strength- 
 ened and expanded in a multiplied and continually in- 
 creasing degree — and not to the detriment of intel- 
 lectual growth, but to its positive and material en- 
 hancement, leading to a larger manhood. Each in- 
 dividual who by such or other means awakens within 
 himself a broader mind, with its just concomitant, a 
 nobler, a better-developed soul, by so improving him- 
 self must necessarily, in some degree at least, raise 
 the level of his kind — helping to forge ^'sl closer link 
 betwixt us and the croioning race^^ which slowly evolv- 
 ing humanity shall be in some far-off time — 
 
 "Of those that, eye to eye,, shall look 
 On knowledge; under whose command 
 Is Earth and Earth'^s, and in their hpnd. 
 Is Nature like an opeit bcK)k," 
 
CHAPTER VIII. 
 
 LOCALITY. 
 
 "How we deliglit to Tbiiild our recollections npon some basis of 
 reality— a place, a country, a local habitation!" 
 
 Washington Irving. 
 
 That department of the memory through whose func- 
 tion a place or locality once seen may be readily rec- 
 ognized on being visited afterwards, is termed ^^Local- 
 ity'' memory. It includes not only the remembrance, 
 in a general way, of the locality itself, but also of the 
 surroundings in all their essential details, so that a 
 route once traversed can be retraced without hesitation 
 at any subsequent time. 
 
 The memory of locality perhaps comes nearest to 
 being instinctive of all departments of the memory. 
 Certain animals, birds, and even insects, possess this 
 faculty in a marvelous degree. Bears, tigers, wolves, 
 panthers, and other predatory animals, are able to 
 travel long distances from their favorite haunts and to 
 return with speed and certainty. Dogs and cats have 
 
 (144) 
 
LOCALITY. 145 
 
 the faculty of "locality memory'' developed in perhaps 
 a higher degree than any others among the domestic 
 animals. Numerous instances are known of dogs be- 
 ing conveyed many miles from home by strange routes, 
 and of finding their way back with the utmost readi- 
 ness. Cats also have a wonderful instinct for returning 
 to a familiar spot, even though carried long distances 
 away, through wholly unfamiliar scenes. Kobins, af- 
 ter flying many hundreds of miles to the southward on 
 the approach of winter, have returned to the same spot 
 in the following spring. The remarkable memory of 
 locality possessed by the carrier pigeon is also well 
 attested. Bees frequently fly miles away from their 
 Mve in search of honey, but who ever heard of their 
 failing to return home through forgetfulness of its lo- 
 cation? 
 
 Tartars, Bedouins, Gypsies, and other nomadic 
 tribes possess "locality memory" in a wonderful de- 
 gree. American Indians find their w^ay with the ut- 
 most ease — whether it be on the boundless plain or in 
 the trackless forest; and the remarkable experiences 
 of distinguished travelers and explorers such as Marco 
 Polo, Burton, Speke, Livingstone, Stanley and many 
 others, bear abundant evidence of similar abilities pos- 
 sessed by the Caucasian race; — and who is not fa- 
 miliar with the name of "Kit'' Carson, the famous scout 
 and explorer of the far West who flourished in the 
 "forties" and "fifties," and who proved of infinite serv- 
 vice to the "Pathfinder" in many of hi^ explorations? 
 
 10 
 
146 THE ART OF MEMORY. 
 
 Louis XIII. could, after a year's absence, draw from 
 memory the plan of a country, in all its details. 
 
 Gen. Custer had an extraordinary memory for lo- 
 cality. The physical features of a place once visited 
 by him remained firmly fixed in his memory, as he 
 abundantly proved at various times during the great 
 Civil War. In 1861 he was on the staff of Gen. Banks 
 when the latter was stationed in the Shenandoah Val- 
 ley, which was then a network of bridle-paths and 
 blind roads, that an average man could hardly hope to 
 become acquainted with in years. In 1864 Custer was 
 again sent to the same locality with orders to devastate 
 the valley, destroy the food supply of the enemy, .and 
 harass him in other ways. 
 
 One of Custer's associates tells of an occasion when 
 the general had received information that a body of 
 Confederates was in a certain locality, and determined 
 upon their capture if possible. One of the first ques- 
 tions was as to the proper route to be taken. No one 
 seemed to know, and no guide could be procured. Cus- 
 ter, however, was equal to the emergency. Placing 
 himself at the head of a detachment of troops, he 
 marched on the main road until arriving at a certain 
 bridle-path, into which he turned and made a short 
 cut across the country, arriving at Fort Koyal at about 
 6 p. m. Here it was necessary to cross a fork of the 
 Shenandoah Eiver, but unfortunately for their purpose, 
 the bridge situated at this point had been burned only 
 an hour or so previously by the Confederates, just 
 after having crossed it. Custer, however, had been 
 
LOCALITY. 147 
 
 there before, and remembered that there was a ford 
 not far off. It was soon discovered about half a mile 
 above the bridge, and the troops w^ere thus enabled 
 to cross the stream without difficulty. A new perplex- 
 ity then arose. A mountain must be climbed which 
 was covered with timber, with no indication of a road 
 or path. Custer without hesitation led the way for 
 another half-mile up-stream until reaching what looked 
 like a rift in the mountain, but which proved to be an 
 old road, rough and seldom used. The ascent com- 
 menced and the journey was continued through most 
 of the night, the progress of the troops being impeded 
 not a little by boulders and fallen trees. But the long 
 and wearisome march was at last rewarded by the cap- 
 ture of the w^hole band of Confederates, who, deeming 
 themselves perfectly secure, were completely sur- 
 prised in their camp just before daybreak, valuable 
 stores and several pieces of artillery being also taken. 
 These illustrations serve to show that while "lo- 
 cality memory'' is, in a great measure, instinctive, yet 
 that it may be cultivated to a remarkable degree, even 
 in cases where there seems to be no natural aptitude 
 for recognizing places. The extraordinary memory of 
 locality possessed by some of the world's greatest trav- 
 elers and explorers could not have been attained ex- 
 cept by severe self -discipline; what is largely instinct- 
 ive in others came to them mainly through close, in- 
 telligent observation — ^and perseverance. Not every 
 one, it is true, can be a Custer, a Du Chaillu, a Mungo 
 Park, or a Daniel Boone — but excellent "locality mem- 
 
148 THE ART OF MEMORY. 
 
 ory,'' sufficient for all uses that are likely to ever occur, 
 may be acquired by almost any intelligent person who 
 properly directs his energies to its attainment. 
 
 And now as to the method: 
 
 In the first place, habits of observation must be cul- 
 tivated; the eyes must always be alert to notice es- 
 sential details of the surroundings — that is, the fea- 
 tures which are of a passive or permanent character, 
 rather than those of an active or changeable nature, 
 for ^^locality memory" deals with the inert^ and not the 
 animate — with tilings, and not with persons or crea- 
 tures. 
 
 But, even with fairly trained habits of observation, 
 it is not the same thing to thread one's way amid the 
 crowded thoroughfares of a great city, as to success- 
 fully direct his footsteps in the forest, on the plains, 
 or among mountain fastnesses. The inhabitant of a 
 city, though he may be familiar with the devious wind- 
 ings of its streets, easily gets lost among the solitudes 
 of Nature; the denizen of the woods, prairies, or 
 mountain retreats loses his "bearings" on attempting 
 to penetrate the mazes of a Boston, a London or a 
 Rome. The citizen, unused to guiding his course by 
 the points of compass, is apt, in a strange place, to be 
 "turned around;" the woodsman is likely to be em- 
 barrassed by the strangeness of his environment when 
 in a large city; he becomes confused by the ceaseless 
 motion of the vast throng that surrounds him. A dif- 
 ferent kind of observation is required in one case, 
 from the other, and proficiency in either can be gained 
 only by diligent practice. 
 
LOCALITY. 149 
 
 The untutored savage, however, can learn to find 
 his way, even in such a labyrinth as Boston, far more 
 readily than can the city-bred person retrace his steps 
 on the silent plain or through the lonely forest — for 
 the training of the former has been more thorough; he 
 has traveled miles while the other has traveled only 
 rods; he had many physical obstacles to contend against 
 which have been of material assistance in the educa- 
 tion of his powers of observation, while the other's 
 perplexities in that regard have been but few. 
 
 In the acquirement of "locality memory," the most 
 vital requisite of all is — observation, which is, in fact, 
 the foundation-stone. Before a journey is undertaken 
 whose course is not familiar, a map of the proposed 
 route should be obtained if possible and thoroughly 
 studied, particular note being taken of the location of 
 mountains or lakes , the trend of plains or forests, and 
 the course of valleys or streams. During the journey 
 the scenery at various points should be closely ob- 
 served — especially any conspicuous objects that pre- 
 sent themselves, such as large trees, rocks, etc. If 
 there are intersecting roads or trails, their direction 
 should be carefully noticed, and after passing them 
 the traveler should turn around and look at them as if 
 approaching from that direction — being the return 
 view. After the day's journey is ended it is w^ell to 
 make a rough plan or sketch of the route traveled, as 
 that will be a most efficacious means of impressing it 
 on the memory. 
 
 One of the most difficult things for any except an 
 
150 THE ART OF MEMORY. 
 
 experienced traveler is to walk in a straight line. There 
 is a strong tendency in most people to keep curving to 
 the rights until, ultimately, a person may travel a com- 
 plete circuit, returning to the place from whence he 
 started, as has been known to occur in experience. This 
 tendency can be counteracted in two ways: First, by 
 adhering rigidly to the geographical course determined 
 upon, using as a guide either the sun, a star, or the 
 magnetic needle. Second, on determining the course 
 to be taken, the eye should be fixed on as distant a 
 point as practicable and the steps directed towards 
 that spot, without swerving to either the right or left; 
 as the point is neared another point on the same 
 straight line and farther on, should be sought by the 
 eye — this plan being continued while the same course 
 is maintained. On going over a hill it is an excellent 
 plan to take three poles or sticks and place them on 
 the course that is being traveled, sighting them in care- 
 fully so that they shall be in a perfectly straight line 
 — then to take the last one and place it in front of the 
 others, and continue the same process until some con- 
 spicuous point can be sighted beyond the hill, to which 
 the steps should be directed as before. In either of the 
 above ways the tendency to keep turning to the right 
 may be effectually counteracted. 
 
 The inexperienced traveler, finding his course ob- 
 structed by a lake or swamp, which he must go around, 
 seldom travels far enough; and then, having, as he 
 thinks, attained his course on the opposite side, he de- 
 
LOCALITY. 
 
 151 
 
 fleets too mueh towards the direction which he took 
 in starting to go around. 
 
 The following diagram illustrates this error — A B 
 € D indicating the route naturally taken by the unprac- 
 
 B-- — 
 
 A 
 
 iiced traveler — and it is an error commonlv made when 
 proper precautions are not taken. The way to obviate 
 it is as follows: On approaching such an obstruction 
 the line or course should be produced by the eye 
 across the lake or swamp, and some prominent object 
 sought for on the line thus projected, or as near to it 
 
152 THE ART OF MEMORY. 
 
 as possible. At the same time some conspicuous object 
 should be selected or placed near the observer, which 
 can be seen from the other side when it shall haA^e 
 been reached; by these means the desired point may be 
 attained to and the direction preserved — the further 
 production of the line or course being easy. 
 
 The person who is journeying amid strange scenes 
 should take especial care not to lose sight of the points 
 of compass, for this knowledge is indispensable to the 
 traveler w^ho would direct his course in an intelligent 
 manner. 
 
 To determine the direction which is to be traveled, 
 any one of several means may be employed. The most 
 reliable guide is a compass, which should be kept 
 within easy reach at all times. 
 
 In order to use a compass intelligently it is neces- 
 sary to bear in mind that the needle points, not to the 
 true pole, but to the magneMc pole. The North mag- 
 netic Pole is about 1,360 miles from the North true 
 Pole, and the South magnetic Pole about 1,150 miles 
 from the South true Pole. On account of this differ- 
 ence in the position of the magnetic and true poles, 
 there are but few well-known points on the earth's 
 surface where the magnetic needle points exactly to 
 the north or south, and thus it is essential to know 
 approximately how far east or west of d*ue north or 
 south the needle points — in other words, what is its 
 variation. 
 
 Here is a table showing the variation of the mag- 
 netic needle at several points on the earth's surface: 
 
LOCALITY. 15S^ 
 
 NORTHERN HEMISPHERE. 
 
 Pekin, 3° 00' West. 
 Calcutta, 2° 54' East. 
 Bombaj^ 0° 47' East. 
 Constantinople, 3° 56' West. 
 St. Petersburg, 0° 24' East. 
 Berlin, 9° 52' West. 
 Rome, 10° 20' West. 
 Paris, 15° 00' West. 
 London, 16° 36' West. 
 New York, 8° 48' West. 
 Chicago, 3° 36' East. 
 St. Paul, 8° 50' East. 
 Helena, 19° 32' East. 
 Denver, 13° 50' East. 
 San Francisco, 16° 36' East. 
 New Orleans, 5° 36' East. 
 Galveston, 7° 05' East. 
 
 SOUTHERN HEMISPHERE. 
 
 Melbourne, 8° 08' East. 
 
 Cape Town, 29° 06' West. 
 
 Buenos Ayres, 9° 10' East. 
 
 Valparaiso, 14° 49' East. 
 
 If the traveler does not possess a compass, the sun 
 or a star may be used as a guide; when they are ob- 
 scured the base of the largest trees should be exam- 
 ined for moss, which, when found, will be noticed 
 
154 THE ART OF MEMORY. 
 
 growing mostly on the side which is shielded from the 
 sun's rays — viz., the north side of the tree in the 
 Northern hemisphere and on the opposite side in the 
 Southern. The proper way to use the sun as a means 
 by which to indicate a particular point of compass will 
 Tbe explained in a subsequent part of this chapter. 
 
 The method of using a star to establish a designated 
 course is, generally speaking, the most reliable of all. 
 The ability to travel in any desired direction by aid 
 of stars is of incalculable advantage to the traveler, 
 and the subject is therefore deemed worthy of especial 
 mention in this connection. 
 
 Among the stars in the northern celestial hemis- 
 phere, Po/aris (commonly termed the North, or Pole, 
 Star) is the most useful to the traveler, as it never va- 
 ries more than 1° 15' from true north, and can be 
 easily located by means of the group of stars known 
 as the "Dipper,'' or "Charles' Wain," comprising the 
 most prominent portion of the constellation TJrsa Major 
 ("Great Bear"). The Dipper is composed of seven 
 stars, of which a diagram is here given, showing the 
 relation of Polaris thereto. The star represented by D 
 in the accompanying diagram is of the fourth magni- 
 tude; G and all of the others, including Polaris, are of 
 the second magnitude. The two stars farthest from 
 the handle of the "Dipper" (F and G) are termed the 
 ^^indices," or "pointers;" if produced about five times 
 the distance from F to G, the line will be to the left 
 of Polaris about half the distance between F and G. 
 (It may here be remarked that Polaris is one of the 
 
LOCALITY. 155 
 
 seven principal stars in the constellation Ur^sa Minor — 
 "Little Bear'' — being at the tip of the tail). 
 
 The following diagram shows the relative position 
 of the various stars forming both Ursa Major and Ursa 
 Minor : 
 
 # 
 
 * 
 
 * 
 
 ^ i 
 
 J 
 I 
 » 
 
 I 
 
 I 
 I 
 
 I 
 I 
 J 
 I 
 
 I 
 J 
 I 
 I 
 I 
 I 
 I 
 
 I 
 I 
 I 
 I 
 
 J 
 
 J 
 
 ^ 
 
 *^ 
 
 9k' 
 
 ^' 
 
 £ 
 
 4^ 
 
 hi/i/f/s- 
 
 All stars whose distance from the pole of the heav- 
 ens is less than the latitude of the place of observa- 
 tion, seem to move in a circle around that point once in 
 each day, a star at or very near the pole appearing 
 fixed. Polaris is so near the pole as to appear fixed 
 
156 THE ART OF MEMORY. 
 
 and serves all practical purposes, as far as the North- 
 ern hemisphere is concerned, to mark a north or south 
 direction, and it is easily located. To an observer at 
 the equator, Polaris appears close to the horizon, never 
 rising more than 2° above it. In latitude 30° north it 
 appears very nearly one-third of the distance from the 
 horizon to the zenith; at 45°, nearly half way — and so 
 on; at the North Pole it would appear almost directly 
 
 
 0^T^^ ^iP^'-^'' 
 
 overhead. In the Southern celestial hemisphere there 
 is no conspiclious star near the pole, but there is a 
 prominent constellation called the ^'Southern Cross," 
 consisting of four principal stars (a diagram of which 
 is here given), the constellation being considered as 
 on the meridian, above the Pole. Beta and Gamma are 
 of the second magnitude. Delta of the third, and Alpha 
 Crucis of the first magnitude — being also the one near- 
 est to the South Pole. 
 
 The principal star of this constellation (Alpha Cru- 
 
LOCALITY. 
 
 157 
 
 eis) can be made use of to ascertain any given direc- 
 tion from February 1st until about July 20th — it be- 
 ing below the horizon at night during the remainder 
 of the year. As this star is situated some distance 
 from the Southern Pole of the heavens, and is there- 
 fore constantly changing its apparent position, it is 
 necessary to know the month, day and hour when the 
 observation is taken, as well as the approximate lati- 
 tude, in order to determine how many degrees east or 
 west of the meridian the star is situated when observed. 
 Tables are here given of the angular distance of 
 Alpha Crucis east or west from the meridian on the 
 first of the month indicated, at 10 p. m., in various 
 latitudes. This angular distance is called the ^^ Azi- 
 muth," and is measured on the horizon from the meri- 
 dian to a point perpendicular to the star observed. 
 The altitude of Alpha Crucis at each of the above dates 
 is also given — ^the knowledge of w^hich will be of as- 
 sistance in its location. (The ^^Meridian" is a North 
 and South line, which the sun crosses at mid-day. The 
 ^'Altitude" of a star is its angular distance above the 
 horizon — the distance from the horizon to the zenith 
 being 90°.) In all cases the nearest degree is given, 
 and the time is Hocal,'^^ mean time. 
 
 
 Equator. 
 
 Lat. 10° S. 
 
 Lat. 20° S. 
 
 Lat. 30° S. 
 
 Lat. 40° S. 
 
 Date. 
 
 
 
 
 
 
 Azlm 
 
 Alt. 
 
 Azim. 
 
 Alt. 
 
 Azim. 
 
 Alt. 
 
 Azim. 
 
 Alt. 
 
 Azim. 
 
 Alt. 
 
 T^eb.l 
 
 27° E. 
 
 3° 
 
 28° E. 
 
 12° 
 
 30° E. 
 
 20° 
 
 32° E, 
 
 29° 
 
 36° E. 
 
 38° 
 
 March 1 
 
 23° E. 
 
 15° 
 
 25° E. 
 
 24° 
 
 28° E. 
 
 33° 
 
 31° E. 
 
 42° 
 
 38° E. 
 
 50° 
 
 April 1 
 
 12° E. 
 
 25° 
 
 13° E. 
 
 34° 
 
 15° E. 
 
 44° 
 
 18° E. 
 
 54° 
 
 26° E. 
 
 63° 
 
 May 1 
 
 3°E. 
 
 28° 
 
 3°W. 
 
 37° 
 
 3°W. 
 
 47° 
 
 4°W. 
 
 57° 
 
 6° W. 
 
 67° 
 
 June 1 
 
 17° W. 
 
 22° 
 
 18° W. 
 
 31° 
 
 21° W. 
 
 41° 
 
 25° W. 
 
 50° 
 
 33° W. 
 
 59° 
 
 July 1 
 
 25° W. 
 
 12° 
 
 26° W. 
 
 21° 
 
 29° W. 
 
 31° 
 
 32° W. 
 
 44° 
 
 37° W 
 
 48° 
 
158 THE ART OF MEMORY. 
 
 Should the observation occur at any other date or 
 in any other latitude than that given in the table, the 
 proper angle can be easily ascertained by a simple pro- 
 portion, thus: Suppose the observation were taken on 
 April 15th, in Latitude 25° S. In Lat. 20°, on AprU 
 1st, Alpha Crucis is 15° east of due South; on May 1st,, 
 it is 3° west; on April 15th, therefore, the angle would 
 be half way between the two — or 6° east. In Lat. 30° 
 the angle on April 1st, is 18° east; on May 1st, it is 4^ 
 west; on April 15th, therefore, it is 7° east. The de- 
 flection for Lat. 25° would thus be half way between 
 6° east and 7° east, being 6° 30' east. 
 
 For any other date or latitude the angle may be 
 ascertained by proportion, in the same manner. 
 
 As a guide for the remainder of the year, a very 
 bright star named Fomalliaut is selected, the hour of 
 observation being the same as in the case of Alpha 
 Crucis (10 p. m.). 
 
 Fomalhaut is a first magnitude star in the constel- 
 lation known as Piscis AustraUs (^'Southern Fish"). 
 It can be easily identified by its altitude above the ho- 
 rizon at the time of observation — that being the 
 brightest star south of an east and west line at the 
 altitudes given, and east or west of the meridian on the 
 dates mentioned. As there are only nineteen first- 
 magnitude stars in both the Northern and Southern 
 celestial hemispheres, the identification of either Fo- 
 malhaut or Alpha Crucis at any period when either is 
 visible will be easy. 
 
LOCALITY. 
 
 159 
 
 The table of Azimuths and Altitudes for Fomalhaiit 
 is here given: 
 
 Date. 
 
 Equator. 
 
 L.at. 10° S. 
 
 Lat. 2l)° S. 
 
 Lat. 30° S. 
 
 Lat. 40° S. 
 
 Azim. 
 
 Alt. 
 
 Azim. 
 
 Alt. 
 
 Azim. 
 
 Alt. 
 
 Azim. 
 
 Alt. 
 
 17° 
 37° 
 63° 
 88° 
 66° 
 41° 
 3° 
 
 Azim. 
 
 Alt. 
 
 July! 
 
 Aug. 1 
 
 Sept. 1 
 
 Oct. 1 
 
 Nov. 1 
 
 Dec. 1 
 
 Jan. 1 
 
 6U°E. 
 57° E. 
 42° E. 
 4°E. 
 39° W. 
 56° W. 
 87° W. 
 
 0° 
 
 24° 
 47° 
 60° 
 50° 
 28° 
 2° 
 
 60° E. 
 61° E. 
 51° E. 
 6°E. 
 48° W. 
 61° W. 
 87° W. 
 
 8° 
 29° 
 54° 
 70° 
 57° 
 33° 
 
 2° 
 
 62° E. 
 66° E. 
 64° E. 
 11° E. 
 63° W. 
 67° W. 
 88° W. 
 
 12° 
 33° 
 58° 
 80° 
 63° 
 37° 
 2° 
 
 64° E. 
 73° E. 
 82° E. 
 84° E. 
 82° W. 
 75° W. 
 88° W. 
 
 68° E. 
 
 80° E. 
 101° E. 
 169° E. 
 104°W. 
 
 82° W. 
 
 88° W. 
 
 21° 
 
 39° 
 87° 
 80° 
 65° 
 48° 
 3° 
 
 TJie following tables will also be of interest in con- 
 nection with the above, showing the time of day at 
 which each of the stars is on the meridian, or due 
 South from the observer: 
 
 ALPHA CRUCIS. 
 
 FOMALHAUT. 
 
 Date. 
 
 Hour. 
 
 Date. 
 
 Hour. 
 
 Februarj" 1 
 
 3:30 A. M. 
 1:40 A. M. 
 11:42 P. M. 
 9:43 P. M. 
 7:41 P. M. 
 5:43 P. M. 
 
 August 1 
 
 2:08 A. M. 
 
 March 1. .... 
 
 September 1 
 
 0:05 A. M. 
 
 April 1 
 
 October 1 
 
 10:11 P. M. 
 
 May 1 
 
 June 1 
 
 Novem.ber 1 
 
 8:09 P. M. 
 
 December 1 
 
 6:12 P. M. 
 
 July 1 
 
 January 1 
 
 4:08 P. M. 
 
 
 
 Another way of finding any required course is by 
 knowing its angular distance from the direction of 
 the setting sun. There are two periods in the year 
 when the sun rises exactly in the east and sets exactly 
 in the west — at the time of the equinoxes, in March 
 
160 
 
 THE ART OF MEMORY. 
 
 and September; at all other times the sun rises and 
 sets either north or south of due east or west. 
 
 A table is here given of the angular distances of 
 the sun, at sunset, from the Southern point of the 
 heavens for various latitudes in the Southern hemis- 
 phere, on the first of each month; the angle for any 
 other date and latitude can be estimated by propor- 
 tion, as before illustrated. 
 
 For example: On the equator, on Jan. 1st, the an- 
 gle formed by the setting sun v\^ith a due South line 
 is 67°; in other words, the traveler would face the sun 
 and turn off an angle to the left of 67°, which would 
 indicate a true South course — or 113° turned to the 
 right would give a due North course. 
 
 On the same date, in 40° S. Lat., the angle of sunset 
 with due South would be 59°: In the same latitude, 
 180° less 59° (or 121°) would indicate the angle of 
 sunset with due North. 
 
 SUNSET AZIMUTHS, 
 
 Date. 
 
 Lat. 
 
 Lat, 
 20°. 
 
 Lat. 
 40°. 
 
 Lat. 
 60°. 
 
 Date. 
 
 Lat. 
 
 o° 
 
 Lat, 
 20°. 
 
 Lat. 
 40°. 
 
 Lat. 
 60°. 
 
 Jan. 1 
 
 67° 
 
 65° 
 
 59° 
 
 48° 
 
 July 1 
 
 113° 
 
 114° 
 
 120° 
 
 142° 
 
 Feb. 1 
 
 73° 
 
 72° 
 
 67° 
 
 54° 
 
 Aug. 1 
 
 108° 
 
 109° 
 
 114° 
 
 128° 
 
 Marcli 1.. 
 
 83° 
 
 82° 
 
 80° 
 
 75° 
 
 Sept. 1..., 
 
 98° 
 
 98° 
 
 100° 
 
 106° 
 
 April 1.... 
 
 95° 
 
 95° 
 
 96° 
 
 100° 
 
 Oct, 1 
 
 94° 
 
 860 
 
 85° 
 
 830 
 
 May 1 
 
 105° 
 
 106° 
 
 no° 
 
 122° 
 
 Nov. 1 
 
 105° 
 
 74° 
 
 71° 
 
 60° 
 
 June 1 
 
 112° 
 
 114° 
 
 119° 
 
 139° 
 
 Dec, 1 
 
 112° 
 
 67° 
 
 61© 
 
 42° 
 
 Having thus obtained the angle of the stars men- 
 tioned, or of the sun, with reference to the South point 
 of the horizon for the latitude and date required, the 
 
LOCALITY. 161 
 
 next thing is to determine the true North and South 
 course, and, in the absence of any instrument for meas- 
 uring angles, the following simple plan is recom- 
 mended: It is a geometrical fact that a triangle with 
 sides of 3, 4 and 5, or any multiple thereof, is right- 
 angled. Bearing this in mind, the observer should 
 first drive a stake into the ground at A in the accom- 
 panying diagram; then drive another stake at B 30 
 feet distant from A and on line with the star Alpha 
 Crucis, or Fomalhaut, as the case may be. Another 
 stake should next be temporarily driven at C 40 feet 
 from A as nearly at a right angle with A B as can be 
 estimated; if correctly placed, the distance from B to 
 C is 50 feet, and the interior angle at A is an exact 
 right angle, or 90°. 
 
 The next step is to measure on the line A B 57.3 
 feet (or 57 feet 3^ inches) and drive another stake (D), 
 and do the same on the line A C, driving a stake (E). 
 Then the point A should be used as a centre — A D be- 
 ing the radius — and an arc described from D to E ; this 
 arc, it will be found, measures 90 feet, each foot of 
 which represents a degree; then, from D measure on 
 the line D E the number of feet corresponding to the 
 number of degrees that Alpha Criicis, or Fomalhattt, is 
 from the meridian; the point thus fixed (F) and A repre- 
 sents a due North and South course, from which any 
 direction desired can be marked off in the same way; 
 in case it is not convenient to use English feet as a 
 measure, any other unit of measure will answer. 
 
 With the knowledge of the angle at which the sun 
 11 
 
162 
 
 THE ART OF MEMORY. 
 
 or any star is situated with reference to the meridian, 
 it is no more trouble to mark out a desired course from 
 it than from Polaris, unless a due North or South 
 course is required. 
 
 ^J./^A C/fUC/3 
 
 In the diagram above referred to, and here given, 
 it is assumed for the sake of illustration that Alpha 
 Crucis (or Fomalhaut) is 30° West of the meridian. 
 
 To readily find one's way in the mazes of a large 
 city — while far less difficult than to pick out his route 
 amid the solitudes of mountain, plain, or forest — yet is 
 
LOCALITY. 163 
 
 by no means easy, and proficiency in that regard can be 
 acquired only through carefully trained habits of ob- 
 servation. 
 
 There used to be an Englishman called "Memory 
 Corner Thompson/' who possessed extraordinary pow- 
 ers of observation. In the presence of two gentlemen 
 he drew, in the space of twenty-two hours, and solely 
 from memory, a faithful plan of St. James' and West- 
 minster parishes — also portions of St. Martin, St. Ann 
 and St. Marylebone parishes. Included in this plan 
 were all the streets, courts, alleys, lanes, squares and 
 markets; all the houses of worship and public build- 
 ings; every tree, post and pump, and all the stables 
 and yards — in short, every detail of any significance. 
 
 A party of gentlemen from one of the western 
 states started on a trip to the World's Columbian Ex- 
 position, then in progress, each person providing him- 
 self, before his departure, with a map of the buildings 
 and grounds, and a diagram showing the location of 
 the principal exhibits. On arriving at their destination 
 one of the gentlemen could find his w^ay about the 
 grounds with the utmost ease, without the aid of his 
 map, and was familiar with the location of all the im- 
 portant exhibits and many of the minor ones, and knew 
 where every interesting spot in the grounds was situ- 
 ated — while his companions knew but little of their 
 surroundings, and on that account were compelled to 
 either occupy valuable time in poring over their maps, 
 or else had to rely upon him as their guide — which 
 
164 THE ART OF MEMORY. 
 
 they soon found themselves only too glad to do. Their 
 companion had so familiarized himself with his map, 
 in his leisure moments, that upon arriving on the 
 ground he had little need of the map, as he carried in 
 his memory the location of every gateway, building, 
 bridge or road — in fact, of every prominent object with- 
 in the grounds. While his companions had neglected 
 to study their maps until the immediate necessity 
 should arise, he had studied his map so intelligently 
 and thoroughly that every detail was indelibly im- 
 pressed on his memory, and thus he had a marked ad- 
 vantage over his companions when the time came to 
 make a practical application of what he had memo- 
 rized. 
 
 Here is another illustration. Some years ago a 
 party of American tourists made an extended trip 
 through Europe and certain portions of the Orient. 
 While the trip was an entirely new one to them all, 
 yet one of the party exhibited a familiarity with the 
 various places at which his fellow tourists could not 
 but marvel. On arriving in a strange city he was able 
 to pilot his companions about with a readiness almost 
 equal to that of a native. He knew the location of the 
 most prominent buildings, was familiar with the 
 names and direction of the principal streets, and could 
 travel from one point to another without the slightest 
 hesitation. He also knew the relative situation of vari- 
 ous points, both as to direction and distance; in short, 
 without having had a guide's experience, he seemed 
 
LOCALITY. 165 
 
 to possess the requisite qualifications of one in a re- 
 markable degree. The secret of it all was that, in 
 intervals when there were no more important demands 
 upon his time, he was studying his guide-book, and 
 thus familiarizing himself with the cities and villages 
 which they were to visit, and the routes over whch they 
 were to pass. 
 
 On arriving in a city that he has not visited, the 
 traveler should ascertain which are the most important 
 streets, the loftiest buildings, the tallest spires, the 
 location of the Postofflce and other public buildings, 
 the best known stores and hotels, the principal 
 churches, chief places of amusement, the system of 
 street numbering, where the railroads and main street 
 car lines are located, etc. When all this is known, or 
 the greater part of it, the location of other places and 
 objects becomes easy, for the less is readily remem- 
 bered by knowing its reference to the greater; it is not 
 necessary to know the points of compass — it is usually 
 sufficient to know the relation of the streets of less con- 
 sequence to the principal ones — but it is better to find 
 out the direction of the main streets. 
 
 If the city be of considerable size, to get a pocket 
 map and study it before starting out, will save much 
 time and trouble; the location of one's hotel or place 
 of sojourn should be specially marked on the map; 
 then, on starting off, the surroundings should be 
 carefully noticed; the street number should be jot- 
 ted down in memorv, also the names of the nearest 
 
166 THE ART OF MEMORY. 
 
 cross streets; then, in going about, the traveler should 
 bear in mind how many corners are turned, and wheth- 
 er to the right or left, how various streets intersect, 
 what and where are the prominent landmarks, etc.; 
 one should frequently look backward, so that when 
 the steps shall be retraced various objects may be 
 easily recognized. A person can become pretty well 
 familiarized with a strange city in a very short time, 
 by the exercise of close and intelligent observation — 
 by paying strict attention to whither his footsteps are 
 tending, never allowing the mind to wander, but direct- 
 ing its activities w^hoUy to the matter in hand. 
 
 No faculty which we possess is more deserving of 
 faithful cultivation than Observation. It is the key-note 
 to good ^'locality memory,'^ and becomes of the utmost 
 value while threading the mazes of a great city, or 
 when journeying amid scenes of wild and uncouth life. 
 He who scans closely his surroundings, and notes care- 
 fully where he is going, can scarcely fail to eventu- 
 ally acquire an excellent memory for Locality, and 
 when he shall have once gained it he can rely on its 
 proving a permanent possession- — while he who plods 
 carelessly along, paying little attention to what is 
 about him and whither his footsteps are tending, will, 
 whenever thrown amid strange scenes, be as a child 
 in respect to the strength of his ^^locality memory" — 
 and must ever continue so unless he shall apply him- 
 self sedulously to cultivating his powers of observa- 
 tion, and by so doing make amends, at least in part, for 
 his neglect of similar opportuaities in the past. 
 
LOCALITY. 167 
 
 He, therefore, who is desirous of attaining profi- 
 ciency in ^'locality memory" should avail himself of 
 every fitting opportunity to put into practice such of 
 the above methods as may be applicable in his case, 
 and he will find, in the rapid augmentation of his power 
 of recognizing the essential features of localities once 
 visited, an ample recompense for the time and effort 
 involved. 
 
CHAPTER IX. 
 
 FORM. COLOR. 
 
 Memory of Form recognizes and retains the various 
 details presented to the vision which combine in the 
 formation of a being or thing, and their relation to 
 each other, and is able to make a proper comparison 
 of the same with details of other beings or things. 
 
 Its chief point of difference from Memory of Local- 
 ity is in the fact that the latter deals only with things 
 and with their distribution; that is, their position with 
 reference to each other, without regard to their pro- 
 portions — a general idea of their size, shape, and color 
 being usually sufficient for the purposes required — 
 while Memory of Form deals with both beings and 
 things, taking cognizance only of the element of pro- 
 portion, as applied thereto, and disregarding their rela- 
 tive situation; it has nothing to do with size (using the 
 term in an arbitrary sense) nor with distance — but can 
 compare details of shape or configuration. 
 
 Painters, Sculptors and Architects are especially 
 endowed with Memory of Form; they see with their 
 mental eyes forms which they have gazed upon, as well 
 
 (168) 
 
FORM. COLOR. 169 
 
 as forms which have no prototype except in Fancy, and 
 of which their handiwork often becomes the embodi- 
 ment. 
 
 Michael Angelo had a memory of Form that was 
 most notable. On a certain occasion several fellow- 
 artists, among whom was Angelo, made a wager as to 
 which one could the most faithfully reproduce some 
 caricatures which they had recently noticed. The 
 wager was easily won by Angelo, who made from mem- 
 ory an almost exact copy of the originals. 
 
 Cuvier, the distinguished naturalist, possessed such 
 a wonderful memory of Form that when he had once 
 examined any object belonging to the animal kingdom, 
 however intricate its structure, its details never for- 
 sook his memory. Turner, the great English painter, 
 could make a rough outline sketch of a landscape, and 
 months afterwards fill in all the details, even the most 
 trivial, with an accuracy that was almost inconceiv- 
 able. Upon gazing carefully at a ship its details would 
 become so thoroughly impressed on his vision that he 
 could afterwards reproduce them from memory with 
 absolute fidelity. Vernet and Dore could paint por- 
 traits with the most minute accuracy entirely from 
 memory — indeed it may be accepted as a truism that 
 a good memory of Form is a sine qua non of every great 
 painter or sculptor. He who possesses this faculty 
 carries in his mind vivid images of forms and scenes 
 that from time to time have been impressed upon his 
 sight — which images may be symbolized by a vast col- 
 lection of pictures, any of which can be brought forth 
 
170 THE ART OF MEMORY. 
 
 at will and flashed upon the screen of his mental vision. 
 
 A Beethoven, while composing his immortal sym- 
 phonies, hears an imaginary orchestra; — the majestic 
 measures of exaltation — the gentle cadences of tender- 
 ness and of pathos — each strain of ecstasy — each wail 
 of despair — all are vividly impressed on his mental 
 hearing. A Sir Christopher Wren carries in his mental 
 vision a faithful image of the St. Paul's Cathedral that 
 is to be, for long before the corner-stone is laid. A 
 Howe mentally beholds his sewing machine at work^ be- 
 fore the first stitch has been taken; and a Blackburne, 
 or a Steinitz, as he simultaneously plays a dozen or 
 more games of chess blindfold, sees the position of the 
 men on each board, in turn, as he comes to play. 
 
 So, too, a Canova sculptures in fancy his "Theseus'' 
 ere the formless marble feels the first impulse of his 
 chisel; a Kubens paints in imagination his famed 
 "Judgment of Paris" before his brush ever touches the 
 canvas; a Titian pictures in his mind's eye his "As- 
 sumption," an Angelo his "Last Judgment," a Kaphael 
 his "Transfiguration," a Leonardo da Vinci his "Last 
 Supper'^^ — all before those noble images of Fancy have 
 begun to take definite shape under the inspiration of 
 the master's touch. 
 
 For the proper cultivation of Memory of Form, the 
 following plan is recommended: 
 
 Let the student take some ordinary object, as a 
 vase, examine it closely and then shut his eyes for a 
 few moments, endeavoring to mentally picture its exact 
 appearance; then let him open his eyes and look at 
 
FORM. COLOR. 171 
 
 the object again, to ascertain how nearly correct was 
 his mental conception; he will be almost certain to tincl 
 some details that he had not noticed before. Let him 
 repeat the process until all the details shall have been 
 accurately imprinted on the mental vision. Then he 
 should take a pencil and paper and make a drawing of 
 the vase, keeping the original out of sight. Upon the 
 drawing being completed a comparison should be made 
 between the two and a new drawing made, in which 
 the errors in the first one are corrected as carefully as 
 can be estimated, and another comparison made with 
 the vase. Let this plan be continued until a reason- 
 ably accurate copy of the original can be made. No 
 matter how little experience the student may have 
 previously had in drawing, he will certainly be able 
 after a few trials to correctly copy a simple object, as 
 above. After this the same process should be repeated 
 with a more complex object, and with practice the stu- 
 dent will eventually develop an accuracy of observa- 
 tion that he would at first have deemed hardly possible. 
 Finally, after this practice shall have been sufficiently 
 persevered in, the student will be able to reproduce at 
 will, in his mental vision, the minutest details of any 
 object that he has once attentively gazed upon — from 
 a simple block of wood to the most majestic statuary, 
 — from the merest toy to the most imposing and gor- 
 geous edifice. And this will be accomplished, too, al- 
 most without conscious effort; the visual memory will 
 have become so thoroughly trained that impressions 
 
172 THE ART OP MEMORY. 
 
 will be received and retained by it with but slight ex- 
 ercise of the will power. 
 
 Included in Memory of Form is that of Features — 
 the essence of the latter being expression. 
 
 In the animal kingdom, dogs and elephants are es- 
 pecially gifted in the memory of features. Numerous 
 instances are known in which dogs were able to iden- 
 tify their master when the latter was so skilfully dis- 
 guised as to completely baffle the recognition of his 
 most intimate friends. Elephants have been known 
 to single out and punish, even unto death, persons who 
 had played contemptible tricks on them long before; 
 they have also been known to remember kindnesses 
 and those who performed them, with equal readiness. 
 "An interesting instance of the latter kind was related 
 in the New York Sun several years ago, of a man named 
 Quinton, who lived in Colombo, Ceylon. On a certain 
 occasion a herd of elephants was in the town and Quin- 
 ton Vent to see them. One elephant was tied up with 
 more chains than the others, and Quinton went toward 
 that one, in spite of being warned by the keepers that 
 he was a particularly vicious beast. Quinton put his 
 arm around the elephant's trunk and petted it, the ele- 
 phant seeming much pleased. He recognized the ani- 
 mal as one that several years previously he had seen 
 injured by a large thorn, which he had dug out with a 
 knife and pair of pincers, the elephant, in spite of the 
 pain, allowing the thorn to be taken out. Quinton 
 identified the beast by the scar, and the elephant rec- 
 ognized his benefactor after all these years. 
 
FORM. COLOR. 173 
 
 Vidocq, the famous French detective, possessed 
 such a wonderful memory for faces that after he had 
 once seen a criminal's features he never forgot them, 
 however cleverly they might be disguised. A forger 
 once made his escape from prison and left the coun- 
 try entirely, remaining away for a dozen years. Dur- 
 ing that period he had become quite bald, and once in 
 a drunken brawl lost an eye and a portion of his nose. 
 Confident of now being so thoroughly disguised that no 
 one could possibly recognize him, he returned to Paris 
 and walked about the streets with the utmost boldness. 
 Shortly afterwards he was arrested as a suspicious 
 character and brought before Vidocq, by whom he was 
 at once recognized as the escaped forger and sent back 
 to prison to serve out the balance of his term. 
 
 Perhaps no public man of modern times had a more 
 remarkable memory for faces than Henry Clay, of 
 whose abilities in that regard there are numerous well- 
 attested instances, the following being one of them: 
 During one of his campaigns Clay stopped for a few 
 hours at Clinton, Miss. As soon as his presence be- 
 came known, a large throng gathered to meet him, 
 among the crowd being a vigorous old man with only 
 one eye, who pressed forward and insisted that the 
 distinguished statesman would surely recognize him. 
 Clay gave the man a keen glance and said: "Where 
 did I meet you before?'' 
 
 "In Kentucky," was the response. 
 
 "Did you lose your eye before or since that time?" 
 the statesman asked. 
 
174 THE ART OP MEMORY. 
 
 "Since,-' the old man replied. 
 
 '^Turn the side of your face toward me, so that I 
 can see your profile," said Clay. 
 
 The man did so. After a brief scrutiny of his pro- 
 file Clay said: "Weren't you one of the jury that gave 
 me a verdict in the noted case of the United States 
 versus Innis, at Frankfort, twenty-one years ago?'' 
 
 "Yes, sir," said the old man trembling with delight ! 
 
 "And isn't your name Hardwick?" 
 
 "Yes, it is," the man replied, rushing forward and 
 grasping Clay's hand. Then, turning to the wonder- 
 ing crowd, the old man continued: 
 
 "Didn't I tell vou that he'd remember me? He 
 never forgets a face!" 
 
 The celebrated painter, Leonardo da Vinci, invent- 
 ed a most ingenious method for identifjing faces, and 
 by it is said to have been able to reproduce from mem- 
 ory any face that he had once carefully scrutinized. 
 He drew all the possible forms of the nose, mouth, chin, 
 eyes, ears, and forehead, numbered them 1, 2, 3, 4, etc., 
 and committed them thoroughly to memory; then, 
 whenever he saw a face that he wished to draw or paint 
 from memory, he noted in his mind that it was chin 4, 
 eyes 2, nose 5, ears 6 — or whatever the combination 
 might be — and by retaining the analysis in his mem- 
 ory he could reconstruct the face at any time. Such 
 persons as railway conductors, detectives, hotel clerks^ 
 and porters, and bank tellers, through the exercise of 
 their particular calling, acquire a memory for faces 
 that seems marvelous — and yet this faculty is rarely 
 
FORM. COLOR. 175 
 
 a pure gift of Nature, but is developed through assid- 
 uous practice. 
 
 Eegarding the cultivation of Memory of Features, 
 the following suggestions are offered : Upon first meet- 
 ing a person whose identification is desired, should he 
 be met in the future, the details of his features should 
 be studied critically, and the color of his eyes and hair 
 noted; also whether he is light or dark, tall or short, 
 thin or corpulent, and what are the peculiarities, if 
 any, in his general appearance. 
 
 After these various details shall have become suffi- 
 ciently impressed on the mind, an association should 
 be formed with surrounding objects, the whole being 
 associated with the time and place and attendant cir- 
 cumstances. The matter of associating the person's 
 features with his name comes under another branch of 
 memory-culture and will be considered in a subsequent 
 chapter. It is of first importance that the features 
 should be remembered: unless this is done the name 
 will be of little consequence as a means of recognition. 
 
 Closely associated w^ith Memory of Form and also 
 that of Locality, is Memory of Color. The various ob- 
 jects in Nature are far more easily recognized if their 
 color has been impressed on the mind than if it has not. 
 The various parts of a figure or the details of a building 
 are more readily retained in the memory if there is a 
 variety of color represented. So, too, with a plan, map 
 or painting; and the fact that a person's eyes are either 
 blue or brown, the hair red or black, enables us to 
 
176 THE ART OF MEMORY. 
 
 carry the features in our memory with all the greater 
 ease and certainty. 
 
 Color is not only a powerful auxiliary to Sight- 
 Memory — it is indispensable to its thorough cultiva- 
 tion. A well educated memory for Color is not only 
 of great practical use, at times, but it also affords 
 the keenest enjoyment throughout life. The green 
 fields and bright flowers of summer, and the varie- 
 gated hues of autumn, are both delightful to the eye 
 and refreshing to the spirit. What true poet is not 
 an ardent worshiper at the shrine of Nature, with 
 her incomparable wealth of color, light and shade? — 
 And what real artist does not love to essay on canvas 
 the imitation of the varied tints of nature? Color is 
 indeed useful in bringing out more prominently the 
 particulars of Form, and by its aid the details of Fea- 
 tures are surely more deeply impressed on the memory. 
 While there are many to whom the true appreciation 
 of color is a gift, pure and simple, yet there are few who 
 cannot by dint of earnest study become well versed in 
 the memory of color — and it may be truly said that in 
 its cultivation there is no drudgery; while proficiency 
 cannot, it is true, be attained except by practice, yet 
 this practice in its very nature yields naught but sat- 
 isfaction; it never brings clouds and discontent — it 
 yields only sunshine and delight. 
 
 Regarding the proper methods to be pursued in the 
 cultivation of Memory of Color, it is suggested that the 
 student first acquire an intimacy with the appearance 
 and name of each of the colors in common use; and 
 
FORM. COLOR. 177 
 
 after this is done let him proceed to gam a like famil- 
 iarity with the various tints and shades properly be- 
 longing to such colors; it will also be interesting and 
 instructive to know by what combination each is pro- 
 duced. 
 
 It is important not only th'at the eye should be so 
 trained that a color, tint or shade may be promptly 
 identified when seen, but also that its name should be 
 memorized, as the latter is of material assistance in 
 impressing the former on the memory; by giving any- 
 thing a name, whether it be an object of vision, sound, 
 or thought, we invest it with an identity which enables 
 the consciousness to retain it far more faithfully than 
 by any other means. 
 
 Of the two hundred or more colors, tints and shades 
 used commercially and in the purposes of art, it is un- 
 doubtedly desirable, from an educational point of view, 
 to have an intimate acquaintance with the greater por- 
 tion, but it will not be necessary to become familiar 
 with more than a respectable minority of them to be 
 reasonably versed in the memory of color. 
 
 It is well for the student to make frequent compari- 
 sons with each other, of the colors, tints and shades 
 found in nature and art, and to mentally name them as 
 they are recognized, that the impressions of them may 
 become more strongly intrenched in the memory; and a 
 familiarity with the laws governing harmony of color 
 will give added interest to such comparisons. 
 
 For the convenience of students not conversant with 
 those laws a list of the principal colors and the ones 
 with which they harmonize is herewith appended. 
 
 12 
 
178 THE ART OF MEMORY. 
 
 Colors are divided into three Orders — Primary, Sec- 
 ondary, and Tertiary. 
 
 The Primary colors are Yellow, Eed and Blue. 
 
 The Secondary colors are Green, Orange and Purple. 
 
 The Tertiary colors are Citrine, Kusset and Olive. 
 
 Any two of the primary colors mixed in equal pro- 
 portions produce a perfect secondary c*olor. Thus 
 Yellow and Blue produce Green, Yellow and Eed form 
 Orange, and Eed and Blue produce Purple. Each of 
 the secondary colors thus produced harmonizes with 
 the remaining primary color. 
 
 Any two of the secondary colors mixed in proper 
 proportions produce Tertiary colors. Thus, Green and 
 Orange produce Citrine, Orange and Purple form Eus- 
 set, and Green and Purple produce Olive. 
 
 A proper mixture of either of the three Orders of 
 colors produces Black, whose opposite is White^ — both 
 of those colors being termed neutral, 
 
 A disproportionate mixture of either of the three 
 Orders of colors, or of all together, produces Brown. 
 
 By mixing the primary colors in varied proportions 
 are produced all hues of color. The dilution of these 
 hues with White forms tints; or the introduction of 
 Black produces shades of color. 
 
 As a general proposition the various colors harmo- 
 nize as follows: 
 Yellow harmonizes with Eed, Purple, Eusset, Black, 
 
 and Brown. 
 Eed harmonizes with Yellow, Green, Eusset, Black, and 
 
 White. 
 
FORM. COLOR. 179 
 
 Blue harmonizes with Orange, White, Black, and 
 
 Brown. 
 Green harmonizes with Eed, Orange, Citrine, and 
 
 Brown. 
 Orange harmonizes with Blue, Green, Eusset, White, 
 
 and Brown. 
 Purple harmonizes with Yellow and Orange. 
 Citrine harmonizes with Yellow, Orange, Green, and 
 
 White. 
 Russet harmonizes with Yellow, Red, Orange, and 
 
 Brown. 
 Olive harmonizes with Blue, Green, and Brown. 
 Black harmonizes with Yellow, Red, Blue, Orange, and 
 
 White. 
 White harmonizes with Red, Blue, Orange, Citrine, and 
 
 Black. 
 Brown harmonizes with Yellow, Blue, Green, Orange, 
 
 Russet, and Olive. 
 
CHAPTER X, 
 
 FIGURES. 
 
 In all the mnemonical systems of any pretension 
 which have appeared since the revival of learning — 
 especially since the time of Feinaigle, nearly a century 
 ago — it seems to have been the uniform assumption 
 that memorizing figures is one of the most difficult of 
 all accomplishments in mnemonics, and that the sub- 
 ject of its cultivation is worthy of the most extended 
 research and thorough elucidation. 
 
 The necessity of using figures to express number 
 has been recognized ever since man became a reasoning 
 being, and is a necessity which must continue while 
 civilization lasts, and figures therefore deserve to oc- 
 cupy as important a place in memory culture as words 
 themselves. 
 
 Napoleon possessed a wonderful memory, and was 
 perhaps as gifted in that of figures as in any other 
 line; it is said that numbers which he had once seen 
 he never forgot. Herschel could remember all the fig- 
 ures in any of the long and intricate mathematical 
 
 (180) 
 
FIGURES. 181 
 
 computations necessary in his astronomical researches. 
 He frequently worked out a calculation of great length 
 and then dictated the whole to an amanuensis from 
 memory alone. Tycho Brahe, the eminent Danish as- 
 tronomer, had a marvelous memory for figures. On one 
 occasion, to save himself the inconvenience of refer- 
 ring to the tables of square and cube roots, of which 
 he had to make frequent use, he committed the tables 
 to memory, within four hours. This feat involved the 
 recollection of over 60,000 figures. Euler, the cele- 
 brated Swiss mathematician, also had one of the most 
 w^onderful memories of its kind known. In his later 
 years he became almost blind, but notwithstanding 
 this misfortune was able to perform the most intri- 
 cate calculations mentally. He learned the first six 
 powers of all the numbers from one to one hundred, 
 and achieved many other wonderful feats of memory. 
 John Wallis, a great English mathematician, possessed 
 one of the most remarkable memories for figures ever 
 known. He could mentally extract the square root of 
 a number to forty decimal places. While in bed and in 
 the dark, he extracted the cube root of a number con- 
 sisting of thirty figures. 
 
 In 1837 a boy named Bassie, who was only thirteen 
 3^ears of age, gave a series of mnemonical performances 
 in London which excited great interest among mathe- 
 maticians. Five large sheets of paper covered with 
 closely printed tables and dates, planetary distances, 
 velocities, specific gravities, etc., were distributed 
 among those present, who were requested to ask such 
 
182 THE ART OF MEMORY. 
 
 questions as they might wish whose answers were in- 
 dicated on the sheets — and in every case the correct 
 answer was given. He could repeat long series of 
 numbers in the tables both forward and backward; and 
 to prove that his powers were not confined to the num- 
 bers in the tables, he allowed the whole audience to 
 form a long series by each one contributing two or 
 three digits in the order in which they happened to sit. 
 After studying this series for a few minutes he re- 
 peated it both forwards and backwards from beginning 
 to end. He could also name the day of the week on 
 which any date had fallen, in any year. 
 
 A man named Dase, who was born in 1824, is said to 
 have multiplied together mentally two numbers of a 
 hundred figures each! • Another extraordinary calcu- 
 lator was an illiterate boy named Vito Mangiamele, 
 the son of a Sicilian shepherd. He went to Paris in 
 1839, where on July 3rd of that year MM. Arago, Sturm, 
 and Lacroix, eminent members of the Paris Acad- 
 emy of Science, met to examine this remarkable boy, 
 only ten years of age, whose powers of mental cal- 
 c^ulation were the wonder of the scientific world. 
 Among other feats he extracted the cube root of 3,796,- 
 416 in half a minute, and the tenth root of 282,475,289 
 in three minutes. The following complicated question 
 was asked him: "What number has the following pro- 
 portion: That if five times the number be subtracted 
 from the cube plus five times the square of the num- 
 ber, and nine times the square of the number be sub- 
 tracted from that result the remainder will be 0?'^ M. 
 
FIGURES. 183 
 
 Arago repeated the question a second time, and when 
 he was finishing the last word the boy answered: "The 
 number is 5." 
 
 At the time of the great Chicago fire all the books 
 and accounts of the Merchants' Loan and Trust Com- 
 pany were destroyed, and it was thought that the bank 
 would be obliged to go into liquidation on that ac- 
 count. But the cashier, Charles Henrotin, within six 
 weeks, through the exercise of his memory alone, re- 
 stored the accounts in their entirety, and prepared a 
 new ledger, to the complete satisfaction of both the de- 
 positors and directors. In 1896 there was a man em- 
 ployed on one of the Chicago railroads whose duty it 
 was to keep a record of the different cars as they came 
 into the yard. He would step out on the platform as a 
 train approached and make an accurate mental record 
 of the number and position of each car, from the first 
 car to the caboose, however long the train. While 
 doing this he did not hesitate to engage in conversa- 
 tion with any acquaintances who happened to be near 
 him. 
 
 Charles Dorr, a bartender at Coakley's Hotel, on 
 Geary street, San Francisco, has a remarkable memory 
 for figures. He knows the exact location of every fire, 
 police-patrol, and telephone box in the city. Give him 
 the name of a street and he will tell the numbers of all 
 the street cars which run on that street. He can tell 
 the location of any house number in the city and the 
 nearest telephone number; he can tell also the number 
 of the badge of any policeman on the force. If a row 
 
184 THE ART OF MEMORY. 
 
 of as many as twenty figures is shown him, he will 
 simply glance along the row and a month later can cor- 
 rectly repeat every figure in its order. He is amaz- 
 ingly quick at ordinary mathematical calculations, as 
 multiplying six figures by six figures in a few seconds. 
 His memory seems to hold in a vise-like grip every- 
 thing that he sees and reads and much that he hears. 
 
 And what shall we say of those mathematical enig- 
 mas, George Bidder, Jedediah Buxton, and Zerah Col- 
 burn, whose performances were still more wonderful? 
 Bidder, at eight, told almost instantaneously the num- 
 ber of farthings in £868 42s 121d, and performed many 
 other feats of a similar character. At ten years of 
 age he could add two rows of twelve figures, giving 
 the answer immediately, and an hour afterwards re- 
 member the two rows. 
 
 Jedediah Buxton, an illiterate English peasant,, 
 could perform the most laborious calculations mentally, 
 and with surprising correctness. His memory for fig- 
 ures was so great that he could begin a computation, 
 and, without finishing it at the time, resume the opera- 
 tion months afterwards at the point where he left 
 off, and complete the calculation. While in a field he was 
 suddenly asked how many cubical eighths of an inch 
 there were in a quadrangular mass 23,145,789 yards 
 long, 2,642,732 yards wide, and 54,965 yards in thick- 
 ness. He gave the correct answer from his head in a 
 short time. He could step over a tract of land, how- 
 ever irregular its outline, and compute its square con- 
 
FIGURES. 185 
 
 tents with almost as much exactness as if it had been 
 measured with a chain and compass. On one occa- 
 sion he measured a landed estate of irregular shape 
 containing about a thousand acres, simply by pacing 
 around it and then across at various points, after 
 which he made a computation of the square feet com- 
 prised in the several subdivisions and added them to- 
 gether. He gave the contents in acres and perches^ 
 and then reduced the same to square inches. Subse- 
 quently, for his own amusement, he further reduced 
 the contents to square hair's breadths, estimating 2304 
 to the square inch, being 48 to each side. These cal- 
 culations were all performed mentally, the final result 
 consisting of fourteen figures! When about fifty years 
 of age Buxton visited London, where he appeared before 
 the Royal Society and was tested as to his arithmetical 
 powers with the most astonishing success, answering 
 ever^^ question which he undertook with absolute ac- 
 curacy. 
 
 Zerah Colburn was a still more remarkable arith- 
 metical prodigy than any of those who have been men- 
 tioned. He was born in Vermont, just a century later 
 than Buxton (1804). He knew nothing whatever of the 
 rules of arithmetic, nor even how to read or write, un- 
 til after the jDerformance of the feats in numbers which 
 were the amazement of the scientific world. His ex- 
 traordinary talents began to be developed w^hen he 
 was only six years of age, and became so conspicuous 
 that his father took him from place to place in the 
 
186 THE ART OF MEMORY. 
 
 Eastern States, where the boy's marvelous powers 
 were exhibited to interested audiences, and was sub- 
 sequently induced to take him to England, where nu- 
 merous exhibitions were given of the extraordinary 
 gifts of young Colburn, who was then less than eight 
 years of age. For instance, he could determine with 
 the greatest facility the exact number of minutes or 
 seconds in any given period of time. Being asked how 
 many minutes there were in 48 years, he gave the an- 
 swer, 25,228,800, before the question could be written 
 down — and instantly added that the number of sec- 
 onds was 1,513,728,000. He was asked to tell the num- 
 ber of seconds in 11 years, and it took him only four 
 seconds to give the solution — 346,896,000. He was 
 asked how many days and hours there were in 1811 
 years; the answer was given in twenty seconds — 661,- 
 015 days, or 15,864,360 hours. He also gave the num- 
 ber of seconds in 1813 years, 7 months, and 27 days, 
 with corresponding facility. He could also tell al- 
 most instantaneously the product of any number con- 
 sisting of two, three, or four figures, multiplied by a 
 like number of figures; and he could at once give all 
 the factors of any number consisting of six, or seven 
 figures; he could also extract square or cube roots 
 with amazing rapidity and accuracy, and name prime 
 numbers. On one occasion he succeeded in raising the 
 number 8 progressively up to the sixteenth power! — 
 the answer being 281,474,976,710,656. At another 
 time he was asked to give the square root of 106,929; 
 and before the number could be written down he an- 
 
FIGURES. 187 
 
 swered 327. He was then requested to extract the 
 cube root of 268,336,125; and with equal facility he 
 answered, 645. He was asked to give the product of 
 21,734 multiplied by 543 — and immediately replied, 
 11,801,562. He named the squares of 244,999,755 and 
 of 1,224,998,755 with ctHrectiiess and dispatch, and cal- 
 culated the cube root of 413,993,348,677 in just five sec- 
 onds. One of the gentlemen present requested him to 
 name the factors that produced the number 247,483 ; 
 without hesitation he answered, 941 and 263 — which 
 are indeed the only numbers that will produce it. He 
 was then asked to give the factors of 36,083; and at 
 once said that it had none — which is true. The lead- 
 ing French mathematicians had announced the num- 
 ber 4,294,967,297 as a prime number. Young Colburn 
 was asked if he could give its factors; in a few mo- 
 ments he stated that they were 641 and 6,700,417. On 
 another occasion he was asked to name the square of 
 999,999. He instantly answered, 999,998,000,001. He 
 then further illustrated his powers by multiplying the 
 above sum by 49 and the product by the same number, 
 and the whole by 25 ! Many other questions of a simi- 
 lar Character were propounded to him at various times, 
 and he invariably answered correctly. His calcula- 
 tions were performed with inconceivable rapidity, and 
 yet he was unable to describe the mental process by 
 which he arrived at the results. 
 
 The above illustrations show the wonderful power 
 of memorizing figures which has been possessed by per- 
 
188 THE ART OF MEMORY. 
 
 sons having peculiar gifts not possessed by ordinary 
 people; they had a genius for remembering figures — 
 and genius knows no laws. 
 
 It is not to be expected that through any course of 
 training, however arduous, the average individual can 
 succeed in performing feats such as have been above 
 described — nor is it essential that he should; the ob- 
 ject of gaining proficiency in the memory of figures is 
 for the educational and practical uses of life — not for 
 the achievement of sensational feats; and it is within 
 the power of every person of ordinary mental capacity 
 to attain proficiency ; it is only necessary that the men- 
 tal energies be rightly directed, and not allowed to 
 wander into uncertain paths, however alluring 
 
 The chief difficulty which is commonly considered 
 to attend the memorizing of figures, is the abstractness 
 of their character; nearly all words, except proper 
 names, possess a meaning — figures in themselves have 
 none; and as the mind, in contemplating anything 
 either spoken or. written, instinctively evades such 
 sounds or words as possess no meaning, but rather, by 
 a sort of natural selection, seeks such ones as have a 
 meaning in themselves — so mnemonicians in general, 
 realizing that fact, have attempted to effect a transla- 
 tion of the abstract into the concrete by the use of de- 
 vices for artificially translating figures into words, 
 their theory being that a word or phrase into which the 
 figures have been thus translated would be more easily 
 recollected than the figures themselves — however lack- 
 ing in significance the word or phrase might be, and 
 
FIGURES. 189 
 
 however remotely it might be related to the fact or 
 idea represented by the figures. 
 
 The idea of translating figures into words seems to 
 have originated with Johann Winckelmann about two 
 centuries and a half ago^ — at least he is the first mne- 
 monician who succeeded in putting the idea into prac- 
 tical shape — and his system has been elaborated from 
 time to time since then by various teachers of mnemon- 
 ics of more or less note, until the so-called "figure al- 
 phabet" has been developed from the crude form in 
 which it first appeared, into a model of theoretical per- 
 fection, the artificial relation that it establishes be- 
 tween each numeral and the letter or letters of the al- 
 phabet which it represents, being explained on an ap- 
 parently logical basis. 
 
 In recent years the "figure alphabet" has even been 
 virtually made the basis of an entire mnemonical sys- 
 tem — the whole reliance for the re-establishment of 
 a date, or any other series of figures, resting upon the 
 theory that some particular word or words (into which 
 the figures in question have been arbitrarily trans- 
 lated by means of the "figure alphabet") may be in- 
 fallibly recalled to mind through reproducing a chain 
 of association previously established between such 
 word, or words, and other words, however slight or 
 incongruous may be the natural connection between 
 them. 
 
 The "figure alphabet," in spite of the state of theo- 
 retical perfection to which it has been developed, is 
 not, and never can be, other than a mere curiosity in 
 
190 THE ART OF MEMORY. 
 
 mnemonics; it cannot be successfully used in practice, 
 either primarily or as an auxiliary, as a means of mem- 
 orizing figures; it is a hindrance to memory-develop- 
 ment, instead of a help, and the sooner it is perma- 
 nently rejected, as an essential part of mnemonics, the 
 better for the cause of memory-culture. 
 
 By those who have become impressed with the 
 sophistries of the so-called "correlation'' theory, the 
 above statement may be received with more or less in- 
 credulity — but it is entirely true, nevertheless; and it 
 is furthermore a fact that figures may be retained in 
 the memory with as little difficulty as certain classes 
 of words — notably proper names. 
 
 The best way to memorize a number is to note care- 
 fully iJie relation which the figures forming the number hear 
 to each other. Let the student make his practice con- 
 form to this basic proposition in accordance with the 
 suggestions given in the pages which are to follow, and 
 in a comparatively short time, with reasonable dili- 
 gence, he will be able to memorize with ease any num- 
 ber consisting of either one, two, three, or four figures, 
 — it seldom being necessary to recollect a number 
 which contains more than four figures; thus the rec- 
 ollection of an historical date, or a house number, or a 
 monetary sum, would in most cases be the only pur- 
 poses for which even four figures would be required. 
 Distances can usually be indicated with sufficient ex- 
 actness by three figures and annexed ciphers, whether 
 they be terrestrial or astronomical distances; it is sel- 
 dom necessary to use more than three figures to rep- 
 
FIGURES. 191 
 
 resent heights or depths, measures of weight or ca- 
 pacity, degrees of temperature or of latitude or longi- 
 tude — and so on; and even should it ever be found 
 necessary to retain in the memory a number consisting 
 of more than four figures, the principle by which it may 
 be best memorized remains the same. 
 
 It is evident that a number represented by one nu- 
 meral is the least difficult to recollect, as it consists 
 of a single character, or symbol, as 1, 4, 6, 7, etc. 
 
 Next in order of difficulty to retain in the memory 
 are numbers below 100 ending with a cipher, as 10, 20, 
 30, etc., for there is but one numeral to keep in mind — 
 a cipher not being a numeral — and each succeeding 
 cipher, up to a reasonable limit, adding but little to 
 the task of memorizing. 
 
 A number consisting of two figures comes next, the 
 least difficult to recollect of this class being a number 
 in which the first figure is repeated, as 11, 22, 33, etc. 
 
 A number ending with a 5 is next, the number be- 
 ing divisible by its terminal figure, which is the middle 
 one of the nine numerals, as 15, 25, 35, etc., and the 
 quotient being always odd. 
 
 Next come numbers in which the figures are in pro- 
 gressive order and the number even, as 12, 31, 56, or 
 78; then a number whose figures are in retrograde or- 
 der and the number also even, as 98, 76, 54, or 32. 
 
 After this are numbers whose second figure is a 
 multiple of the first, as 24, 26, 28, 36, 39 and 48; then 
 numbers whose first figure is a multiple of the second, 
 as 93, 84, 82, 63 and 42. 
 
192 THE ART OF MEMOKY. 
 
 Next come numbers which are the squares of the 
 various numerals above 3, as 16, 25, 36, 49, 64 and 81; 
 then numbers which are the cubes of the smaller nu- 
 merals, as 27 and 64. 
 
 After this are numbers in which both figures are 
 even, but neither of them a multiple of the other — being 
 the numbers 46, 68, 86 and 64. 
 
 The next are numbers in which both figures are odd 
 and not divisible one by the other, but the number not 
 a prime one — being 51 and 57; and lastly, prime num- 
 bers between 10 and 100, ending respectively in 1, 3, 7 
 and 9; being the numbers 31, 41, 61 and 71; 13, 23, 43, 
 53, 73 and 83; 17, 37, 47, 67 and 97; 19, 29, 59, 79 and 
 89. 
 
 And now we come to numbers of three figures. In 
 such cases it is usually best to begin by memorizing 
 the first figure separately from the others; then to 
 memorize the number formed by the last two figures — 
 carefully noting, in the first place, whether the number 
 formed by the two last figures is a multiple of the 
 first figure; and in the second place, what relation 
 the first figure bears to the second; for instance, wheth- 
 er both figures are identical; whether either one is 
 divisible by the other; whether both are odd, or even, 
 or mixed, or by how much of an interval the two are 
 separated; but in no case should the first and second 
 figures be associated together as a number, even though 
 the last figure be a cipher. Sometimes there may be 
 an equal interval between the figures, all being odd, 
 as 159, 357, 975 — or even, as 246, 864 — or mixed, as 
 
FIGURES. 193 
 
 147, 258, 963 — or all may be either even or odd, the 
 interval being unequal — as 218, 379, 862, 953, etc. — 
 or the first and last figures may be identical, as 181, 
 373, 717, 949, etc. — or a number may be the cube of 
 some one of the numerals, as 125, 216, 343, 512, and 
 729 — which are the cubes of 5, 6, 7, 8, and 9. Ad- 
 vantage should be taken of any accidental relation- 
 ship, such as above illustrated, which may exist among 
 the various figures forming a number, because such 
 features are easily impressed on the memory. 
 
 Numbers composed of four figures come next in 
 order of consideration, and while they are more diffi- 
 cult to memorize than lesser numbers, yet a large pro- 
 portion of the difficulty becomes dissipated when the 
 memorizing is done in a systematic manner. Num- 
 bers consisting of four figures should be separated 
 into pairs, each pair being memorized independently 
 of the other, in accordance with the suggestions al- 
 ready given concerning numbers containing two fig- 
 ures, and then an association between each pair of 
 figures should be sought, advantage being taken of any 
 points of similarity or contrariety — such as either pair 
 being divisible by the other pair, as 1442, or 4515; by 
 there being a common factor of each pair, as 2156, or 
 8154 (the factors being 7 and 9 respectively); by all 
 the figures being either odd or even, as 1397, or 5971; 
 by the two exterior figures being odd and the interior 
 ones even, or vice versa, as 7461, or 4918; or the first 
 and third ones odd, or even, and the others the op- 
 posite, as 3476, or 7652; or bv the first pair being 
 
 13 ' 
 
194 THE ART OF MEMORY. 
 
 either odd, or even, and the others vice versa, as 7342, 
 or 2659. If it ever becomes necessary to memorize a 
 number consisting of more than four figures, the num- 
 ber should be separated into "threes," beginning at 
 the right, the memorizing to commence at the left. 
 The first portion of any number should always be 
 memorized first. 
 
 For the attainment of a high degree of develop- 
 ment in "figure-memory" it is essential that the mem- 
 ory be not only mathematical, but visual; in other 
 w^ords, a number which has been memorized should 
 be clearly defined in the mental vision; it should seem 
 as if the eye were gazing on the very characters them- 
 selves, in all their original distinctness, written, per- 
 chance, on some imaginary blackboard, or imprinted 
 in the pages of some imaginary book, or displayed on 
 some sign or poster of the fancy. The power to do this, 
 to one who is deficient in "figure-memory," may seem 
 extremely difficult of attainment, but it can be ac- 
 complished by properly directed practice. One of 
 the most effective means of fixing a number in the 
 visual memory is to associate it with some number to 
 which the attention has been frequently directed, and 
 which is thus comparatively easy of recollection. For 
 instance, figures used to represent divisions of time, 
 measures of extension, capacity, weight, money, etc., 
 are more or less familiar; and important historical 
 dates, as well as anniversaries which law or custom 
 has decreed to be worthy of observance, are more 
 than likely to be well impressed on the memory. All 
 
FIGURES. 195 
 
 these the novitiate can make use of to excellent ad- 
 vantage until he shall have attained such proficiency 
 in the memory of figures that the employment of these 
 devices is no longer necessary; but until such time 
 numbers which are to be memorized should be asso- 
 ciated, whenever possible, with identical numbers; 
 which are familiar, for the purpose of strengthening 
 the impression. 
 
 The following illustrations, as suggestive of this 
 idea, may be of interest, the significant figures being in 
 italics: 
 
 2 may be memorized by reflecting that we have two 
 hands, two feet, two eyes, two ears : that there are two 
 pints in a quart: that two cents represents U. S. letter- 
 postage. 
 
 To memorize 3, it is only necessary to associate it 
 with either of the following facts : there are 3 feet in a 
 yard, 3 scruples in a drachm, 3 sides to a triangle, 3 col- 
 ors in the national flag; there were 3 Graces in Grecian 
 Mythology. 
 
 As to -i; There are 4 quarts in a gallon, 4 pecks in 
 a bushel, 4 weeks in a month, 4 farthings in a penny, 
 
 4 sides to a building, 4 suits in a pack of playing- 
 cards; July 4 is Independence Day, and March 4 Presi- 
 dential-inauguration day. 
 
 There are 5 fingers on each hand, 5 points to a star; 
 
 5 represents a coin in general circulation. 
 
 A cube has 6 sides. There are 6 feet in a fathom. 
 There are 7 days in a week ; there were 7 wonders of 
 the ancient world. 
 
196 THE ART OF MEMORY. 
 
 8 quarts make a peck, 8 drachms an ounce, 8 fur- 
 longs a mile. There are 8 planets. 
 
 9 square feet make a square yard; there are 9 
 numerals; in Grecian Mythology there were 9 Muses. 
 Lincoln and Gladstone were born in 1809. 9 is the 
 square of 3. 
 
 There are 10 fingers on both hands; 10 represents 
 a coin in common circulation. There are 10 Command- 
 ments. 
 
 In 1811 Thackeray was born. In the same year 
 occurred the Massacre of the Mamelukes. 11 is the 
 first prime number of two figures. 
 
 There are 12 inches in a foot; 12 ounces in a pound 
 (TrojO? 12 pence in a shilling, 12 things in a dozen, 12 
 signs of the zodiac', 12 semi-tones in an octave. Feb- 
 ruary 12 is Lincoln's birthday. In 1812 Dickens and 
 Browning were born, Moscow was burned, the second 
 war with England commenced. 
 
 There are 13 weeks in a ^^quarter,'' or season; the 
 national fiag has 13 stripes. There are 13 cards in 
 each suit, in a pack of playing cards. 13 is a "baker's" 
 dozen. 13 at table is unlucky, according to an old 
 superstition. Wagner was born in 1813. 
 
 There are i// pounds in a stone. February 14 is St. 
 Valentine's day. Bismarck was born in 18i.). 
 
 15 may be associated with the battles of Waterloo 
 and New Orleans, which occurred in 18i5. A quarter 
 of an hour is 15 minutes. 
 
 There are 16 drachms in an ounce, and 16 ounces in 
 a pound. 16 is the square of 4. 
 
 March 17 is St. Patrick's day. 
 
FIGURES. 197 
 
 18 constitutes the first two figures of the nineteenth 
 century. In 16i8 the Thirty years' war began. In 
 18iS Gounod was born. 
 
 19 forms the first two figures of the twentieth 
 century. In 1S19 Kuskin and Lowell were born. 
 
 There are 20 shillings in a pound sterling; 20 things 
 make a score. 20 represents the largest U. S. gold coin. 
 In 1^20 the Mayflower landed. 
 
 There are 21 shillings in a guinea. A youth attains 
 his majority at 21. In 182i Napoleon died at St. Hel- 
 ena. In 1^21 Cortez conquered Mexico. 
 
 Feb. 22 is Washington's birthday. Gen. Grant was 
 born in 1822. 
 
 Pliny the Elder was born in the year 23; Pascal in 
 1625; Max Mtiller in 1825. 
 
 There are 24 hours in a day. Palestrina was born 
 in 152^. 
 
 25 represents a silver coin in common circulation. 
 Dec. 25 is Christmas. The circumference of the earth 
 is 25,000 miles. 25 is the square of its last figure. 
 
 26 is the number of weeks in a half 3^ear. 
 
 There are 27 cubic feet in a cubic yard. A lunar 
 month is 27 days. 
 
 The shortest month in the year (February) consists 
 of 28 days. Bun^^an was born in 1628. 
 
 In February of leap-year there are 29 days. The 
 highest mountain in the word (Mt. Ei^erest) is 2^,000 
 feet high. 
 
 A commercial month is 30 days. A half -hour is 30 
 minutes. May 30 is Decoration Day. 
 
198 THE ART OF MEMORY. 
 
 The longest mouth has SI days. Drydeu was born 
 in IGJi and Oowper in ITJ/. 
 
 Water freezes at J2° Fahrenheit. AYashington was 
 born in 1732. Pizarro conquered Peru in 15J2. 
 
 SS years is termed a '^generation.'' In loSS Queen 
 Elizabeth was born. 
 
 In ISSJf Spurgeon was born. 
 
 In 10 JJ the French Academy was founded. In ISSo 
 Samuel L. Clemens (Mark Twain) was born. 
 
 In 1(>J6' Haryard College was founded. 36 is the 
 square of its last figure. 
 
 In S7 Josephus was born. In 1737 Gibbon was 
 born. In 1S37 Phonography was inyented. In the 
 same year Victoria ascended the throne of England. 
 
 In 1738 Herschel was born. 
 
 In 39 Lucan was born; in l(j3i) Racine; in 1S39 Bret 
 Harte. 
 
 In JfO Titus was boru. In 13 }(^ Chaucer was born. 
 
 In 17/// Layater was born. In 18 Ji the Prince of 
 Wales was born. 
 
 In l(\'i2 Newton was born. In 17.}i Blucher was 
 born. 
 
 In !()//,? the barometer was invented. 
 
 In 15//// Tasso was born. In IS//// Sir Arthur Sulli- 
 van was born. 
 
 In 18-}.) occurred the Avar with Mexico. Three-quar- 
 ters of an hour is 45 minutes. 
 
 In 17//^ occurred the battle of Culloden. Kosciusco 
 was born the same year. 
 
 In '/7 Juvenal was born; in 15//7 Cervantes; in 18//7 
 Edison. In 18//7 the sewing machine was invented. 
 
<n 
 
 FUU'KKS. 
 
 199 
 
 Iiil8)N the Ooriuaii Enipin^ was ostnblisIuMl, 
 
 In 17//^ Oootlio was born. 19 is {\w si^uaiv of 7. 
 
 M) is a half (*(Mi(iirv: it also r(^i)rost4its a. coin iu ooin- 
 moiioiiviilation. In 12-")() ounpowdtM' was invonlod. 
 
 In 15e>/ Canulon was born (i( n^uls backwards and 
 forwards tbo same). In 18J/ (ho first Worbl's l^^iir was 
 held, at London. 
 
 There are »>.? win^ks in a yi^ar; 52 cards in a pack of 
 playing" cards. 
 
 In .")») Trajan was born. In 17k) ilic Ibilish Mu- 
 senni was fonnded. 
 
 In ISiiJf occnrred (lu^ Crimean war. 
 
 In 5J Tacitns was born; in 17")") IlalnuMnann was 
 born. In lb").") (lu* \\ ar of tlu^ '*Kos(^s" b(\uan. 
 
 In MM) Mozart was born. Tlie Sc^cmi ^' cars' War 
 bejian in thai year. 
 
 In t 1 "JT (lu^ lirsi ncwspai)(M* was i>rin((Ml. In 17">7 
 Lafayctti^ and Hamilton wimv born. In 1S>7 occnrred 
 «i i>reat financial panic [V . S.). 
 
 In 17r)S Lord Nelson was born, in i8J8 was laid 
 the first Atlantic cable. 
 
 In 17"")/) Lit I, I»nrns and Schiller w(M'(» born. Ini8>^i 
 occnrnnl tlu* llarp(n*'s b\^rry insnritnt ion. 
 
 There are ()7^ sinonds in a nunnt(\ (>() niinnlcs in an 
 honr, and (U) minntt^s in a d(\ur(H^ o\' latitndt^ or lonui 
 tnde. 
 
 In addition t(^ the foregoinj;* 'Mn(Mnory-iH\us," there 
 IS tlu^ nnmlxM- formed by tlu^ last two liuiires of tlu\year 
 of a person's birth, and the day of tluMncmth; tluMvhoh^ 
 or a portion of his honsi\ olVice and t(4e[>hone nnmber, 
 
200 THE ART OF MEMORY. 
 
 and the number of his postoffice box; also the numbers 
 in a safe-lock combination. 
 
 The foregoing illustrations of ways in which figures 
 may be associated with each other do not include all 
 that may or will be mentioned, as additional illustra- 
 tions will be given in the next chapter; but enough 
 have been given so that any person of ordinary intelli- 
 gence can, by proper application, attain a degree of 
 proficiency in the art of memorizing figures far beyond 
 what he could ever have hoped for through the usual 
 methods — or rather lack of method. As his practice 
 continues, additional ways of associating figures with 
 each other will suggest themselves to his mind, until 
 he will soon be able to memorize anv number consistino- 
 of four figures with ease^ — and even greater tasks may 
 be undertaken without hesitation. It will become evi- 
 dent to the student, after sufficient trial, that this 
 method of memorizing numbers by noticing the rela- 
 tion which the figures composing a number bear to each 
 other, is vastly superior to the cumbersome and imprac- 
 ticable method of "translating'' figures into words — 
 and that the natural and logical way of memorizing fig- 
 ures is to associate them with each other and not with 
 words. As practice by this method continues, the dif- 
 ficulty of memorizing figures will be greatly lessened; 
 tasks which at first may seem impossible to accomplish 
 will be conquered with ease, and any number or date, 
 with the fact or event which it represents, will become 
 impressed on the memory in vivid and enduring chxirac- 
 ters. 
 
CHAPTER XL 
 
 HISTORICAL DATES. 
 
 Assuming that the student has put to practical use 
 the methods advised in the preceding chapter, and has 
 thereby attained at least moderate proficiency in the 
 memory of figures, the subject of historical dates will 
 now be introduced, the main purpose being to indicate 
 how the significant dates in history may be memorized 
 w^ith an expenditure of time and mental energy but 
 slight compared w^th that required by the ways ordi- 
 narily employed; the secondary purpose being to sug- 
 gest how^ may best be retained in the memory the 
 dates of occurrences in a person's own experience which 
 are of more than passing moment. In both cases the 
 result is accomplished chiefly through the medium of 
 Association, for whose intelligent employment His- 
 torical Dates furnishes an ample field; and to the sys- 
 tematic arrangement of those dates so that any of them 
 may be easily and effectually preserved in the memory, 
 will this chapter be mainly devoted. 
 
 The exceeding readiness with which an historical 
 date commonly deserts the memory is only too fully 
 
 (201) 
 
202 THE ART OF MEMORY. 
 
 realized by every reader of history who is not especially 
 gifted in ^^figure-memory.'' The event to which the date 
 is related may long cling to the recollection — perhaps 
 may never leave it — but the date is likely to soon fade 
 away, and the more remote the event the more doubt- 
 ful that its date will be retained in the memory — even 
 the century itself may be forgotten if long prior to our 
 own age. And yet, however faithfully the details of 
 historical events may be imprinted on the memory, it 
 is scarcely less important that their dates be preserved 
 also — for thus is better assured the retention of the 
 sequence of events, whose recollection is indispensable 
 to the accurate knowledge of history. 
 
 The ability to recall at will events of past ages which 
 historians have deemed worthy of record cannot but 
 be a source of untold gratification in. after years — and 
 yet how few there are who, unless fresh from the col- 
 lege or university, or who have taken the time to oc- 
 casionally review their historical knowledge, retain 
 with fidelity more than a fragment of the details of 
 history with which they were once familiar — and es- 
 pecially the dates. It seems to be the common experi- 
 ence that, as time passes on and the mind becomes 
 more and more engrossed with worldly matters, only 
 the nucleii of history remain intact in the memory, the 
 dates leaving the least permanent impressions of all. 
 There are events, it is true, whose dates the memory 
 retains because of the oft-repeated allusions in litera- 
 ture to those events, through the very frequency of 
 which reference the events and their dates become so 
 
HISTORICAL DATES. 203 
 
 thoroughly imprinted upon the memory that they serve 
 as landmarks, with which may be associated scenes and 
 incidents of the past that would otherwise soon fade 
 away. No student of ancient history forgets the date 
 of Marathon (B. C. 490), nor that a decade later Le- 
 onidas and his brave Spartans sacrificed their lives at 
 the pass of Thermopylae; that Themistocles gained the 
 great battle of Salamis in the same year; and that Ge- 
 lon of Syracuse defeated the Carthaginians on the same 
 day that the battle of Salamis was fought. Other dates 
 generally remembered are: B. C. 413 — the date of the 
 battle of Syracuse, when began the decline of Athens; 
 B. C. 331, when Alexander the Great gained the great 
 battle of Arbela, which decided the fate of the Eastern 
 world for a long period; B. C. 216, the date of the battle 
 of Cannae, won by Hannibal over the Komans; B. C. 
 146, when Carthage was taken and destroyed by Scipio; 
 B. C. 44 and the assassination of Csesar; B. C. 31 and 
 the battle of Actium and deaths of Antony and Cleo- 
 patra; A. D. 79 and the destruction of Pompeii and 
 Herculaneum by the relentless fires of Vesuvius; 410 
 and the sack of Eome by Alaric; 451 and the defeat of 
 Attila and the Huns at Chalons. 
 
 The student of religious history will always remem- 
 ber 325 as the date of the first Ecumenical Council at 
 Nice, 1095 as that of the first Crusade, 1517 as the date 
 of the Keformation, 1598 as that of the Edict of Nantes, 
 and 1685 as the date of its revocation. 
 
 The student of musical history thinks of 750 as the 
 date when the or2;an was invented, 1025 as that when 
 
204 THE ART OF MEMORY. 
 
 modern musical notation was devised, and tliat five hun- 
 dred years later Palestrina,the Father of modern music, 
 was born. He remembers 1685 as the year when Bach 
 and Handel were born, 1732 as the year of Haydn's 
 birth, 1756 of Mozart's, 1770 as that of Beethoven's, 
 1809 of Mendelssohn's, and 1813 as that of Wagner's. 
 
 What Frenchman does not remember 742 as the year 
 of Charlemagne's birth, and 1431 as the year when 
 Joan of Arc suffered martyrdom, and when Eichelieu 
 was born? — And 1789 — what a world of suggestiveness 
 in that date! — the horrors of the French Kevolution! — 
 the "Reign of Terror!" — Robespierre — Marat — Char- 
 lotte Cor day ! — Then Napoleon — Marengo in 1800 ; Aus- 
 teriitz in 1805 ; Friedland in 1807. Then his downfall, 
 • — Moscow in 1812; Waterloo in 1815! 
 
 To the Briton how significant are 1066 and William 
 the Conqueror — 1215 and Magna Charta — 1588 and the 
 "Armada?" 1666 he thinks of as the year of the Great 
 Fire in London, and the year before as that of the 
 Plague; 1759 suggests Quebec, and Wolfe; 1805 Tra- 
 falgar, and Nelson; 1815 Waterloo, and Wellington; and 
 1854 the Crimean War. And what American ever for- 
 gets the significance of 1492, 1620, 1776, 1812 and 1861? 
 — and that 1732 ushered into life the immortal Wash- 
 ington? 
 
 But the foregoing dates represent only the merest 
 fraction of the world's events which are accorded his- 
 torical mention; and if those dates are so replete with 
 meaning, what of the chief actors in the events to which 
 the dates of history relate? The date of a great battle 
 
HISTORICAL DATES. ' 205 
 
 may suggest only that one event; the date of a great 
 man's birth is likely to recall to mind the chief acts of 
 his life. If B. C. 331 suggestsi Arbela, one of the decisive 
 battles of the world, should not the year in which Alex- 
 der was born be still more significant? The battle of 
 Cannae was fought in 216 B. C; should that date be 
 as impressive as 247 B. C, the year in which Hannibal 
 was born? Surely 100 B. C, the year of Caesar- s birth, 
 is of far greater significance to the mind than the date 
 of any particular battle which he won; and 742 may 
 well commemorate many a triumph of Charlemagne. 
 Do not 1496 and 1594, respectively, suggest Gustavus 
 Vasa and Gustavus Adolphus, and their achievements? 
 and what does 1599 mean but Cromwell and his notable 
 career? What date should remind us more forcibly of 
 the Crusades than 1137, the year of Saladin's birth? 
 What does 1336 mean but Tamerlane, the great Tartar 
 chieftain, and his wonderful conquests? 
 
 In the early part of the eighteenth century we have 
 1712 to remind us of Frederick the Great. And a score 
 of years later — what a world of significance in that 
 date! It means Lexington, and Yorktown, and all the 
 intervening years of hopes and fears, of privation, of 
 bloodshed — culminating in American Independence. 
 
 What date can better revive the memory of Na- 
 poleon than the year of his birth, 1769? Does it not 
 suggest Valmy, and Marengo, and Jena, and Wagram, 
 and Friedland, and Austerlitz? 
 
 The closing year of the eighteenth century means 
 Yon Moltke, the peerless strategist — "silent in seven 
 
 /.., 
 
206 THE ART OP MEMORY. 
 
 languages." It means Sadowa, and Metz, and Mars- 
 la-tour, and Gravel otte, and Sedan! And 1822 — what 
 does that mean but Grant, the "silent/' the never-de- 
 feated! It signifies, indeed, the whole history of a war! 
 
 And the triumphs of the pen. Of what special sig- 
 nificance is the exact year in which a great work is pro- 
 duced? The same person may write many books, and 
 what is there in the date of any one of them which is 
 likely to recall that of another? and what matters it 
 that one work was produced before or after another? 
 Is it essential to know whether Romeo and Juliet was 
 written before Hamlet, or Richard III. before Machetk? 
 What matters it whether Kenilwortli or Ivanhoe was 
 written first? David Copperfield, or Pickwick f Childc 
 Harold, or the Corsair f In memorizing a date associ- 
 ated with the name of a great writer, of how much 
 lesser importance is the date representing a single 
 product of the pen than the year in which he was born 
 who wielded the pen ! 
 
 The fact is that to the student of history it is of 
 more importance to know the date on which a great 
 man was born than the date of any particular action 
 which he performed or in which he was prominent, for 
 thus will be best retained in memory the leading acts 
 of his life in their order of occurrence. 
 
 It may be contended that the date by which a great 
 man should be best remembered is that representing 
 the zenith of his activity; but it is seldom possible to 
 establish such a date that will be commonly accepted, 
 especially if his career has extended over a long time. 
 
HISTORICAL DATES. 207 
 
 Neither should the date of a person's death be used as 
 a basis of recollection; we do not commemorate a man's 
 death, but his birth; we celebrate the daivu of an illus- 
 trious life — not its fading away. 
 
 It is true that the memory, in addition to whatever 
 dates of the births of great men it may store away, 
 should not neglect to preserve the dates of the great 
 events of history — but those events are few compared 
 with the aggregate of events worthy to be recorded in 
 the memory; yet of historical dates the most impor- 
 tant ones are virtually all which are ordinarily re- 
 tained in the memory with any degree of permanence 
 — and that because they have been impressed upon it 
 by sheer repetition — nothing else; had there been used 
 to the best advantage an amount of time and mental 
 energy equal to that employed in the memorizing of 
 those dates, a vastly greater number would have been 
 stored away, and their retention in the memory ren- 
 dered far more certain. 
 
 The following examples will illustrate the great 
 advantage of system in memorizing historical dates. 
 Suppose we want to recollect the year of Herodotus' 
 birth — 484 B. C. The date reads forward and back- 
 ward the same, the middle figure being equal to the 
 sum of the end figures. One thousand years later (516 
 A. D.) the Knights of the Round Table were organized. 
 Aristotle, the greatest of philosophers, and Demos- 
 thenes, the most celebrated of orators, were both born 
 in the year 384 B. C, 100 years after the birth of Herod- 
 otus. 
 
208 THE ART OF MEMORY. 
 
 The year of birth of ^schylus, the founder of the 
 drama, is 525 B. C. That date may be recalled by 
 knowing that ^schylus was born 2,000 years before 
 Michael Angelo, and that the latter's birth occurred in 
 1475 — 300 years before the American Eevolution. The 
 date 525 reads forward and backward the same, the 
 number formed by the two last figures being the square 
 of the first figure. Besides, the number formed by the 
 two first figures corresponds with the number of weeks 
 in a year. Antisthenes, a famous Greek philosopher, 
 was born a century later than .Eschylus (in 425 B. 0.), 
 which was 1,000 years before the birth of Heraclius, 
 Emperor of the East (575 A. D.), which last date reads 
 forward and backw^ard the same. 
 
 If we wish to recollect when Canute was born, let 
 us bear in mind that it was 100 years before the first 
 Crusade (1095), and the same period after the birth of 
 Athelstane (895), one of the great Old-English Kings. 
 
 The date when Egbert, the first King of England, 
 w^as born, can be easily associated with the American 
 Eevolution, as it occurred just 1000 years before (775). 
 So may the date of Kepler's birth be linked to that 
 of Mohammed's, as it was 1000 years afterward (1571). 
 
 We will next try to memorize the dates w^hen Sala- 
 din, the great Moslem commander, and Tamerlane, the 
 renowned Tartar conqueror, were born. The year of 
 Saladin's birth is 1137. Let it be noticed that each 
 single figure is a prime number, and that every two 
 of those figures make prime numbers — 11, 13, 37, 17, 31, 
 73, 71. The square of the first half of the date (11) is 
 
I 
 
 HISTORICAL DATES. 209 
 
 121, the year of the Eqman emperor Marcus Antoninus^ 
 birth, and it reads forward and backward the same. 
 The square of the last half of the date (37) is 1369, the 
 year when John Huss was born, and also when the 
 Bastile was founded. The last three figures are regu- 
 lar intervals apart, each of the two last figures being 
 divisible by the first one. Had Saladin's birth oc- 
 curred a year earlier it would have been just two 
 hundred years before that of Tamerlane (1336), who 
 was born 300 years before Harvard University was 
 founded (1636). The French Academy w^as founded 
 in the previous year, and Cambridge University 1000 
 years earlier (635). 
 
 Let us suppose that it is desired to recall the year 
 in which occurred the birth of Hardicanute, the Danish 
 King of England (1018). The last two figures are the 
 same as the first two figures of any year in the nine- 
 teenth century; we also find that a century later (1118) 
 Thomas a Becket was born, and that the Order of 
 Knights Templars was also founded in that year. 1118 
 is a date easily retained in the memory, as it is an 
 ^'eighf preceded b^^ three ''ones.'- If Ave add to this 
 date a number equal to the number of days in a year, 
 we will have the date when Luther, Raphael and Baber 
 were born (1183). 
 
 If we wish to recollect the date of Euben's birth 
 (1577), we may associate it with that of Titian's, which 
 was a century earlier, in the same year that watches 
 and violins were invented (1177). It may also be noted 
 that Titian died in the year before that of Ruben's 
 birth, having lived to the age of 99. 
 
 14 
 
210 THE ART OF MEMORY. 
 
 The Eussian serfs were emancipated in the same 
 year that the U. S. Civil War began (1861). The date 
 when the Russian Empire was founded (862) may be 
 recalled by the fact that had the first named event oc- 
 curred a year later, the interval between the two events 
 would have been just 1000 years. 
 
 We may be reminded of when the battle of Trafal- 
 gar was fought by knowing that it happened 200 years 
 after the "Gunpowder Plot'' (1605); and when Carth- 
 age was destroyed by recalling to mind that it was 
 2000 years prior to the Crimean war, it being in 146 
 B. C. 
 
 It is an easy matter to recollect the dates when 
 were born the distinguished naturalists, Linnaeus, Buf- 
 fon, and Agassiz, when we reflect that the two former 
 persons were born in the same year (1707), and the lat- 
 ter a century later, in the year in which Fulton took 
 his first steamboat trip on the Hudson, and when slav- 
 ery was abolished in Great Britain (1807). 
 
 How can we better recall the date of Shelley's 
 birth than by associating it with the discovery of 
 America, which was 300 years before? — the date of 
 Jenny Lind's birth than by recollecting that it hap- 
 pened 200 years after the landing of the Mayflower? — 
 or that Dickens was born in the same year that our 
 second war with England began (1812)? 
 
 Many other illustrations of a character similar to 
 the above might be given, but these are enough to 
 show the great value of Association as an aid in mem- 
 orizing historical dates. It has a value which cannot 
 
HISTORICAL DATES. 211 
 
 be properly appreciated if viewed from the ordinary 
 standpoint as applied to Association, for the connection 
 of dates with each other is by a process different from 
 any other form of association — and yet it is no less 
 effective if notice be taken of the features peculiar to 
 any date, so as to form for the date a proper asso- 
 ciation. 
 
 As was said in the beginning of this chapter, it 
 will be assumed that the student has attained at least 
 moderate proficiency in associating figures with each 
 other. That alone might be sufficient for memorizing 
 historical dates; but as an additional means of im- 
 pressing them on the memory it is proposed in the 
 pages that are to follow to link together the leading 
 events of history in a systematic manner. In the ar- 
 rangement of those dates (where the association is 
 based on the comparison of one date with another, 
 rather than on any features peculiar to the figures 
 forming a single date taken by itself), care has been 
 taken to connect with each other, as far as possible, 
 events of a like nature; thus dates representing births 
 of noted men are generally associated with each other, 
 and a like plan pursued regarding events affecting the 
 welfare of nations, so as to avoid the confusion which 
 might sometimes result from linking active with pas- 
 sive events. It is by no means claimed that all the 
 important events of history are comprised in these 
 lists; it is believed, however, that the greater part of 
 them are so embraced, and that there is included the 
 name of nearly every distinguished person that ever 
 
212 THE ART OF MEMORY. 
 
 lived (except Biblical characters), from the dawn of 
 history down to the present age — being nearly 1700 
 names. 
 
 It is not to be assumed that the intelligent study of 
 history can be accomplished by arbitrarily commit- 
 ting these lists to memory; they are not inserted with 
 that purpose in view, but to provide ''memory-pegs" 
 on which may be hung such historical memorandums 
 as are desired, from time to time, and arranged so that 
 they may be referred to by the memory at will; a 
 single reference may recall a whole chain of events 
 which otherwise might never have reappeared in the 
 recollection. By this method the capacity of the mem- 
 ory for preserving dates can be immeasurably aug- 
 mented, and the secret of it all is — the association 
 of figures with each other. 
 
 For the convenience of the student, an index of 
 the events associated is furnished at the end of this 
 chapter, the list being divided into two classes: One 
 class being the noted characters of history, and the 
 other, important historical events. A list of the dif- 
 ferent dates used, in their chronological order, is also 
 given. 
 
 A few dates — notably the more remote ones — are 
 involved in doubt, as authorities do not agree; but the 
 dates given in those cases are believed to be within 
 a very few years. If all but absolutely authentic dates 
 were rejected, it would be necessary to omit from the 
 list many of the most distinguished characters of 
 ancient history — such as Homer, Hesiod, Lycurgus, 
 
HISTORICAL DATES. 213 
 
 Solon, Draco, Pythagoras, Berosus, Sappho, Thales, 
 
 Mencius and many others — and some moderns also. 
 
 In arranging these lists the plan has been adopted 
 
 of beginning with the dates which are believed to be 
 
 the most easy to memorize, and advancing gradually 
 
 to those which are the least so. The first list consists 
 
 of dates which terminate the centuries, from remote 
 
 ages down to the close of the eighteenth century. 
 
 There are only two figures to memorize, at the most, 
 
 and in about half the cases only one. 
 
 The list is as follows: 
 
 » 
 
 B. C. 700 : Terpander born. 
 
 B.C. 600: Pherecydes born. 
 
 B. C 500 : Anaxagoras . . . « born. 
 
 B. C 300: Cleanthes, Lycon born. 
 
 B. C. 100 : Csesar born. 
 
 A. D. 200 : Cyprian born. 
 
 600 : Dagobert I born. 
 
 1000 : Ferdinand the Great born. 
 
 1100 : Geoffrey of Monmouth born. 
 
 1800: Hafiz born. 
 
 1400: Gutenberg, Diamante born. 
 
 1500: Cellini, Martyr, Camerarius, Charles 
 
 V born. 
 
 1600: Calderon, Lorraine, Prynne born. 
 
 . 1700 : Zinzendorf , Stradivarius, C r u d e n, 
 
 James Thomson .born. 
 
 1800: Macaulay, Bancroft, Heine, Fliedner, 
 
 Lassen, Lieber, Plattner, Von 
 
 Moltke, John Brown born. 
 
214 THE ART OF MEMORY. 
 
 The next dates selected are those which read back- 
 ward and forward the same, either the two first or 
 two last figures being the only ones necessary t-o mem- 
 orize. 
 
 The list is as follows: 
 
 B.C. 878: Carthage founded. 
 
 B. C. 606 : Anaximenes born. 
 
 B. C. 535: Heraciitus born. 
 
 B. C. 535 : Thespis first exhibited Tragedy. 
 
 B. C. 525 : Cambyses conquered Egypt. 
 
 B. C. 525 : iEschylus born. 
 
 B. C. 484: Herodotus ,.. born. 
 
 B. C. 454 : Timotheus born. 
 
 B. C. 454 : Athens subdued ^gina. 
 
 B.C. 404: Fall of Athens. 
 
 B.C. 383: Battle of Mantineia. 
 
 B. C. 343 : First Samnite war began. 
 
 B.C. 323: Euclid born. 
 
 B. C. 252 : Philopoemen born. 
 
 B.C. 212: Komans captured Syracuse. 
 
 B.C. 202: Battle of Zama. 
 
 B. C. 151 : Agatharcides born. 
 
 B. C. 131 : Sisenna born. 
 
 B. C. 121: Mithridates born. 
 
 A. D. 55 : Tacitus born. 
 
 121 : Marcus Antoninus born. 
 
 121: Hadrian's Wall built. 
 
 393: Olympian games abolished. 
 
 434: Odoacer born. 
 
HISTORICAL DATES. 215 
 
 A. D. 454 : Theodoric born. 
 
 505 : Belisarius born. 
 
 575 : Heraclius born. 
 
 636 : Mosque of Omar founded. 
 
 656 : Aldhelm born. 
 
 878: Battle of Ethandune. 
 
 939 : Hugh Capet born. 
 
 1111: Andronicus born. 
 
 1221: Bonaventura born. 
 
 1331 : Cannon first used. 
 
 1441: Printing invented. 
 
 1551 : Camden • • born. 
 
 1661: Eollin, De Foe born. 
 
 1771: Scott, Sydney Smith born. 
 
 1881: Yolaptik introduced. 
 
 In the following list of dates the three right-hand 
 figures consist of one numeral repeated twice, which is 
 prefixed by the lowest numeral. 
 
 A. D. 1222: Padua University founded. 
 
 1333: Battle of Halidon Hill. 
 
 1444: African slave trade began. 
 
 1555 : Carracci .born. 
 
 1666: Geminiani, Yanbrugh, Wotton born. 
 
 1777: Campbell, Clay, Gauss, La Motte, 
 
 Oersted, Fouque c born. 
 
 1888: William II. ascended German throne. 
 
216 THE ART OF MEMORY. 
 
 The next list consists of dates above 1000 in which 
 both pairs of figures in a date are identical. 
 
 A. D. 1212: Children's Crusade. 
 
 1313 : Boccaccio, Kienzi ... born. 
 
 1414 : Treaty of Arras. 
 
 1515: Ascham, Tallis, Neri, St. Theresa. . . .born. 
 1616: John Owen, Antoinette, Bourignon. .born. 
 1717: D'Alembert, Winckelmann, Mich- 
 
 aelis, Maria Theresa. born. 
 
 1818: Gounod, Froude, Northcote, Tour- 
 
 guenieff .• born. 
 
 In the following list each pair of figures advances 
 in order. 
 
 A. D. 1011: Danes invaded England. 
 
 1112: War, Henry I. and Earl of Anjou. 
 
 1213: Battle of Muret. 
 
 1314: Battle of Bannockburn. 
 
 1415: Battle of Agincourt. 
 
 1516: First Postoffice. 
 
 1617: Cudworth born. 
 
 1718: Brainerd, Horace Walpole born, 
 
 1819: Kuskin, Lowell, Kingsley, Abt, Off- 
 enbach, George Eliot, Elias Howe, 
 Queen Victoria born. 
 
 The following list consists of dates in which the 
 two pairs of figures in each of the dates, except the 
 last, in the preceding list, are interchanged. 
 
 A. D. 1110 : Henry V. invaded Italy. 
 
 1211 : Ibn Khallikan born. 
 
HISTORICAL DATES. 
 
 217 
 
 A. D. 1312: University of Orleans founded. 
 
 1413: Stenography invented. 
 
 1514: Battle of Kalderoon. 
 
 1615: Baxter, Denham, Salvator Rosa born. 
 
 1716 : Garrick, Gray, Barthelemy born. 
 
 1817: Armitage, Thoreau, Lotze born. 
 
 Let us now take as a starting point the date of the 
 Great London Fire (which can be easily retained in the 
 memory, as one figure occurs three times — 1666), and 
 note some of the most important events which hap- 
 pened each 100 years prior to that date, back to the 
 time of the Norman conquest, and also the most nota- 
 ble events that occurred each 100 years since 1666. 
 
 A. D. 1066 : Battle of Hastings. 
 
 1166: Alfonso of Portugal captured Evora. 
 
 1266: Charles of Anjou conquered Sicily. 
 
 1366: Battle of Najara. 
 
 1466: Colet, Matsys, Aquila, Aventinus, 
 
 Doria, Lilye born, 
 
 1566 : Alleyn, Richard Boyle born. 
 
 1666: Great Fire of London. 
 
 1766: Malthus, Wollaston, Madame de 
 Stael, Ersch, Dalton, Alex. Wil- 
 son, Lady Nairne born. 
 
 1866: Battle of Sadowa. 
 
218 THE ART OF MEMORY. 
 
 Tli(^ Great Plagium in London occurred in the year 
 previous to the Great Fire. Let us note the important 
 events, by centuries, in the same manner as before. 
 
 A. D. lOOr): Westminster Abbey consecrated. 
 
 1165: William the Lion born. 
 
 1265: House of Commons founded. 
 
 1365: Vienna University founded. 
 
 1465: Budapest University founded. 
 
 1505: Tassoni, Argensola born. 
 
 1665: Great Plague of London. 
 
 1765: Mackintosh, Karamzin, Baggasen, 
 Bagration, BaadcT, Robert Ful- 
 ton born. 
 
 1865: Slavery abolislunl in the United States. 
 
 The next list will represent events which occurred 
 at identical dates before and after the beginning of the 
 Christian era. 
 
 B. C. 15 : Germanicus born. 
 
 A. D. 15: Vitellius • born. 
 
 B. C. 42: Tib(»rius born. 
 
 A. D. 42: Britannicus born. 
 
 B. C. 43: Ovid born. 
 
 A. D. 43: Martialis born. 
 
 B. C. 50 : l^ropia'tius born. 
 
 A. D. 50: Plutarch born. 
 
 B. C. 69: (J alius, Cleopatra born. 
 
 A. D. 69: Polycarp born. 
 
 B. C. 7(): Asinius Pollio born. 
 
 A. D. 76 : Hadrian born. 
 
B. 
 
 C. 
 
 80 
 
 A. 
 
 D. 
 
 8G 
 
 B. 
 
 0. 
 
 81) 
 
 A. 
 
 D. 
 
 8(5 
 
 B. 
 
 C. 
 
 10(> 
 
 A. 
 
 D. 
 
 106 
 
 B. 
 
 C. 
 
 121 
 
 A. 
 
 D. 
 
 121 
 
 B. 
 
 C. 
 
 131 
 
 A. 
 
 D. 
 
 131 
 
 B. 
 
 C. 
 
 140 
 
 A. 
 
 1>. 
 
 140 
 
 B. 
 
 0. 
 
 185 
 
 A. 
 
 1). 
 
 185 
 
 B. 
 
 r. 
 
 188 
 
 A. 
 
 D. 
 
 188 
 
 B. 
 
 0. 
 
 205 
 
 A. 
 
 D. 
 
 205 
 
 B. 
 
 C. 
 
 210 
 
 A. 
 
 D. 
 
 210 
 
 B. 
 
 C. 
 
 213 
 
 A. 
 
 D. 
 
 213 
 
 B. 
 
 C. 
 
 214 
 
 A. 
 
 D. 
 
 214 
 
 B. 
 
 C. 
 
 216 
 
 A. 
 
 D. 
 
 216 
 
 B. 
 
 C. 
 
 219 
 
 A. 
 
 D. 
 
 210 
 
 B. 
 
 0. 
 
 234 
 
 A. 
 
 D. 
 
 234 
 
 HISTORICAL DATES. 219 
 
 Salliist born. 
 
 Antoninus Pins born. 
 
 Snlla captures Athens. 
 Daoian war begins. 
 
 Pomi>ey, Cic ero born. 
 
 Justin born. 
 
 Mithridates born. 
 
 Marcus Antoninus born. 
 
 Sisenna ... born. 
 
 Irenteus born. 
 
 Oiassus born. 
 
 AtLenagoras born. 
 
 Terence, Scipio Afrieanus born. 
 
 Origen born. 
 
 Gracchus born. 
 
 Caracalla born. 
 
 .T]inilius born. 
 
 Plotinus born. 
 
 Polvbius born. 
 
 Longinus born. 
 
 Carneades born. 
 
 Valerian born. 
 
 Great Wall of China begun. 
 Grist mills invented. 
 
 Battle of Canna^. 
 Artabanus invaded Syria. 
 
 Pacuvius born. 
 
 Philiscus born. 
 
 Oato Major born. 
 
 Porphyrins born. 
 
220 THE ART OF MEMORY. 
 
 B. C. 245 : Hermippiis born. 
 
 A. D. 245: Diocletian born. 
 
 B. C. 252: Philopoemen born. 
 
 A. D. 252: Antony the Monk born. 
 
 B. C. 265 : Nsevius born. 
 
 A. D. 265 : Eusebius born. 
 
 B. C. 287: Archimedes born. 
 
 A. D. 287: Hilary of Poitiers -born. 
 
 B. C. 304 : Berosus born. 
 
 A. D. 304 : St. Epiphanius born. 
 
 B. C 310: Theocritus .born. 
 
 A. D. 310 : Ausonius born. 
 
 B. C. 316: Arcesilaus born. 
 
 A. D. 316: Libanius, St. Martin born. 
 
 B. C. 341 : Epicurus born. 
 
 A. D. 341: St. Jerome born. 
 
 B. 0. 350: Zeno born. 
 
 A. D. 350 : Hypatia born. 
 
 B. C. 354 : Cassander born. 
 
 A. D. 354 : St. Augustine born. 
 
 B. 0. 359: Philemon born. 
 
 A.D. 359: Stilicho .born. 
 
 B. C. 360 : Protogenes born. 
 
 A. D. 360 : Cassianus born. 
 
 B. C 384: Aristotle, Demosthenes born. 
 
 A. D. 384 : Honorius born. 
 
 B. C. 389: ^schines , born. 
 
 A. D. 389: Theodoret born. 
 
 B. C 396: Xenoc'rates, Hyperides born. 
 
 A. D. 396: St. Patrick born. 
 
HISTORICAL DATES. 221 
 
 B. C. 399 : Eudoxus born. 
 
 A. D. 399 : Aetius born. 
 
 B. C. 406 : Speusippus born. 
 
 A. D. 406 : Attila, Genseric born. 
 
 B. C. 410: Alcibiades defeated Koman fleet. 
 
 A. D. 410 : Eomans evacuated Britain. 
 
 B. C. 412: Diogenes born. 
 
 A. D. 412: Proelus born. 
 
 B. C. 422 : Epaminondas born. 
 
 A. D. 422 : St. Genevieve born. 
 
 B. C. 430: Dionysius, Xenophon born. 
 
 A. D. 430 : Apollinaris Sidonius born. 
 
 B. C. 438: Lysias born. 
 
 A. D. 438: Eemigius born. 
 
 B. C. 451: First Koman Decern virate. 
 A.D. 451: Battle of Chalons. 
 
 B. C. 454: Timotheus born. 
 
 A. D. 454 : Tbeodoric born. 
 
 B. C. 466: Andocides born. 
 
 A. D. 466 : Clovis born. 
 
 B. C. 468 : Socrates born. 
 
 A. D. 468: Cassiodorus born. 
 
 B. C. 480: Euripides, Antiphon, Pliilolaus .born. 
 
 A. D. 480 : Narses born. 
 
 B. C 481: Agesilaus .born. 
 
 A. D. 481: St. Benedict born. 
 
 B. C. 483: Ion born. 
 
 A. D. 483: Justinian tlie Great born. 
 
 B. C. 490 : Empedocles born. 
 
 A. D. 490: St. David .born. 
 
222 THE ART OF MEMORY. 
 
 B. C. 544 : Ageladas born. 
 
 A. D. 544 : Gregory of Tours born. 
 
 B. 0. 550 : Hecatseus born. 
 
 A. D. 550 : Columbanus born. 
 
 B. 0. 550: Nebuchadnezzar invaded Egypt. 
 
 A. D. 550 : Slavs and Huns invaded Eome. 
 
 B. O. 570 : Theognis born. 
 
 A. D. 570 : Isidorus born. 
 
 B. C. 695 : Alcman born. 
 
 A. D. 695 : Damascenus .born. 
 
 B. C. 887: Parchment invented. 
 
 A. D. 887.: Books invented. 
 
 B. C. 892: Hesiod born. 
 
 A. D. 892: Saadia born. 
 
 B. C. 912 : Lycurgus born. 
 
 A. D. 912: Otto the Great born. 
 
 B. C. 995 : Homer born. 
 
 A. D. 995 : King Canute born : 
 
 B. C. 1095 : First dictionary compiled. (Chinese.) 
 
 A. D. 1095: First Crusade. 
 
 B. C. 1106: My cense conquered. 
 
 A. D. 1106: Normandy conquered. 
 
 B. C. 1329: Achaia founded. 
 
 A. D. 1329: Ottoman Empire founded. 
 
 B. C. 1453: Olympian games originated. 
 
 A. D. 1453: Turks captured Constantinople, 
 
 B. C.1492: Thebes founded. 
 
 A. D. 1492: Columbus discovered America. 
 
 B.C. 1506: Flute invented. 
 
 A. D. 1506: St. Peter's Church commenced. 
 
HISTORICAL DATES. 223 
 
 B. C. 1854: Kingdom of Argos founded. 
 
 A. D. 1854 : Crimean War. 
 
 The next list is of the same character as the pre- 
 ceding one^ except that 1000 years is added to all dates 
 since the beginning of the Christian era. 
 
 B. C. 25: Pantheon built. 
 
 A. D. 1025 : Musical notation invented. 
 
 B. C. 55: Romans first invaded Britain. 
 
 A. D. 1055 : Battle of Vaccoli. 
 
 B. C. 155 : Marius born. 
 
 A. D. 1155: Saxo Grammaticus born. 
 
 B. C. 190: Romans first invaded Asia. 
 
 A, D. 1190 : Tancred conquered Apulia. 
 
 B. C. 228 : Flamininus, Acilius . . • born. 
 
 A. D. 1228 : ' Voragine born. 
 
 B. C. 270 : Fabius, Plautus born. 
 
 A. D. 1270: Wallace, Cino born. 
 
 B. C. 276 : Eratosthenes born. 
 
 A. D. 1276: Giotto ..born. 
 
 B. C. 280 : Chrysippus born. 
 
 A. D. 1280 : William of Occam born. 
 
 B.C. 280: Battle of Heraclea. 
 
 A. D. 1280: Moguls conquered China. 
 
 B. C. 283 : Livius Andronicus born. 
 
 A. D. 1283: Martino born. 
 
 B. C. 284: Alexandrian Librarj^ founded. 
 
 A. D. 1284: Kingdom of Navarre fell. 
 
 B. C. 290: Manetho .born. 
 
 A. D. 1290: Tauler ..born. 
 
224 THE ART OF MEMORY. 
 
 B. C. 312: Appian Way commenced. 
 
 A. D. 1312: Orleans University founded. 
 
 B. O. 372: Mencius born. 
 
 A. D. 1372 : Foscari born. 
 
 B. C. 377 : Theopompus born. 
 
 A. D. 1377 : Brunelleschi born. 
 
 B. C. 381 : Heraclides born. 
 
 A. D. 1381 : Chartier born. 
 
 B. C. 383: Battle of Mantineia. 
 
 A. D. 1383: Tamelane conquered Turkistan. 
 
 B. C. 402 : Phocion born. 
 
 A. D. 1402: Masaccio, Dunois -born. 
 
 B. C. 405: Agrigentum destroyed. 
 
 A. D. 1405: Venetians conquered Padua and Verona. 
 
 B. C. 413: Battle of Syracuse. 
 
 A. D. 1413 : Ladislas plundered Kome. 
 
 B.C. 420: Isseus born. 
 
 A. D. 1420: Torquemada, John Wessel, Gozzoli. .born. 
 
 B. C. 422 : Epaminondas born. 
 
 A. D. 1422: Caxton, Baldovinetti born. 
 
 B. C. 443: Parthenon begun. 
 
 A. D. 1443: Eton College founded. 
 
 B. C. 445 : Eupolis born. 
 
 A. D. 1445 : Comines, Eberhard born. 
 
 B. C. 447: Battle of Coronea. 
 
 A. D. 1447: Vatican Library founded. 
 
 B. C. 448: Aristophanes born. 
 
 A. D. 1448: Lorenzo de Medici born. 
 
 B. C. 453 : Cleon born. 
 
 A. D. 1453: Albuquerque, Gonzalo born. 
 
E. C. 
 
 473: 
 
 A.D. 
 
 1473: 
 
 B. C. 
 
 479: 
 
 A.D. 
 
 1479. 
 
 B. C. 
 
 479: 
 
 A.D. 
 
 1479' 
 
 B. C. 
 
 480: 
 
 A.D. 
 
 1480: 
 
 B. C. 
 
 488: 
 
 A.D. 
 
 1488: 
 
 B. C. 
 
 496: 
 
 A.D. 
 
 1496 
 
 B. C. 
 
 497 
 
 A.D. 
 
 1497 
 
 B. C. 
 
 519 
 
 A.D. 
 
 1519 
 
 B. C. 
 
 520 
 
 A.D. 
 
 1520 
 
 B. C. 
 
 522 
 
 A.D. 
 
 1522 
 
 B. C. 
 
 525 
 
 A.D. 
 
 1525 
 
 B. C. 
 
 539 
 
 A.D. 
 
 1539 
 
 B. C. 
 
 555 
 
 A.D. 
 
 1555 
 
 B. C. 
 
 576 
 
 A.D. 
 
 1576 
 
 IE 
 
 1 
 
 HISTORICAL DATES. 225 
 
 Prodicus born. 
 
 Copernicus born. 
 
 Protagoras born. 
 
 Sodoma, Giraldi born. 
 
 Battle of Platsea. 
 Battle of Weissenburg. 
 
 Battles of Therymopylse and Salamis. 
 Spanish Inquisition established. 
 
 Phidias born. 
 
 Kaimondi, Van Hutten, Coverdale, 
 Beccaf umi born. 
 
 Hellanicus born. 
 
 Marot, Gustavus Vasa born. 
 
 Pericles born. 
 
 Melancthon, Holbein born. 
 
 Cratinus born. 
 
 Beza^ Csesalpinus born. 
 
 Cincinnatus, Aristides born. 
 
 Flacius, Castelnau, Cujas, Goujon, 
 Churchyard born. 
 
 Pindar born. 
 
 Egmont, Aldrovandi born. 
 
 Cambyses conquered Egypt. 
 Battle of Pavia. 
 
 Parmenides • born. 
 
 Socinus, Acosta born. 
 
 Simonides born. 
 
 Carracci, Arndt, Malherbe born. 
 
 Cyrus the Great born. 
 
 Burton, Vincent de Paul born. 
 
226 THE ART OF MEMORY. 
 
 B. 0. 578: Servius Tullius born. 
 
 A. D. 1578: Harvey, Albani born. 
 
 B. 0. 582: Pythagoras born. 
 
 A. D. 1582 : Episcopius born. 
 
 B.C. 582: Agrigentum founded. 
 
 A. D. 1582: Edinburgh University founded. 
 
 B. C. 598: Nebuchadnezzar captured Jerusalem. 
 
 A. D. 1598: Edict of Nantes. 
 
 B. C. 604 : Lao-tsze born. 
 
 A. D. 1604: John Eliot, Heem, Pocock born. 
 
 B. C. 606 : Anaximenes born. 
 
 A. D. 1606: Rembrandt, Corneille, Gerhardt. . . -born. 
 
 B. C. 608 : Sappho born. 
 
 A. D. 1608: Torricelli, Milton, Puller, Clarendon, 
 
 Montecuculi, Monk born. 
 
 B. C. 608: Chess invented. 
 
 A. D. 1608: Telescope invented. 
 
 B.C. 620: ^sop, Alcseus, Xenophanes born. 
 
 A. D. 1620: Evelyn, Maimbourg born. 
 
 B. C. 628 : Epimenides born. 
 
 A. D. 1628: Bunyan, Perrault, Luxembourg, Mal- 
 
 pighi born. 
 
 B. C. 638: Solon -born. 
 
 A. D. 1638: Malebranche, Simon, Hobbema born. 
 
 B. C. 644: Thales • -born. 
 
 A. D. 1644: Bouflers, William Penn born. 
 
 B.C. 660: Japan founded. 
 
 A. D. 1660 : Roj^al Society, London, founded. 
 
 B. C. 675: Byzantium founded. 
 
 A. D. 1675 : Greenwich Observatory founded. 
 
HISTORICAL DATES. 227 
 
 B. 0. 753: Rome founded. 
 
 A. D. 1753 
 
 British Museum founded. 
 
 B. C. 776: First authentic' date. 
 
 A. D. 1776: U. S. Declaration of Independence. 
 
 B. C. 780 : Zaleucus born. 
 
 A. D. 1780: Beranger, Audubon, Chalmers, Chan- 
 
 ning, Ingres born. 
 
 B. C. 814: Macedon founded. 
 
 A. D. 1814: Kingdom of Hanover founded. 
 
 The next list consists of dates B. C. which are 100 
 years apart: 
 
 B. C. 705: Esarhaddon -born. 
 
 B. C. 605 : Pisistratus born. 
 
 B. C. 651: Pittacus • born. 
 
 B. C. 551 : Confucius born. 
 
 B. C. 644: Thales .born. 
 
 B. C. 544: Ageladas born. 
 
 B. C. 630 : Stesichorus, Erinna born. 
 
 B. C. 530 : Cleomenes *. born. 
 
 B. C. 620: ^sop, Alcseus, Xenophanes born. 
 
 B. C. 520: Cincinnatus, Aristides born. 
 
 B. C. 608: Sappho born. 
 
 B. C. 508: Pausanias born. 
 
 B. C. 590 : Croesus born. 
 
 B. C. 490 : Empedocles born. 
 
 B. C. 540 : Epicharmus born. 
 
 B. C. 440 : Parrhasius born. 
 
 B. C. 536 : Heraclitus born. 
 
 B. C. 436 : Isocrates born. 
 
228 THE ART OF MEMORY. 
 
 B. C. 525 : ^schylus born. 
 
 B. 0. 425 : Antisthenes born. 
 
 B. C. 520: Cincinnatus, Aristides born. 
 
 B. 0. 420 : Isseus born. 
 
 B. 0. 512 : Phry nicus born. 
 
 B. C. 412: Diogenes born. 
 
 B. 0. 508 : Pausanias born. 
 
 B. C. 408: Dion, Timoleon born. 
 
 B. C. 496 : Hellanicus born. 
 
 B. C. 396: Xenocrates, Hyperides. born. 
 
 B. C. 484: Herodotus born. 
 
 B. C. 384: AristQtle, Demosthenes born. 
 
 B. C. 468: Socrates born. 
 
 B. 0. 368: Theophrastus born. 
 
 B. C. 460: Democritns, Hippocrates born. 
 
 B. C. 360 : Protogenes born. 
 
 B. C. 456 : Brasidas born. 
 
 B. C. 356: Alexander the Great born. 
 
 B. C. 454 : Timotheus born. 
 
 B. C. 354 : Cassander born. 
 
 B. C. 450 : Alcibiades born. 
 
 B.C. 350: Zeno born. 
 
 B. C. 446 : Camillus » . • • born. 
 
 B. C. 346: Demetrius Phalereus born. 
 
 B. C. 441: Philistus .born. 
 
 B. C. 341 : Epicurus born. 
 
 B. C. 435 : Philoxenus born. 
 
 B. C. 335: Demetrius Poliorcetes born. 
 
 B. C. 432 : Lysander born. 
 
 B. C. 332: Apelles born. 
 
HISTORICAL DATES. 229 
 
 B. C. 399 : Eudoxus born. 
 
 B. C. 299 : Callimachus born. 
 
 B. C. 387: Praxiteles born. 
 
 B. C. 287 : Archimedes born. 
 
 B. C. 368 : Theophrastus born. 
 
 B. C. 268: Marcellus . . . , born. 
 
 B. C. 352 : Timseus born. 
 
 B. C. 252: Philopoemen born. 
 
 B. C. 310 : Theocritus born. 
 
 B. C. 210: Polybius born. 
 
 B. C. 249 : Apollonius born. 
 
 B. C. 149 : Lucilius born. 
 
 B. C. 238: Ennius, Masinissa born. 
 
 B. C. 138: Sulla born. 
 
 B. C. 205: ^milius born. 
 
 B. C. 105 : Lucullus, Laberius born. 
 
 B. C. 170 : Philostratus born. 
 
 B. C. 70: Virgil, Maecenas born. 
 
 B. C. 114 : Hortensius born. 
 
 B. C. 14: Philo born. 
 
 The next list consists of dates B. C. which are 200 
 years apart: 
 
 B. C. 650 : Draco born. 
 
 B. C. 450 : Alcibiades born. 
 
 B. C. 630: Stesichorus, Erinna born. 
 
 B. C. 430 : Dionysius born. 
 
 B. C. 620: ^Esop, Alcseus, Xenophanes born. 
 
 B. C. 420: Isjeus born. 
 
 B. C. 608: Sappho born. 
 
 B.C. 408: Timoleon born. 
 
230 THE ART OF MEMORY. 
 
 B. C. 552: Hipparchus .born. 
 
 B.C. 352: Timseus born. 
 
 B. C. 535 : Thespis first exhibited Tragedy. 
 
 B. C. 335 : First private library. 
 
 B. C. 480: Euripides, Antiphon .•'. born. 
 
 B. C. 280 : Chrysippus . . ; born. 
 
 B. 0. 471: Thucydides born. 
 
 B.C. 271: Aratus , born. 
 
 B.C. 468: Socrates • born. 
 
 B. C. 268: Marcellus .born. 
 
 B.C. 445: Eupolis — '• • born. 
 
 B. C. 245 : Hermippus born. 
 
 B. C. 438 : Lysias born. 
 
 B. C. 238: Ennius born. 
 
 B. C. 429: Plato born. 
 
 B. C. 229: Paulus born. 
 
 B. C. 316 : Arcesilaus born. 
 
 B. C. 116 : Varro born. 
 
 B. C. 276 : Eratosthenes born. 
 
 B. C. 76 : Asinius Pollio born. 
 
 B. C. 265 : Naevius ......... born. 
 
 B. C. 65 : Horace born. 
 
 B.C. 260: First Roman fleet. 
 
 B. C. 60 : First Roman Triumvirate. 
 
 The next list consists of dates B. C. 500 years apart: 
 
 B. C. 995 : Homer born. 
 
 B. C. 495 : Sophocles born, 
 
 B. C 912: Lycurgus born. 
 
 B. C. 412: Diogenes born. 
 
HISTORICAL DATES. 231 
 
 B. C. 638: Solon born. 
 
 B. C. 138: Sulla born. 
 
 B. C. 606 : Anaximenes born. 
 
 B. 0. 106 : Pompey, Cicero born. 
 
 B. C. 583 : Ibycus born. 
 
 B. C. 83: Mark Antony born. 
 
 B. C. 570 : Theognis born. 
 
 B. C. TO : Virgil born. 
 
 B. C. 562: Anacreon born. 
 
 B. C. 62 : Agrippa born. 
 
 B.C. 542: Cyrus overthrew Croesus. 
 B.C. 42: Battle of Phillippi. 
 
 B.C. 519: Persian Empire founded. 
 
 B.C. 19: Kome subdued Spanish Peninsula. 
 
 B. C. 510 : Cimon born. 
 
 B. C. 10 : Claudius (Tiberius) born. 
 
 The next list consists of dates B. C. which are 1000 
 years apart: 
 
 B. C. 1556 
 B.C. 556 
 
 B. C. 1490 
 B.C. 490 
 
 B. C. 1431 
 B.C. 431 
 
 Athens founded. 
 Persians conquered Medes. 
 
 Sparta founded. 
 Battle of Marathon. 
 
 My cense founded. 
 Peloponnesian War begun. 
 
 The following list is of dates A. D. which are 100 
 years apart: 
 
 A. D. 25 : Silius Italicus born. 
 
 125 : Apuleius born. 
 
232 THE ART OF MEMORY. 
 
 A. D. 245: Diocletian :..born. 
 
 345: Kufinus born. 
 
 752: Irene born. 
 
 852: Albategni born. 
 
 825: Methodius born. 
 
 925 : Dunstan born. 
 
 839: Tabari born. 
 
 939: Almansor, Hugh Capet born. 
 
 1160 : Villehardouin born. 
 
 1260 : Frauenlob born. 
 
 1165 : William the Lion born. 
 
 1265: Dante, Duns Scotus born. 
 
 1216 : Kublai Khan born. 
 
 1316 : Barbour born. 
 
 1240 : Cimabue born. 
 
 1340 : Chaucer, Groot ". . born. 
 
 1265: House of Commons founded. 
 
 1365: Vienna University founded. 
 
 1268: Barons' War. 
 
 1368: Moguls expelled from China. 
 
 1275: Andrea, Villani born. 
 
 1375 : Lydgate born. 
 
 1304: Petrarch, Ibn Batuta born. 
 
 1404 : Alberti born. 
 
 1347: Bajazet, St. Catherine born. 
 
 1447 : Botticelli born. 
 
 1351: Order of Garter instituted. 
 
 1451: Glasgow University founded. 
 
 1355 : Chrysoloras born. 
 
 1455 : Reuchlin born. 
 
HISTORICAL DATES. 23S 
 
 !A. D. 1369: John Huss born. 
 
 1469 : Machiavelli, Emmanuel the Great . . born. 
 
 1382: Solario born. 
 
 1482 : Marcantonio born. 
 
 1398: Filelfo born. 
 
 1498: Moretto born. 
 
 1401 : Cusa born. 
 
 1501 : Cardan born. 
 
 1403 : Chastelain born. 
 
 1503 : Wyatt, Estienne born. 
 
 1421: Engraving invented. 
 
 1521: Muskets invented. 
 
 1425 : Henry son born, 
 
 1525 : Maitland born. 
 
 1428: Warwick, Acciajuoli born. 
 
 1528: Veronese, Muziano born. 
 
 1433 : Ficino, Mirkhond born. 
 
 1533 : Montaigne, William the Silent, Queen 
 
 Elizabeth, Baldi born. 
 
 1437 : Abrabanel born. 
 
 1537 : Guarini born. 
 
 1440 : Signorelli born. 
 
 1540: Scaliger (J. J.), Brantome, Wm. Gil- 
 bert born. 
 
 1444 : Bramante born. 
 
 1544 : Tasso born. 
 
 1446 : Perugini, Columbus born. 
 
 1546: Tycho Brahe, Farnese, Fischart born. 
 
 1451 : Vespucci born. 
 
 1551 : Camden, Espinel born. 
 
234 THE ART OF MEMORY. 
 
 A. D. 1452: Savonarola, Leonardo da Vinci born. 
 
 1552: Spenser, Raleigh, Coke, Sarpi, Gen- 
 
 tili, Eicci, Cliiabrera born. 
 
 1455: First printed book. 
 
 1555: Diet of Augsburg. 
 
 1460 : Skelton, Dunbar, Gama, Linacre . . . born. 
 
 1560 : Crichton, Arminius, Ainsworth born. 
 
 1465: Luini, Boece born. 
 
 1565: Tassoni, Argensola born. 
 
 1467: Erasmus, Sigismond the Great born. 
 
 1567: Acidalius, Alabaster born. 
 
 1468: Eneina born. 
 
 1568: Monteverde, Campanella born. 
 
 1470: Magellan born. 
 
 1570 : Ferishta born. 
 
 1472: Cranach, Elias Levita. born. 
 
 1572: Aarssens born. 
 
 1473 : Copernicus born. 
 
 1573 : Donne, Regnier born. 
 
 1474: Ariosto, Douglas, Las Casas born. 
 
 1574 : Marston, Ben Jonson born. 
 
 1477: Titian, Giorgione born. 
 
 1577: Rubens, AUori, Jacob Cats, Dekker.born. 
 
 1481 : Peruzzi born. 
 
 1581: Domenichino, Hooft born. 
 
 1483: Baber, Luther, Raphael, Jovius, Gar- 
 diner, Guicciardini born. 
 
 1583 : Grotius, Wallenstein, Gibbons born. 
 
 1484: Tyndale, Zwingli, Ferrari, Areson, 
 
 Scaliger (J. S.) • born. 
 
 1584: Selden, Massinger, Duchesne, Pym. .born. 
 
HISTORICAL DATES. 235 
 
 A. D. 1485 : Cortez born. 
 
 1585: Kichelieu, Beaumont, Jansen, Drum- 
 
 mond, Bartholinus born. 
 
 1492 : Pippi born. 
 
 1592: Gassendi, Guercino, Buckingham. . .born. 
 
 1493 : Paracelsus born. 
 
 1593 : Ferrar, Izaak Walton born. 
 
 1509: Calvin born. 
 
 1609 : Hale, Fleming born. 
 
 1510: Palissy, Moroni, Goudimel born. 
 
 1610: Ormonde, Duquesne, Asselyn, Du- 
 
 cange born. 
 
 1511 : Servetus born. 
 
 1611 : Fairfax, Turenne born. 
 
 1512: Mercator, Kavenna, Tintoretto, Vas- 
 
 ari born. 
 
 1612: Butler, Leighton, Arnauld born. 
 
 1513 : Amyot born. 
 
 1613 : Menage, La Rochefoucauld, Crashaw, 
 
 Montrose, Jeremy Taylor born. 
 
 1515: Tallis, Neri, St. Theresa, Roger 
 
 Ascham born. 
 
 Baxter, Denham, Salvator Rosa born. 
 
 1615 
 
 1517 
 1617 
 
 1520 
 1620 
 
 1521 
 1621 
 
 Surrey, John Foxe. born. 
 
 Cudworth born. 
 
 Massacre of Stockholm. 
 Battle of Prague. 
 
 Maurice born. 
 
 Shaftesbury, Conde, Marvell, La Fon- 
 taine born. 
 
236 THE ART OF MEMORY. 
 
 A. D. 1524 : Palestrina, Kousard, Camoens, Eras 
 
 tus, Hotman, Bologne born. 
 
 1624: Sobieski, Sydenham born. 
 
 1527 : Dee born.. 
 
 1627 : Bossuet, Boyle born. 
 
 1530: Bodin born. 
 
 1630 : Barrow, Tillotson, Huet, Metsu born. 
 
 1535: Molina,, Frobislier, Gascoigne born. 
 
 1635 : Spener, Betterton born. 
 
 1538: Baronius born. 
 
 1638: Malebranche, Simon, Hobbema born. 
 
 1539 : Socinus, Acosta born. 
 
 1639 : Racine born. 
 
 1541 : Charron born. 
 
 1641 : Arnaud, Rymer born. 
 
 1542: Bellarmine, Akbar born. 
 
 1642: Newton, Filicaja born. 
 
 1544: Tasso born. 
 
 1644 : Bouflers, William Penn born. 
 
 1553: Eccard, Alpini, Hakluj^t, Lyly ...... born. 
 
 1653: Corelli born. 
 
 1571 : Kepler born. 
 
 1671: Gibber born. 
 
 1585: Edict of Nemours. 
 
 1685: Edict of Nantes revoked. 
 
 1586: Barneveldt, Ford born. 
 
 1686 : Fahrenheit, Ramsay, Law born. 
 
 1588: Salmasius, Hobbes born. 
 
 1688: Pope, Swedenborg, Marivaux, Freret, 
 
 Gay, Nadir Shah born. 
 
A. D. 1597 
 1697 
 
 1602; 
 1702: 
 
 1604; 
 1704 
 
 1605 
 1705 
 
 1609 
 1709 
 
 1623 
 1723 
 
 1624; 
 1724; 
 
 1629; 
 1729; 
 
 1632; 
 
 1732; 
 
 1633 
 1733 
 
 1636 
 1736 
 
 1640 
 1740 
 
 HISTORICAL DATES. 237 
 
 Eomanoff, Van Tromp born. 
 
 Maupertuis, Hogarth, Anson, D'An- 
 ville born. 
 
 Cardinal Mazarin born. 
 
 Doddridge born. 
 
 John Eliot, Heem, Pocock born. 
 
 Arne, Mansfield born. 
 
 Waller, Urquhart born. 
 
 Tucker, Hartley, Artedi, Farinelli . . born. 
 
 Thermometer invented. 
 Anemometer invented. 
 
 Pascal born. 
 
 Blackstone, Kuhnken, Adam Smith, 
 Sir Joshua Eeynolds born. 
 
 Sobieski, Sydenham born. 
 
 Kant born. 
 
 Huyghens born. 
 
 Lessing, Burke, Heyne, Spallanzani.born. 
 
 Locke, Spinoza, Pepys, Wren, Puffen- 
 dorf. Hooch, Bourdaloue, Mabillon, 
 Beaumarchais, Flechier, Gmevius, 
 Leeuwenhock born. 
 
 Washington, Hastings, Haydn, Neck- 
 er, Lalande, Falconer, Arkwright.born. 
 
 Vandevelde, South, Magliabechi. . . -born. 
 Priestley • born. 
 
 Boileau, Hvde born. 
 
 Watt, Tooke, Lagrange born. 
 
 Wycherley, Fleury, Hennepin, Leo- 
 pold the Great born. 
 
 Boccherini, Boswell, Montgolfier, 
 
 Bellman born. 
 
238 THE ART OF MEMORY. 
 
 A. D. 1642: First Public Schools, U. S. 
 
 1742: Centigrade Thermometer invented. 
 
 1643 : Burnet » born. 
 
 1743: Paley, Condorcet, Jefferson, Oagli- 
 
 ostro, Lavoisier, Jacobi born. 
 
 1645 : La Bruyere born. 
 
 1745: Volta, Jay, Lindley Murra}^, Hannah 
 
 More born. 
 
 1645: Battle of Naseby. 
 1745: Battle of Fontenoy. 
 
 1646 : Leibnitz ^ born. 
 
 1746 : Pestalozzi, Kosciusco, Grattan, Wyt- 
 
 tenbach, Monge, Goya, Sir Wm. 
 
 Jones born. 
 
 1648 
 1748 
 
 1651 
 1751 
 
 1652 
 1752 
 
 Kneller, Barclay born. 
 
 David, Bentham, Burger born. 
 
 Fenelon, Otway born. 
 
 Sheridan, Eldon, Voss. ............. .born. 
 
 First newspaper advertisement. 
 First English Bible printed in the U. S. 
 
 1653: Corelli - .born. 
 
 1753: Eoscoe, Carnot, Bewick, Stanhope, 
 
 Vergniaud, Dugald, Stewart. .... .born. 
 
 1655 : Steff ani born. 
 
 1755: Hahnemann, Flaxman, Marie An- 
 toinette, Mrs. Siddons born. 
 
 1657 : Fontenelle born. 
 
 1757: Lafayette, Canova, Hamilton, Auge- 
 
 reau, Kemble, Gillray, Wm. Blake born. 
 
 1659: A. Scarlatti • .born. 
 
 1759: Porson, Wilberforce, Pitt, Danton, 
 
 Schiller, Burns born. 
 
H'ISTORICAL DATES. 239 
 
 A. D. 1660: Stahl, Sloane born. 
 
 1760: Cherubini, St. Simon, Desmoulins. . .born. 
 
 1661: Kollin, De Foe, Buffier, Fux, Dahl- 
 
 stjerna born. 
 
 1761: Opie, Gallatin, Picliegru, Sir John 
 
 Moore born. 
 
 1663: Magnusson, Amontons, Cotton Math- 
 er, Eugene of Savoy born. 
 
 1763: Richter, Talma, Morland, Fouche. • .born. 
 
 1664: Prior, Alberoni, Queen Anne born. 
 
 1764 : Bernadotte, Abernethy, Robert Hall . born. 
 
 1666 : Geminiani, Vanbrugh, Wotton ...... born. 
 
 1766: Malthus, Wollaston, Dalton, Ersch, 
 Mme. de Stael, Alex. Wilson, Lady 
 Nairne born. 
 
 1667 : Swift, Arbuthnot, Whiston ''. born. 
 
 1767: Schlegel, Hofer, Maria Edgeworth. . -born. 
 
 1667 : Calculating machine invented. 
 1767: First Nautical Almanac. 
 
 1668: Boerhaave, Le Sage, Vico, D'Agues- 
 
 seau, Fabricius born. 
 
 1768: Chateaubriand, Schleiermacher, Al- 
 varez, Anglesey, Kriloff born. 
 
 1674 : Crebillon, Isaac Watts born. 
 
 1774: Southey, Mezzofanti, Braham, Ash- 
 burton, Thibaut, Tannahill born. 
 
 1678: Bolingbroke, Farquhar born. 
 
 1778: De Candolle, Hallam, Gay-Lussac, 
 Peale, Hazlitt, Hummel, Ast, Sir 
 Humphrey Davy born. 
 
240 THE ART OF MEMORY. 
 
 A. D. 1679: Abanzit born. 
 
 1779: Brougham, Oken, Allston, Oehlen- 
 schliiger, Berzelius, Thomas 
 Moore born. 
 
 1681: Edward Young born. 
 
 1781: Stephenson, Chantrey, Poisson born. 
 
 1682: Bottcher born. 
 
 1782: Webster, Calhoun, Froebel, Lamen- 
 
 nais, Sir Chas. Napier born. 
 
 1683 : Middleton, Reaumur, D. Scarlatti . . . born. 
 1783: Bolivar, Irving, Geijer born. 
 
 1684 : Lardner, Holberg, Astruc, Durante . . born. 
 
 1784: Burckhardt, Paganini, Auber, Spohr, 
 Palmerston, Worcester, Knowles, 
 Leigh Hunt born. 
 
 1685: Handel, Bach, Berkeley born. 
 
 1785: Wilkie, Grimm, Napier, Broglie, De 
 Quincey, Croly, Boeckh, Manzoni, 
 Christopher North born. 
 
 1687 : Bengel, Dillen born. 
 
 1787: Kean, Uhland, Guizot, Etty, Arch- 
 bishop W^hately born. 
 
 1689 : Montesquieu, Piron born. 
 
 1789: Neander, Overbeck, Daguerre, Hor- 
 ace Vernet, J. Fenimore Cooper, .born. 
 
 1690: First Newspaper, U. S. 
 1790 : Metric system originated. 
 
 1691 : Hardwicke born. 
 
 1791: Faraday, Bunsen, Czerny, Grill- 
 
 parzer, Encke, Bopp, Chas. Wolfe. born. 
 
HISTORICAL DATES. 241 
 
 A. D. 1692: Bishop Butler born. 
 
 1792: Kossini, Cruikshank, Marryatt, Shel- 
 ley, Payne, Bowring, Baratynski, 
 Cousin, Baur, Murchison, Giese- 
 ler, Keble born. 
 
 1693 : James Quin born. 
 
 1793: Macready, Eastlake, Almquist, Dela- 
 
 vigne, Felicia Hemans born. 
 
 1694: Chesterfield, Voltaire, Mosheim, 
 
 Hutcheson born. 
 
 1794: Lockhart, Meyerbeer, Grote, Mosch- 
 eles, D^Aubigne, Everett, W. C. 
 Bryant, Paul de Kock born. 
 
 1696: Brueker, Lignori, Marshal Saxe born. 
 
 1796: Corot, Steiner, W. H. Prescott born. 
 
 1698 : Warburton, Savage, Metastasio born. 
 
 1798: Comte, Michelet, Beneke, Delacroiz, 
 Leopardi, Azeglio, Mickiewicz, 
 Donizetti, Banim, Thomas Hood. .born. 
 
 1701: Graun, Boscovich, Hyder Ali born. 
 
 1801: Gioberti, Littre, Bremer, Pltickner, 
 
 Bastiat born. 
 
 1702: First English newspaper (daily). 
 1802: Photography invented. 
 
 1703: Wesley, Jonathan Edwards born. 
 
 1803: Jerrold, Emerson, Liebig, Borrow, 
 
 Ewald, Merimee, Berlioz born. 
 
 1704 : Arne, Mansfield born. 
 
 1804: Sue, Hawthorne, Cobden, Sainte 
 Beuve, D'Israeli, Garrison, Glinka, 
 Sir Julius Benedict, George Sand. born. 
 
 16 
 
242 THE ART OF MEMORY. 
 
 A. D. 1707 : Linnaeus, Buff on, Goldoni, Fielding, 
 
 Euler, Ernesti born. 
 
 1807: Agassiz, Longfellow, Whittier, Gari- 
 
 sbaldi born. 
 
 1707 : First Parliament, Great Britain. 
 1807: Slavery abolished, Great Britain. 
 
 1709: Dr. Johnson, Gresset born. 
 
 1809: Mendelssohn, Tennyson, Chopin, Poe, 
 Lincoln, Holmes, Darwin, Glad- 
 stone, Proudhon, Rieasoli, Maccul- 
 lagh. Park Benjamin, Elizabeth B. 
 Browning born. 
 
 1710 : Reid, Pergolesi, Cullen born. 
 
 1810: Alford, Musset, Schumann, Cavour, 
 Renter, Mario, Tupper, Ole Bull, 
 Theodore Parker born. 
 
 1711: Hume, Piranesi, Kaunitz born. 
 
 1811: Thackeray, Sumner, Gautier, Bright, 
 Liszt, Burritt, Leverrier, Sandeau, 
 Greeley, Wendell Phillips born. 
 
 1711 : War, Russia and Turkey. 
 1811 : Massacre of Mamelukes. 
 
 1712: Rousseau, Frederick the Great born. 
 
 1812: Dickens, Browning, Flotow, Meisson- 
 
 ier, Thalberg, Grisi, Macleod born. 
 
 1713: Diderot, Sterne, Lacaille born. 
 
 1813: Lepsius, Wagner, Beecher, Pitman, 
 
 Helps, Waitz, Dr. Livingstone. • • born. 
 
 1714 : Vattel, Whitefield, Shenstone, Gluck born. 
 
 1814: Verdi, Bismarck, Reade, Motley, 
 Ernst, ^Millet, Harriet Beecher 
 Stowe ' born. 
 
HISTORICAL DATES. 243 
 
 A. D. 1714 : Typewriter invented. 
 1814: First printing machine. 
 
 1715: Helvetius, Condillac, Lemonnier born. 
 
 1815: Tischendorf, Dean Stanley, Grace 
 
 Darling born. 
 
 1716: Garrick, Gray, Barthelemy born. 
 
 1816 : Gerstiicker, Smiles, Charlotte Bronte, 
 Charlotte Cushman, Philip James 
 Bailey born. 
 
 1717: D'Alembert, Winckelmann, Mich- 
 
 aelis, Maria Theresa born. 
 
 1817: Thoreau, Armitage, Lotze bom. 
 
 1718: Brainerd, H. Walpole born. 
 
 1818: Northcote, Gounod, Froude, Tourgue- 
 
 nieff born. 
 
 1720 : Collins, Stuart, Bonnet born. 
 
 1820: Tyndall, Spencer, Yieuxtemps, Dr. 
 Kane, Jenny Lind, Florence Night- 
 ingale born. 
 
 1721 : Smollett, Akenside, Foote, Wm. Col- 
 lins born. 
 
 1821: Buckle, Mariette, Baker, Kistori, Sir 
 
 Richard Burton, Sims Reeves born. 
 
 1723: Blackstone, Ruhnken, Adam Smith, 
 
 Sir Joshua Reynolds born. 
 
 1823: Renan, Max Mtiller born. 
 
 1726: Schwarz, John Howard born. 
 
 1826: Kirchofe -born. 
 
 1726 : Fahrenheit thermometer invented. 
 1826 : Kerosene first used. 
 
244 THE ART OF MEMORY. 
 
 A. D. 1727 : Wilkes, Tiirgot, Gamsboroiigli, Gen. 
 
 Wolfe born. 
 
 1827 : Speke born. 
 
 1728: Goldsmith, Hunter, Frisi, Capt. Cook.born. 
 
 1828: Ibsen, Tolstoi, Eossetti, Sala, Bier- 
 
 stadt born. 
 
 1729: Lessing, Burke, Heyne, Spallanzani.born. 
 
 1829: Rubinstein, Gottsclialk born. 
 
 1730: Suwaroff, Wedgwood born. 
 
 1830: Blaine born. 
 
 1730 : Reaumur thermometer invented. 
 
 1830: Revolvers invented. 
 
 1731: Cowper, Churchill, Cavendish born. 
 
 1831: Sardou, Joachim, Tietjens. born. 
 
 1733: Priestly born. 
 
 1833: Brahms, Booth, Stedman, Sir Chas. 
 
 Russell born. 
 
 1734: Romney, Mesmer, Barthez born. 
 
 1834 : Spurgeon born. 
 
 1735 : Beattie, Boone born. 
 
 1835 : Samuel L. Clemens ("Mark Twain") . . born. 
 
 1735: Stereotyping invented. 
 
 1835: Telegraph invented. 
 
 1737: Gottingen University founded. 
 
 1837: Phonography invented. 
 
 1738: Herschel, West born. 
 
 1838: Lecky born. 
 
 1739 : Dumouriez born. 
 
 1839: Bret Harte born. 
 
HISTORICAL DATES. 245 
 
 A. D. 1741: Lavater, Ali Pasha, Fuseli, Gretry. .born. 
 
 1841: Joaquin Miller, Prince of Wales born. 
 
 1742: Blticber, Rennell born. 
 
 1842: Coppee born. 
 
 1744: Marat, Herder, Mitford, Lamarck born. 
 
 1844: Munkacsy, Sir Arthur Sullivan born. 
 
 1746: Princeton University founded. 
 
 1846: Neptune discovered. 
 
 1747 : St. Petersburg University founded. 
 
 1847: Sewing machine invented. 
 
 1747: Dr. Parr born. 
 
 1847: Edison born. 
 
 1750 : Curran, Erskine, Werner, Dolomieu . . born. 
 
 1850 : Sara Bernhardt born. 
 
 1752: Lightning rod invented. 
 
 1852: Sydney University founded. 
 
 1756 : "Black Hole" of Calcutta. 
 
 1856: Treaty of Paris. 
 
 1757: Battle of Plassy. 
 
 1857: Great Mutiny, India. 
 
 1758: Achromatic object-glass invented. 
 
 1858: Sleeping car invented. 
 
 1769: Steam engine invented. 
 
 1869 : Suez Canal opened. 
 
 1770: War, Kussia and Turkey. 
 
 1870: War, France and Germany. 
 
 1771 : First English Encyclopaedia, 
 
 1871: Great Chicago fire. 
 
 1777: Knitting machine invented. 
 
 1877: Phonograph invented. 
 
246 THE ART OF MEMORY. 
 
 A. D. 1789 : French Eevolution. 
 
 1889: Brazilian Revolution. 
 
 1793 : Cotton-gin invented. 
 
 1893: World's Columbian Exposition. 
 
 The next list is of dates A. D. 200 years apart. 
 
 130: Galen born. 
 
 330: Basil the Great. born. 
 
 146: Severus born. 
 
 346: Theodosius the Great born. 
 
 822: Photius born. 
 
 1022: Harold II born. 
 
 850 : Harold Fairhair born. 
 
 1050 : Peter the Hermit born. 
 
 941 : Firdousi born. 
 
 1141 : Nizami born. 
 
 945 : Eric the Red born. 
 
 1145 : Bohaddin born. 
 
 1027: William of Normandy born. 
 
 1227: Thomas Aquinas born. 
 
 1163: Jenghiz Khan born. 
 
 1363 : Gerson born. 
 
 1193: Albertus Magnus born. 
 
 1393 : Capgrave born. 
 
 1206 : Pisano born. 
 
 1406: Valla born. 
 
 1207: Rumi born. 
 
 1407: Littleton born. 
 
 1223 : Elmacin born. 
 
 1423: Louis XI born. 
 
HISTORICAL DATES. 247 
 
 A. D. 1226 : Abulfaragius born. 
 
 1426: Pontanus born. 
 
 1286: Odoric born. 
 
 1486: Eck born. 
 
 1325: Gower born. 
 
 1525 : Maitland born. 
 
 1364: Makrizi born. 
 
 1564: Shakespeare, Marlowe, Galileo, Bux- 
 
 torf born. 
 
 1378: Hardyng, GMberti born. 
 
 1578: Parvey, Albani born. 
 
 1380: Poggio, St. Bernardin, Thomas a 
 
 Kempis born. 
 
 1580: Allegri, Archbishop TJssher born. 
 
 1387: Fiesole born. 
 
 1587 : Olivarez born. 
 
 1403: Battle of Shrewsbury. 
 
 1603: Union of England and Scotland. 
 
 1409: Leipsic University founded. 
 
 1609: Bank of Amsterdam founded. 
 
 1431: Villon, Mantegna, Elphinstone born. 
 
 1631 : Dryden born. 
 
 1450 : Manutius born. 
 
 1650 : Marlborough, Kooke, William Prince 
 
 of Orange born. 
 
 1453: Turks captured Constantinople. 
 
 1653: "Barebones'' Parliament. 
 
 1476: Sebastian Cabot born. 
 
 1676: Giannone, Sir Robert Walpole born. 
 
248 THE ART OF MEMORY. 
 
 'A. D. 1489: Cranmer, Vida born, 
 
 1689: Montesquieu, Piron born. 
 
 1499: Alasco born. 
 
 1699: Dyer • born. 
 
 1506: Xavier, Buchanan, Sleidanus. • born. 
 
 1706: Martini, Benjamin Franklin born. 
 
 1508: Alva born. 
 
 1708 : Haller, Chatham born, 
 
 1509 : Diving bell invented. 
 1709 : Piano forte invented. 
 
 1535: First English Bible printed. 
 1735: Stereotyping invented. . . 
 
 1554 : Hooker, Sir Philip Sidney born. 
 
 1754: Talleyrand, Crabbe, Kleber, Maistre, 
 
 Mme. Roland born. 
 
 1562: Lope de Yega born, 
 
 1762: Fichte, Cobbett, Bowles, Carey, Sam- 
 uel Rogers, Joanna Baillie born, 
 
 1569 : Spinola born, 
 
 1769: Napoleon, Wellington, Soult, Ney, 
 Humboldt, Cuvier, Castlereagh, 
 Brunei, Bourrienne, Sir Thomas 
 Lawrence, Mehemet Ali, Sir John 
 Malcolm born, 
 
 1572 : Aarssens born. 
 
 1772: Coleridge, Novalis, Fourier, Ricardo, 
 
 Hogg, Fauriel born, 
 
 1577: Rubens, Allori, Dekker, Jacob Cats, .born, 
 1777: Campbell, Gauss, Oersted, La Motte, 
 
 Fouqu6, Henry Clay : . born. 
 
HISTORICAL DATES. 249 
 
 A. D. 1605 : Gunpowder plot. 
 
 1805; Battle of Trafalgar. 
 
 1614: Logarithms invented. 
 
 1814: First locomotive. 
 
 1640: "Short" and "Long'' Parliament. 
 
 1840: Penny postage originated. 
 
 1643: Barometer invented. 
 
 1843 : Steam lathe invented. 
 
 1694 : Bank of England established. 
 
 1894 : War, China and Japan 
 
 The next list is of dates A. D. 300 years apart. 
 
 730 : Alcuin born. 
 
 1030: St. Bruno born. 
 
 822: Photius born. 
 
 1122: Eleanor of Aquitaine born. 
 
 874: Iceland settled. 
 
 1174: Leaning Tower of Pisa commenced. 
 
 980 : Avicenna born. 
 
 1280: William of Occam born. 
 
 990 : Damiani born. 
 
 1290: John Tauler born. 
 
 1040 : Rashi born. 
 
 1340 : Chaucer, Groot born. 
 
 1157: Bank of Venice established. 
 
 1457: First newspaper. 
 
 1221 : Bonaventura ....:.... born. 
 
 1521 : Maurice • • born. 
 
 1325 : Gower born. 
 
 1625 : Nicole born. 
 
250 THE ART OF MEMORY. 
 
 A. D. 1349 : Iron wire first made. 
 
 1649: Hydraulic press invented. 
 
 1477: Watches and Violins invented. 
 
 1777: Torpedoes invented 
 
 1480: Spanish Inquisition established. 
 
 1780: Sunday-Schools established. 
 
 1492: Columbus discovered America. 
 
 1792: Battle of Valmy. 
 
 1526: Mogul Empire founded. 
 
 1826 : War, Turkey and Russia. 
 
 1551 : First Comedy performed, England. 
 
 1851: World's Fair, London. 
 
 The next list is of dates A. D. 500 years apart. 
 
 36 : Quintilian born. 
 
 536: Agathias, Evagrius born. 
 
 232: War, Severus and Persians. 
 
 732: Battle of Tours. 
 
 614: St. Hilda .born. 
 
 1114 : Gerard of Cremona- born. 
 
 622: Hegira of Mohammed. 
 
 1122 : Concordat of Worms. 
 
 689: Charles Martel born. 
 
 1189: St. Edmund born. 
 
 698: Arabs destroyed Carthage. 
 
 1198: Battle of Gisors. 
 
 750: Organ invented. 
 
 1250 : Gunpowder invented. 
 
 829: England founded. 
 
 1329: Ottoman Empire founded. 
 
HISTORICAL DATES. 261 
 
 A. D. 886: Oxford University founded. 
 
 1386: Heidelberg University founded. 
 
 886 : Mas' udy born. 
 
 1386 : Donatello born. 
 
 891: Eudagi born. 
 
 1391 : Michelozzi born. 
 
 895 : Atlielstane born. 
 
 1395: Bessarion born. 
 
 896: Hungary founded. 
 
 1396: Battle of Mcopolis. 
 
 919: Germany founded. 
 
 1419: Hussite wars began, 
 
 920 : Haco born. 
 
 1420: Torquemada, John Wessel born. 
 
 935: Hrosvitha born. 
 
 1435 : Yerrocchio born. 
 
 971 : Mahmood born. 
 
 1471: Wolsey, Dtirer, Pizarro born. 
 
 980 : Avicenna born. 
 
 1480: Carlstadt, Gringoire, Sir Thomas 
 
 More born. 
 
 990 : Damiani born. 
 
 1490: Eabelais, Colonna, Lindsay, Schv^enk- 
 
 feld, Berni, Hugh Latimer born. 
 
 992: Poland founded. 
 
 1492: Columbus discovered America. 
 
 994: Godwine born. 
 
 1494: Hans Sachs, Correggio, Castillejo, 
 
 Beaton, Van Leyden born. 
 
252 THE ART OF MEMORY. 
 
 A. D. 998 : Berengarius born. 
 
 1498: Moretto born. 
 
 1004: Nasir Khosran, Edward the Con- 
 fessor born. 
 
 1504 : Parmigiano born. 
 
 1005 : Lanfranc born. 
 
 1505 : John Knox born. 
 
 1017: Omar Khayyam born. 
 
 1517: Surrey, Zarlino, Granvella, John 
 
 Foxe born. 
 
 1017: Danes conquered England. 
 
 1517: Reformation. 
 
 1018: Hardicanute born. 
 
 1518: Robusti, Palladio born. 
 
 1029 : Alp Arslan born. 
 
 1529 : Leicester born. 
 
 1033 : Anselm born* 
 
 1533 : Montaigne, William the Silent, Queen 
 
 Elizabeth, Baldi born» 
 
 1054 : Hariri born. 
 
 1554: Hooker, Sir Philip Sidney born. 
 
 1059: Algazali born. 
 
 1559: Tilly, Casaubon, Chapman born. 
 
 1070: Champeaux -born. 
 
 1570 : Ferishta born. 
 
 1075: Ordericus Vitalis born. 
 
 1575: Guido, Boehmen, Calderwood born. 
 
 1079: Abelard born. 
 
 1579: Fletcher, Rohan born. 
 
HISTORICAL DATES. 253 
 
 A. D. 1091: St. Bernard born. 
 
 1591 : Herrick born. 
 
 1094: St. Malachy born. 
 
 1594: Saint- Amant, Hampden, Poussin, 
 
 Gustavus Adolphus born. 
 
 1098 : Hildegard born. 
 
 1598: Voiture, Eobert Blake born. 
 
 1099: Edrisi born. 
 
 1599: Velazquez, Van Dyck, Cromwell, Pic- 
 colomini, Bochart^ Koger Will- 
 iams born. 
 
 1118: Thomas a Becket born. 
 
 1618: Cowley, Murillo born. 
 
 1118: Order Knights Templars founded. 
 
 1618: Thirty Years War began. 
 
 1119 : Perid-Eddin- Athar born. 
 
 1619: Colbert, Kupert, Le Brun born. 
 
 1126 : Averrhoes • born. 
 
 1626: Christina, Mme. Sevigne born. 
 
 1135: Maimonides, St. Hugh born. 
 
 1635: Spener, Betterton ' born. 
 
 1137: Saladin born. 
 
 1637: Ken born. 
 
 1147: Barri born. 
 
 1647: Bayle born. 
 
 1150: First Almanac. 
 
 1650 : Air pump invented. 
 
 1152: Gervaise born. 
 
 1652: Dampier, Pitcairne born. 
 
254 
 
 A. D. 1157: 
 1657: 
 
 1157: 
 1657: 
 
 1162: 
 1662: 
 
 1170: 
 1670: 
 
 1172: 
 1672: 
 
 1175: 
 1675: 
 
 1179: 
 1679: 
 
 1180: 
 1680: 
 
 1182: 
 1682: 
 
 1190: 
 1690: 
 
 1191: 
 1691: 
 
 1194: 
 1694: 
 
 1203 
 1703 
 
 1204 
 1704 
 
 THE ART OF MEMORY. 
 
 Eichard Coeur de Lion born. 
 
 Fontenelle born. 
 
 Bank of Venice established. 
 Eeflecting telescope invented. 
 
 Abdallatif born. 
 
 Bentley, Atterbury born. 
 
 St. Dominic born. 
 
 Congreve, Carolan, Dubos born. 
 
 Conquest of Ireland. 
 Conquest of Holland. 
 
 Grosseteste born. 
 
 Samuel Clarke born. 
 
 Snorro Sturluson born. 
 
 Abuzit born. 
 
 Carpini born. 
 
 Cavalier, Astorga born. 
 
 Accorsi, St. Francis born. 
 
 Bottcher • born. 
 
 Order Teutonic Knights founded. 
 Battle of the Boyne. 
 
 Vincent, Scot born. 
 
 Hardwicke born. 
 
 Eccelino born. 
 
 Chesterfield, Voltaire, Mosheim, 
 Hutcheson born. 
 
 Inquisition founded. 
 St. Petersburg founded. 
 
 Latin Kingdom founded. 
 Battle of Blenheim. 
 
HISTORICAL DATES. 255 
 
 A. D. 1211: Ibn Khallikan born. 
 
 1711: Hume, Piranesi, Kaunitz born. 
 
 1226 : Abulf aragius born. 
 
 1726: Schwarz, John Howard born. 
 
 1231: Manfred born. 
 
 1731: Cowper, Churchill, Cavendish born. 
 
 1237 : Durandus born. 
 
 1737: Gibbon, Hutton, Geddes, Galvani, 
 
 Paine born. 
 
 1246: Siege of Seville. 
 1746 : Battle of Culloden. 
 
 1249: Amadeus the Great born. 
 
 1749: Mirabeau, Goethe, Jenner, Fox, Lap- 
 lace, Alfieri, Cimarosa, Yogler, 
 Tippoo Saib born. 
 
 1268: Barons' War. 
 
 1768 : War, Kussia and Turkey. 
 
 1270: Wallace, Cino born. 
 
 1770: Wordsworth, Thorwaldsen, Beetho- 
 ven, Hegel, Foster, Canning, Lord 
 Liverpool, Sir Francis Burdett .... born. 
 
 1273: Abulfeda born. 
 
 1773: Jeffrey, F. Schlegel, Tieck, Sismondi, 
 
 Metternich, Thomas Young born. 
 
 1283 : Alhambra commenced. 
 1783: Balloon invented. 
 
 1288 : Gersonides born. 
 
 1788: Schopenhauer, Byron, Hook, Arnott, 
 Etickert, Kisfaludy, Sir Eobert 
 Peel, Sir Wm. Hamilton born. 
 
256 
 
 A. D. 1290: 
 1790: 
 
 1296: 
 1796: 
 
 1298: 
 1798: 
 
 1299: 
 1799: 
 
 1302: 
 1802: 
 
 1312: 
 1812: 
 
 1315: 
 1815: 
 
 1321: 
 1824: 
 
 1332: 
 1832: 
 
 1336: 
 1836: 
 
 1337 
 1837 
 
 1346 
 1846 
 
 1348 
 
 1848 
 
 THE ART OF MEMORY. 
 
 Tauler bom. 
 
 Champollion, Parry, Bozzarris, La- 
 martine, Atterbom, Gibson, Kolc- 
 sey born. 
 
 Battle of Dunbar. 
 Battle of Lodi. 
 
 Battle of Stirling. 
 Battle of the Nile. 
 
 Spectacles invented. 
 Lithography invented. 
 
 Mariner's Compass invented. 
 Photography invented. 
 
 Orleans University founded. 
 Moscow burned. 
 
 Battle of Morgarten. 
 Battle of New Orleans. 
 
 Wycliffe born. 
 
 Dobell, Alboni, Wilkie Collins born. 
 
 Ibn Khaldoun born. 
 
 Bjornsen, Dore, Ferry, Edwin Ar- 
 nold born. 
 
 Tamerlane born. 
 
 T. B. Aldrich, Almeda-Tameda, Pa- 
 repa-Eosa born. 
 
 Froissart born. 
 
 Moody, Swinburne born. 
 
 Battle of Orecy. 
 
 Polish Eepublic crushed. 
 
 Holland founded. 
 
 German Empire established. 
 
A. D. 1363 
 1863 
 
 1367 
 1867 
 
 1367 
 1867 
 
 1369 
 1869 
 
 HISTORICAL DATES. 257 
 
 Fire arms invented. 
 Battle of Gettysburg. 
 
 Kremlin (Moscow) founded. 
 Paris Exposition. 
 
 Battle of Navaretta. 
 
 War, England and Abyssinia. 
 
 Bastile founded. 
 Suez Canal opened. 
 
 The next list is of dates A. D. 1000 years apart. 
 
 34 : Perseus born. 
 
 1034: Cid born. 
 
 40 : Titus born. 
 
 1040: Rashi born. 
 
 53: Trajan born. 
 
 1053: Guibert, Sana'i born. 
 
 55: Tacitus • • -born. 
 
 1055 : Hildebert born. 
 
 60: Apollodorus born. 
 
 1060: Bouillon born. 
 
 121: Marcus Antoninus born. 
 
 1121: Frederick Barbarossa born. 
 
 160: Tertullian • born. 
 
 1160: Villehardouin born. 
 
 185: Origen born. 
 
 1185: Sa'di born. 
 
 196: Fall of Byzantium. 
 
 1196: Moors captured Oalatrava. 
 
 211 : Wall of Severus finished. 
 
 1211: Siege of Salvatierra. 
 
 17 
 
258 THE ART OF MEMORY. 
 
 A. D. 214 : Claudius (M. Aurelius) born. 
 
 1214 : Koger Bacon born. 
 
 254 : St. Sebastian born. 
 
 1254: Marco Polo born^ 
 
 265 : Eusebius born. 
 
 1265: Dante, Duns Scotus born. 
 
 274: Constantino the Great born. 
 
 1274 : Eobert Bruce born. 
 
 282 : Jamblichus born. 
 
 1282: Marignolli born. 
 
 313: Ulphilas born. 
 
 1313: Boccaccio, Eienzi born. 
 
 314 : Didymus born. 
 
 1314: Dugueschlin, Bartolus born. 
 
 316: Libanius, St. Martin born. 
 
 1316 : Barbour, Orcagna born. 
 
 325: Council of Mce. 
 
 1325 : Battle of Cappiano. 
 
 328: Valens born. 
 
 1328: Deschamps born. 
 
 331 : Julian ..- born. 
 
 1331 : Langland born. 
 
 340: St. Ambrose born. 
 
 1340 : Chaucer, Groot born. 
 
 • 
 
 347 : Chrysostom born. 
 
 1347: Bajazet, St. Catherine born. 
 
 354 : St. Augustine born. 
 
 1354 : Glendower born. 
 
 365 : Claudianus born. 
 
 1365: Jerome of Prague born. 
 
HISTORICAL DATES. 259 
 
 A. D. 390 : Marcian born. 
 
 1390 : Montezuma I born. 
 
 390: Massacre at Thessalonica. 
 
 1390. European conquests, Amurath I. 
 
 396: St. Patrick born. 
 
 1396: Alphonsus, Coeur born. 
 
 406: Attila, Genseric born. 
 
 1406 : Valla : born, 
 
 410: Alaric sacked Rome. 
 
 1410: Battle of Tannenberg. 
 
 423 : Ricimer born. 
 
 1423: Louis XI born. 
 
 429: Vandals conquered Sicily. 
 
 1429: Battle of Orleans. 
 
 434 : Odoacer born. 
 
 1434 : Boiardo born. 
 
 436: Childeric I born. 
 
 1436 : Ximenes born. 
 
 454: Theodoric . . - born. 
 
 1454 : Politian born. 
 
 455: Genseric sacked Rome. 
 
 1455: War of "Roses" began. 
 
 475: Boetius, Trebonianus born. 
 
 1475 : Michael Angelo, Bayard born. 
 
 476: Roman Empire fell. 
 
 1476: Charles the Bold invaded Switzerland. 
 
 487 : Procopius born. 
 
 1487: Sarto born. 
 
 491 : Tribonian born. 
 
 1491: Lo^^ola, Bucer, Folengo born. 
 
260 THE ART OF MEMORY. 
 
 A. D. 505 : Belisarius born. 
 
 1505 : John Knox bom. 
 
 516 : Gildas born. 
 
 1516 : Gesner born. 
 
 521 : St. Columba born. 
 
 1521 : Maurice born. 
 
 526: Antioch destroyed by earthquake. 
 
 1526: Hungary conquered by Turks. 
 
 530 : Fortunatus born. 
 
 1530 : Bodin born. 
 
 536: Agathias, Evagrius born. 
 
 1536 : Mariana, Sylburg born. 
 
 571 : Mohammed born. 
 
 1571 : Kepler born. 
 
 575 : Heraclius born. 
 
 1575: Guido, Boehmen, Calderwood born. 
 
 583 : Omar I born. 
 
 1583: Grotius, Wallenstein, Gibbons born. 
 
 602: Archbishop Theodore . . - born. 
 
 1602: Cardinal Mazarin born. 
 
 605: Hwen T'sang, Udall born. 
 
 1605 : Waller, Urquhart born. 
 
 622 : Csedmon born. 
 
 1622 : Moliere, Adelaar born. 
 
 622: Hegira of Mohammed. 
 
 1622: First English newspaper. 
 
 625 : Adamnan born. 
 
 1625. Nicole, De Witt, Ruysdael, Geulincz . . born. 
 
 635: Cambridge University founded. 
 
 1635: French Academy founded. 
 
A.D. 636 
 1636: 
 
 647: 
 1647: 
 
 651: 
 1651: 
 
 656: 
 1656: 
 
 672: 
 1672: 
 
 680: 
 1680: 
 
 710: 
 1710: 
 
 713: 
 1713. 
 
 725: 
 1725: 
 
 730: 
 1730: 
 
 740: 
 1740: 
 
 742: 
 1742: 
 
 752: 
 1752 
 
 756 
 1756 
 
 HISTORICAL DATES. 261 
 
 Mosque of Omar founded. 
 Harvard University founded. 
 
 Saracens first invaded Africa. 
 Masaniello's revolt. 
 
 Dissolution of Persian Kingdom. 
 Battle of Worcester. 
 
 Aldhelm born. 
 
 Halley, Eegnard, Largilliere born. 
 
 The Venerable Bede born. 
 
 Addison, Mary Manley, Steele, Mura- 
 tori, Peter the Great born. 
 
 St. Boniface born. 
 
 Cavalier, Astorga born. 
 
 Saracens conquered Turkey. 
 Battle of Saragossa. 
 
 Bulgarians plundered Thrace. 
 Peace of Utrecht. 
 
 Cynewulf born. 
 
 Olive, Semler, Keppel born. 
 
 Alcuin born. 
 
 Suvraroff, Wedgwood born. 
 
 Asmai born. 
 
 Boccherini, Boswell, Montgolfier, 
 
 Bellman born. 
 
 Oharlemagne born. 
 
 Blticher, Eennell born. 
 
 Irene born. 
 
 Legendre, Blumenbach, Ohatterton, 
 
 dementi born. 
 
 Kingdom of Cordova founded. 
 Seven Years War beaan. 
 
262 
 
 A.D. 758 
 
 1758: 
 
 763: 
 1763: 
 
 771: 
 1771; 
 
 775: 
 1775: 
 
 776 
 1776 
 
 786: 
 1786 
 
 792 
 1792; 
 
 799; 
 1799 
 
 802; 
 1802; 
 
 805: 
 1805 
 
 THE ART OF MEMORY. 
 
 Nicephorus born. 
 
 Nelson, Robespierre, Sacy, Massena, 
 
 Noah Webster born. 
 
 Haroun al Raschid • born. 
 
 Richter, Talma, Morland, Fouclie. . .born. 
 
 Eginhard born. 
 
 Sir Walter Scott, Bichat, Trevitliick, 
 Mungo Park, Sydney Smith born. 
 
 King Egbert born. 
 
 Lamb, Landor, Schilling, Turner, 
 O'Connell, Grotefend, Ampere, 
 Boieldieu, Camuccini, Chas. Kem- 
 ble, Jane Austen born. 
 
 Hrabanus born. 
 
 Niebuhr, Ballanche, Herbart, Bret- 
 
 schneider. Key born. 
 
 Al-Manum born. 
 
 Weber, Arago, Gesenius, Bishop, Sir 
 
 John Franklin born. 
 
 Paris University founded. 
 Battle of Yalmy. 
 
 St. Ignatius born. 
 
 Balzac, Poushkin, Dollinger, Vigny, 
 Halevy, Finlay, Rothe, Tholuck, 
 Choate born. 
 
 Erigena born. 
 
 Hugo, Landseer, Bellini, Dumas, 
 Praed, De Beriot, Hugh Miller, 
 Harriet Martineau born. 
 
 Albumazar born. 
 
 Mazzini, Bulwer, Tocqueville, Kaul- 
 bach, Gervinus, Hiram Powers, 
 Hans Christian Andersen .born. 
 
HISTORICAL BATES. 268 
 
 A. D. 806 : Hincmar bom. 
 
 1806: Kossuth, Dyce, Lever, Forrest, Son- 
 tag, Stirling, John Stuart Mill, N. 
 P. Willis, Kobert E. Lee born. 
 
 808: Walafrid born. 
 
 1808: Malibran, Balfe, Mrs. Caroline Nor- 
 ton born. 
 
 812: Danes invaded Ireland. 
 1812 : War with England. 
 
 822: Photius born. 
 
 1822: Pasteur, Schliemann, Parton, Read, 
 Raff, Gen. Grant, Matthew Arnold, 
 Rosa Bonheur born. 
 
 825 : Methodius born. 
 
 1825: Huxley, Baj^rd Taylor born. 
 
 840: Hucbald born. 
 
 1840 : Stanley, Daudet born. 
 
 861: Kingdom of Navarre founded. 
 1861 : Russian serfs emancipated. 
 
 862: Russia founded. 
 1862: ^'Merrimac'' and ^'Monitor.'' 
 
 874: Iceland settled. 
 1874: Telephone invented. 
 
 877: Battle of Swansea. 
 1877: War, Russia and Turkey. 
 
 The next list is of dates A. D. 1500 years apart. 
 
 9: Vespasian born. 
 
 1509 : Calvin born. 
 
 37: Josephus, Agricola, Nero born. 
 
 1537 : Guarini born. 
 
264 THE ART OF MEMORY. 
 
 A. D. 39: Lucan born. 
 
 1539: Socinus, Acosta born. 
 
 45 : Statins born. 
 
 1545 : Drake born. 
 
 47 : Juvenal born. 
 
 1547: Cervantes, Bales, Llpsius born. 
 
 48: Epictetus born. 
 
 1548: Stevinus, Suarez, Bruno born. 
 
 51 : Domitian born. 
 
 1551: Camden, Espinel born. 
 
 61: Pliny the Younger born. 
 
 1561: Bacon born. 
 
 96 : Arrian born. 
 
 1596 : Descartes, Amyraut born. 
 
 120 : Lucian born. 
 
 1620 : Evelyn, Maimbourg born. 
 
 256 : Arius, Hosius born, 
 
 1756 : Godwin, Mozart born. 
 
 265 : Eusebius born. 
 
 1765: Mackintosh, Fulton, Karamzin, Bag- 
 
 gesen, Bagration, Baader born. 
 
 297 : Athanasius born. 
 
 1797: Lyell, Delaroche, Thirlwall, Thiers, 
 Heine, De Vigny, Schubert, Mer- 
 cadante, Karl Mtiller, Eemusat, 
 
 Lover, Cecilia Faber born. 
 
 325 : Council of Nice. 
 
 1825: First passenger railroad. 
 
HISTOKICAL DATES. 265 
 
 The next list is of dates B. C. and A. D. which are 
 500 years apart. 
 
 B. C. 460 : Democritus, Hippocrates born. 
 
 A. D. 40: Titus born. 
 
 B. C. 453: Cleon born. 
 
 A. D. 47: Juvenal iborn. 
 
 B. C. 430: Spartans invaded Attica. 
 
 A. D. 70 : Coliseum built. 
 
 B. C.260: First Roman fleet. 
 
 A. D. 240 : Hour-glasses first used. 
 
 B. C. 227: War, Sparta and Achaian League. 
 
 A. D. 273: Aurelian vanquished Zenobia. 
 
 B. C. 170 : Philostratus born. 
 
 > 
 
 A. D. 330: Basil the Great born. 
 
 B. C. 155 : Marius born . 
 
 A. D. 345 : Rufinus » born. 
 
 B.C. 48: Battle of Pharsalia. 
 
 A. D. 452: Venice founded. 
 
 B. C. 43: Second Roman Triumvirate. 
 
 A. D. 457: Saxon Heptarchy. 
 
 The next list is of dates B. C. and A. D. which are 
 1000 years apart. 
 
 B. C. 751 : Syracuse founded. 
 
 A. D. 249: Goths' first Roman invasion. 
 
 B. C. 675: Byzantium founded. 
 
 A. D. 325 : Council of Nice. 
 
 B. C. 624: Gautama (Buddha) born. 
 
 A. D. 376: Alarie born. 
 
266 
 
 THE ART OF MHMOllY. 
 
 B. coil 
 A.I).:iJ)i) 
 
 B. (\539 
 
 A. D. 401 
 
 B. C. 41)5 
 
 A. I). 505 
 
 B. C. 284 
 A.D.710 
 
 B. ( \ L>37 
 
 A. D. 7o;^ 
 
 B. a 1 51 
 
 A. D. 841) 
 
 B. C. 05 
 
 A. D, 935 
 
 B. O. 03 
 A. 1>. 037 
 
 Annxiniandor born. 
 
 JOl ins born. 
 
 First public librnry. 
 
 Sistinc Choir, Komc, established. 
 
 Sopliocles born. 
 
 l>elisarins born. 
 
 Ah'xandrian l.ibrary fonnded. 
 l*a])(M' invented. 
 
 Antioehus the Great born. 
 
 llaronn al Kaschid born. 
 
 A^^atliarcides born. 
 
 Alfred the Great born. 
 
 TTorac(^ born. 
 
 1 Irosvitha born. 
 
 Conspiracy of (^atiline. 
 Bailie of Hrnnanbnrh. 
 
 The n(\\t list is of dales B. C. and A. T). which are 
 3500 years apart. 
 
 1\. C. 740 
 A.D. 700 
 
 B. C. 094 
 A.D. 800 
 
 B. C. 510 
 A.D. 990 
 
 B. (\ 400 
 A.D. 10 10 
 
 B. C, 318 
 A.D. 1182 
 
 Seniiraniis rebnilt Babylon. 
 Bagdad fonndcMl. 
 
 Sardanapalns born. 
 
 TTincniar born. 
 
 Cimon born. 
 
 Daniiani born. 
 
 Denioerilns, Hippocrates born. 
 
 Ivashi born. 
 
 ryrrhus born. 
 
 si. h'rancis born. 
 
niST(>KU\AL n ATKS. 
 
 267 
 
 H. (\ 2S0: r»n(ll(' of I hMiuli^a. 
 
 A. 1). Ili2(): I'i'cdcrick 11, ciipliired fl(M'US;iI(Mn. 
 
 B. C. 2T(): Er;il()slh(Mi(\s horn. 
 
 A.1).122J:: JoiiivilU^ boni. 
 
 B. C. 2(>4: I1rsl rimic Wnr. 
 
 A. 1). 12*>(): Mooi's coiKUKM'cd CoidoNa. 
 
 1?. i\ LM7: S(M'()ii(l runic Wav. 
 
 A. 1). 12S;>: W ;il('s snbjiii^ii((Hl. 
 
 A. I). 1LM)S: 
 
 15. (\ KM): 
 A.D. i;iJ)l: 
 
 r». (\ !)l: 
 A.D. 1 mm;: 
 
 B.C. 71: 
 A. 1). 1 ILM): 
 
 l*»;iHI(> of Yuwu-A. 
 lIiilMc of Sdi'lino-. 
 
 AMiciis IxMii. 
 
 M icliclozzi born. 
 
 ( 'nhilhis boi'n. 
 
 \a\\a born. 
 
 Ivobollion of S|)nrl:i(Mis. 
 UjHMo of Orlo.ins. 
 
 B. (\ <;:*>: SInibo, Anj^nslns 
 A.D. 1 i:{7: AbnibjuH'l 
 
 B. i\ 51: Tibnllns 
 
 A. I). 1 1 1(1: r(M'n.*Aini, Colnnibns 
 
 15. i\ :\: S(MUM*;i, (Jnlb;i 
 
 A. 1). 1 11)7: MoI.MiK'dion, ll<»lboin 
 
 )orn 
 )orn 
 
 )()i'n 
 )oi'n 
 
 )()rn 
 )()i'n 
 
 Tbo noxl lisl is of dnlos B. (\ jiinl A. D. 2000 vonrs 
 npjirl: 
 
 I 
 
 15. (\ 77(; 
 
 A. D.I 221 
 
 B. O. 55(1 
 A.D. 1411 
 
 V'w^i :nil lioni ir (l;ilo. 
 Njipb^s Hnivorsily fonndod, 
 
 Porsijins concpnM'od M(h1os. 
 linlllo of V.Mi'n.M. 
 
268 THE AKT OF MEMORY. 
 
 B. C. 551 : Confucius born. 
 
 A. D. 1449: Ghirlandajo born. 
 
 B. C. 512: Phrynicus born. 
 
 A. D. 1488: Kaimondi, Von Hutten born. 
 
 B. C. 509 : Themistocles born. 
 
 A. D. 1491: Loyola, Bucer, Folengo born. 
 
 B. C. 454 : Athens subdued ^Egina. 
 
 A. D. 1546 : Smalkaldic War began. 
 
 B. C. 404: Fall of Athens. 
 
 A. D. 1596: Fall of Cadiz. 
 
 B. C. 394: Lysippus, Alexis born. 
 
 A. D. 1606: Kembrandt, Corneille, Gerhardt born. 
 
 B. C. 361: Dinarchus, Eumenes, Lysimachus. . .born. 
 
 A. D. 1639: Racine born. 
 
 B. C. 343: First Samnite War. 
 
 A. D. 1657: War, Denmark and Sweden. 
 
 B. C. 342: Menander born. 
 
 A. D. 1658: Peterborough born. 
 
 B. C. 327: Second Samnite War. 
 
 A. D. 1673: Battle of Khotin. 
 
 B. C. 318: Pyrrhus born. 
 
 A. D. 1682: Bottcher • born. 
 
 B. C. 300. Antioch founded. 
 
 A. D. 1700 : Battle of Narva. 
 
 B. C. 299: Callimachus born. 
 
 A. D. 1701: Graun, Boscovich, Hyder Ali. born. 
 
 B. C. 247: Hannibal born. 
 
 A. D. 1753: Roscoe, Carnot, Bewick, Stanhope, 
 
 Vergniaud, Dugald Stewart born. 
 
HISTORICAL DATES. 269 
 
 B. C. 225: Gauls invaded Rome. 
 
 A. D. 1775: War of American Revolution. 
 
 B. C. 205: ^milius born. 
 
 A. D. 1795: Havelock, Carlyle, Howitt, Keats, 
 
 Sir Rowland Hill born. 
 
 B. C. 14G: Carthage destroyed. 
 
 A. D. 1854: Crimean War. 
 
 The next list consists of dates of three figures, the 
 first being a factor of the last two, and the quotient 
 being one of the nine numerals: 
 
 B. C. 630: Erinna, Stesichorus born. 
 
 B. C. 624: Gautama (Buddha) born. 
 
 B. C. 612: Pisistratus born. 
 
 B. C. 530 : Cleomenes born. 
 
 B. C. 520: Cincinnatus, Aristides born. 
 
 B. C. 510 : Cimon born. 
 
 B. C. 436 : Isocrates born. 
 
 B. C. 432: Lysander born. 
 
 B. C. 420 : Isseus born. 
 
 B. C. 412 : Diogenes born. 
 
 B. C. 408: Timoleon born. 
 
 B. C. 327 : Second Samnite War. 
 
 B. C. 318. Pyrrhus born. 
 
 B. C. 312: Appian Way built. 
 
 B. C. 216: Battle of Cannae. 
 
 B. C. 210: Polybius born. 
 
 A. D. 210 : Longinus born. 
 
 214: Grist mills invented. 
 
 214: Marcus Aurelius Claudius born. 
 
270 THE AKT OF MEMORY. 
 
 A. D. 306 : London rebuilt. 
 
 324: Constantinople founded. 
 
 412: Proelus born. 
 
 436 : Childeric I born. 
 
 530 : Fortunatus born. 
 
 742 : Charlemagne born. 
 
 756: Kingdom of Cordova founded. 
 
 763 : Haroun al Raschid born. 
 
 840: Hucbald born. 
 
 The list here given consists of dates above 1000 A. D., 
 the second figure being a factor of the last two, and 
 the quotient being one of the nine numerals: 
 
 A. D. 1204: Latin Kingdom founded. 
 
 1206 : Pisano born. 
 
 1212: Children's Crusade. 
 
 1214 : Roger Bacon born. 
 
 1216: Kublai, Khan born. 
 
 1312: Orleans University founded. 
 
 1315: Battle of Morgarten. 
 
 1324: Wycliffe born. 
 
 1412: Stenography invented. 
 
 1420: Torquemada, John Wessel born. 
 
 1436 : Ximenes born. 
 
 1510: The Spaniards conquered Cuba. 
 
 1515: Camera Obscura invented. 
 
 1520 : "Field of Cloth of G old." 
 
 1525: Battle of Pavia. 
 
 1530: Diet of Augsburg. 
 
A. D. 1535 
 1540: 
 1612: 
 1618: 
 1624: 
 1630: 
 1636: 
 1642: 
 1714: 
 1721: 
 
 1728: 
 1735 
 1742; 
 1749 
 
 1756 
 1763 
 1816; 
 
 1824 
 1832: 
 
 1840 
 
 1848: 
 1856 
 
 HISTORICAL DATES. 271 
 
 First English Bible printed. 
 
 J. J. Scaliger, Brantome born. 
 
 Butler, Leighton, Arnauld born. 
 
 Thirty Years War began. 
 
 Sobieski born. 
 
 Barrow, Tillotson born. 
 
 Harvard College founded. 
 
 First public schools, U. S. 
 
 Type-Avriter invented. 
 
 Smollett, Akenside, Foote, Wm. Col- 
 lins born. 
 
 Goldsmith, Capt. Cook born. 
 
 Stereotyping invented. 
 
 Blticher born. 
 
 Mirabeau, Goethe, Jenner, Fox, La- 
 place, Alfieri, Cimarosa, Yogler, 
 Tippoo Saib born. 
 
 Seven Years War began. 
 
 Kichter, Talma, Morland born. 
 
 Gerstacker, Smiles, Charlotte Bron- 
 te, Charlotte Cushman, Philip 
 James Bailey born. 
 
 Wilkie Collins, Alboni born. 
 
 Bjornsen, Dore, Ferry, Edwin Ar- 
 nold born. 
 
 Stanley, Daudet, "Ouida'^ born. 
 
 German Empire established. 
 
 Treaty of Paris. 
 
272 THE ART OF MEMORY. 
 
 In the following list the dates all contain four fig- 
 ures, the number formed by the last two being a mul 
 tiple of that formed by the first two. 
 
 A. D. 1030: St. Bruno born. 
 
 1040: Eashi born. 
 
 1050: Peter the Hermit born. 
 
 1060: Bouillon born. 
 
 1070 : Ohampeaux born. 
 
 1122: Concordat of Worms. 
 
 1224 : Join ville born. 
 
 1236: Moors conquered Cordova. 
 
 1248: Cologne Cathedral commenced. 
 
 1260 : Frauenlob born. 
 
 1272: End of Crusades. 
 
 1284: Battle of Meloria. 
 
 1365: Vienna University founded. 
 
 1378: Hardyng, Ghiberti born. 
 
 1391: Playing cards invented. 
 
 1428 : Warwick born. 
 
 1442: Alfonso V. conquered Naples. 
 
 1470 : Magellan born. 
 
 1484 : Tyndale, Zwingli, J. S. Scaliger born. 
 
 1498: Moretto born. 
 
 1530: Diet of Augsburg. 
 
 1545: Council of Trent. 
 
 1560: Arminius, Crichton born. 
 
 1575: Guide, Boehmen born. 
 
 1590: Microscope invented. 
 
 1632: Battle of Ltitzen. 
 
HISTORICAL DATES. 278 
 
 A. D. 1648: "Kump'' Parliament. 
 
 1664 : Queen Anne born. 
 
 1680 : Cavalier, Astorga born. 
 
 1696: Marshal Saxe born. 
 
 1734: Romney, Mesmer born. 
 
 1751: Eldon, Sheridan, Voss born. 
 
 1768: Chateaubriand born. 
 
 1785: Wilkie, Napier, Grimm, Christopher 
 
 North born. 
 
 1836: T. B. Aldrich, Parepa-Rosa, Almeda- 
 
 Tameda born. 
 
 1854: Crimean War. 
 
 1872: Great Boston Fire. 
 
 Each of the following dates consist of four figures, 
 the first two being a multiple of the last. 
 
 1402: Dunois .born. 
 
 1602: Mazarin born. 
 
 1802 : Hugo born. 
 
 1503: Wyatt born. 
 
 1803 : Dumas born. 
 
 1604: Eliot born. 
 
 1005 : Lanf ranc born. 
 
 1505 : Knox born. 
 
 1206 : Pisano born. 
 
 1806 : Kossuth born. 
 
 1608: Milton born. 
 
 1809 : Tennyson born. 
 
 18 
 
274 THE ART OF MEMORY. 
 
 Camillus was born in 446 B. 0. Reverse the figures 
 and we have 644 B. C, the year of Thales' birth. 
 The following list consists of similar examples: 
 
 B. 0. 219 : Pacuvius born. 
 
 912: Lycurgus born. 
 
 116 : Varro born. 
 
 611 : Anaximander born. 
 
 406 : Speusippus born. 
 
 604 : Lao-tsze born. 
 
 265 : Nsevius born. 
 
 562 : Anacreon born. 
 
 155: Marius born. 
 
 551 : Confucius born. 
 
 694 : Sardanapalus born. 
 
 496 : Hellanicus , . . . . born. 
 
 384: Aristotle, Demosthenes born. 
 
 483 : Ion born. 
 
 234 : Cato (Major) born. 
 
 432 : Lysander born. 
 
 453 : Cleon born. 
 
 354 : Cassander born. 
 
 95 : Lucretius, Cato born. 
 
 59 : Livy • born. 
 
 A. D. 51 : Domitian born. 
 
 15 : Vitellius born. 
 
 32: Otho, Nerva born. 
 
 23: Pliny the Elder born. 
 
 42: Britannicus • born. 
 
 24 : Burrus (Afranius) born. 
 
HISTORICAL DATES. 275 
 
 A. D. 43: Martialis born. 
 
 34: Perseus = born. 
 
 96 : Arrian born. 
 
 69 : Pol jcarp , born. 
 
 521: St. Columba born. 
 
 125 : Apuleius born. 
 
 412: Proclus born. 
 
 214: Claudius (M. Aurelius) born. 
 
 912: Otto the Great .born. 
 
 219 : PMliscus born. 
 
 483 : Justinian the Great born. 
 
 384 : Honorius born. 
 
 1211: Ibn Khallikan born. 
 
 1121 : Frederick Barbarossa born. 
 
 1831: Sardou, Joachim, Tietjens born. 
 
 1381: Chartier born. 
 
 1541 : Charron born. 
 
 1451 : Vespucci born. 
 
 1741 : Layater born. 
 
 1471 : Wolsey, Dtirer born. 
 
 1841 : Joaquin Miller born. 
 
 1481 : Peruzzi born. 
 
 1651 : Fenelon, Otway born. 
 
 1561 : Bacon born. 
 
 1751: Eldon, Sheridan, Yoss born. 
 
 1571 : Kepler born. 
 
 In the first of the following lists the numerals 1, 2, 
 3, 4, are given in consecutive order for the first date, 
 then the first figure is omitted in the second date, and 
 
276 
 
 THE ART OF MEMORY. 
 
 the next figure also, in the third date. In the second 
 list the "3" is placed next after the "1" and the same 
 figure left off the next dates, as before. In the third 
 list the "4" is placed after the "V and the first and 
 second figures are omitted from the next dates as 
 before. 
 
 A. D. 1234: Lully born. 
 
 234: Porphyrins born. 
 
 34: Perseus born. 
 
 1324: Wycliffe born. 
 
 324: Constantinople founded. 
 24: Burrus (Afranius) born. 
 
 1423: Louis XI born. 
 
 423 : Eicimer born. 
 
 23: Pliny the Elder born. 
 
 Among the curious features of chronology not al- 
 ready indicated, may be mentioned the following: 
 
 It is a singular fact that of the distinguished men 
 of the sixteenth century, the following were born just 
 a decade apart: 
 
 A. D. 1544: 
 1554: 
 1564: 
 
 1574 
 1584 
 1594 
 
 Tasso born. 
 
 Hooker, Sir Philip Sidney born. 
 
 Shakespeare, Galileo, Marlowe, Bux- 
 
 torf born. 
 
 Marston, Ben Jonson born. 
 
 Selden, Massinger, Duchesne, Pym..born. 
 Poussin, Hampden, Saint- Amant, 
 
 Gustavus Adolphus born. 
 
HISTORICAL DATES. 277 
 
 Each interval of ten years from 1749 to 1819 is also 
 especially noted for births of noted persons — 1769 and 
 1809 being among the most remarkable years in this 
 respect in all history. This list is as follows: 
 
 A. D. 1749: Mirabeau, Goethe, Jenner, Fox, Lap- 
 lace, Alfieri, Cimarosa, Vogler, 
 Tippoo Saib born, 
 
 1759: Porson, Wilberforce, Pitt, Kobes- 
 
 pierre, Danton, Schiller, Burns. . .born. 
 
 1769: Napoleon, Wellington, Soult, Ney, 
 Humboldt, Cuvier, Brunei, Castle- 
 reagh, Sir Thomas Lawrence, Me- 
 hemet Ali, Bourrienne, Sir John 
 Malcolm born» 
 
 1779: Brougham, Oken, Allston, Oehlen- 
 
 schlager,Berzelius, Thomas Moore born. 
 
 1789 : Overbeck, Neander, Daguerre, J. Fen- 
 
 imore Cooper, Horace Vernet born. 
 
 1799: Balzac, Poushkin, Dollinger, Vigny, 
 Halevy, Finlay, Choate, Rothe, 
 Tholuck born. 
 
 1809: Mendelssohn, Tennyson, Chopin, Lin- 
 coln, Holmes, Poe, Darwin, Glad- 
 stone, Proudhon, Ricasoli, Maccul- 
 lagh. Park Benjamin, Elizabeth 
 Barrett Browning born. 
 
 1819: Ruskin, LoAvell, Kingsley, George 
 Eliot, Abt, Howe, Offenbach, 
 Queen Victoria born. 
 
278 THE ART OP MEMORY. 
 
 In all the years of the world's history prior to the 
 nineteenth century, no single year has brought into life 
 more men destined to be distinguished in after time 
 than the year 1632 — 100 years prior to that in which 
 occurred the birth of Washington. In 1632 no less 
 than twelve noted men were born — which record has 
 not been eclipsed in any year of even the eighteenth 
 century, so prolific of great men; and it is perhaps 
 doubtful if the same statement will not apply to the 
 nineteenth century also. 
 
 It is a remarkable fact in chronology that in not a 
 single case, from the dawn of history until the begin- 
 ning of the fifteenth century, has a man whom the 
 world recognizes as great, been born in the first year 
 of any century — which cannot be said of any other year 
 in any century. 
 
 Another curious fact is that during the twenty- 
 seven years prior to 15 B. C. not one distinguished 
 individual was born — while in the twenty-seven years 
 previous to the period just mentioned no less than thir- 
 teen characters of history first saw life, viz.: Tiberius 
 (B. C. 12), Ovid (B. C. 43), Propertius (B. C. 50), Tibullus 
 (B. C. 54), Livy (B. C. 59), Agrippa (B. C. 62), Strabo, 
 Augustus (B. C. 63), Horace (B. C. 65), Gallus, Cleopatra 
 (B. C. 69), Yirgil, Maecenas (B. 0. 70). 
 
 Another period prolific of great men's births is from 
 A. D. 32 to 55, when were born no less than sixteen dis- 
 tinguished men — generally at intervals of two years, 
 viz.: Otho, Nerva, Perseus, Quintilian, Josephus, 
 
HISTORICAL DATES. 279 
 
 Agricola, Liican, Titus, Martialis, Statius, Juvenal, 
 Epictetus, Domitian, Plutarch, Trajan, and Tacitus. 
 
 Passing on 1,000 years we find that in the eight 
 years ending in 1060 were born more men than during 
 the same period in all previous time — and it is a curious 
 fact that not for three and a half centuries afterward 
 was this record equaled. 
 
 And still another period of like significance was 
 during the dozen years ending in 1594, during which 
 interval more distinguished men were born than dur- 
 ing any period of the same length of time in the hun- 
 dred years following, as well as throughout all pre- 
 vious history — which is a remarkable circumstance. 
 Within this narrow compass of years were brought 
 forth nearly a score and a half of renowned persons — 
 among them being Luther, Raphael, Scaliger, Salma- 
 sins, Eabelais, Latimer, Coverdale, Sai'to, Paracelsus, 
 Correggio, Loyola, Raimondi, Duchesne, Pym, Barne- 
 veldt, Hobbes, Tyndale, Gassendi, Hampden, Gustavus 
 Adolphus, and Hans Sachs. 
 
 During the twenty-three years ending in 1501 not a 
 3^ear elapsed in which did not occur the birth of some 
 distinguished man. This record was not equaled in all 
 previous history, nor for more than two centuries after 
 1501. 
 
 Of all the noted men of history Seneca and Galba 
 were born the nearest to the beginning of the Christian 
 era — one year after the birth of Christ, or 3 B. C. (Christ 
 is now found to have been born in 4 B. C), the next 
 nearest being Claudius Tiberius (10 B. C), and the next 
 
280 THE ART OF MEMORY. 
 
 Vespasian, who was born in 9 A. D. (There are 9 let- 
 ters in the latter's name.) The interval between the 
 date of Vespasian's birth and that of Alexander the 
 Great (356 B. C.) corresponds with the number of days 
 in a year. The same interva.l also exists between the 
 date of Thucydides' birth (471 B. C.) and that of Pom- 
 pey and Cicero (106 B. C.) — also between that of Xen- 
 ophon (430 B. C.) and Horace (65 B. C). 
 
 The number of days in a year corresponds with the 
 year A. D. in which the Koman poet Claudianus was 
 born. Double this number and we have 730, in which 
 year was born Alcuin, the great English ecclesiastic. 
 Add another 365 and we have 1095, the first year of the 
 Crusades. To this add still another 365 and the result 
 is 1460, which is the year of birth of the English scholar 
 and poet, Skelton. Add to this yet one more 365 and 
 we have 1825, in which year the distinguished scientist 
 Huxley was born. 
 
 To the number of weeks in a year prefix a "1" and 
 annex a cipher, and we have the year in which was born 
 Goujon, the most distinguished French sculptor of Ihe 
 sixteenth century. Add to this date the number of 
 weeks in a year and we have 1572, in which year was 
 born the noted Dutch diplomatist Aarssens. Another 
 52 years brings us to 1624, when the great Polish king 
 Sobieski was born. Fifty-two years more and we have 
 the year when the great English Prime Minister, Sir 
 Eobert Walpole, first saw life (1676). Advancing an- 
 other 52 years brings us to 1728, the year of Gold- 
 smith's birth. The same period added again and we 
 
HISTORICAL DATES. 281 
 
 have 1780 — in which year were born Beranger, the na- 
 tional song writer of France, and Audubon, the dis- 
 tinguished American ornithologist. Yet one more 52 
 years brings us to the year when the celebrated French 
 painter Gustave Dore was born (1832), which was just 
 a century after the year of Washington's birth. 
 
 Sulla's birth occurred in 138 B. C; that of Alexan- 
 der the Great in 356 B. C. Hannibal was born just 
 half way between those dates, or 247 B. C. Reverse 
 tihe figures in the last date and we have the year of 
 Charlemagne's bir-th — 742. The intervals between the 
 births of Caesar, the great Hunnish conqueror Attila, 
 and the distinguished Roman emperor Otto the Great, 
 are the same (B. C. 100, A. D. 406, and 912). Belisarius, 
 the Byzantine conqueror, Saladin, the great Moslem 
 general, and Napoleon, were born at equal intervals 
 apart (505, 1137, and 1769). The same may be said of 
 Clovis and Charlemagne, the renowned French kings, 
 and the great Danish ruler Hardicanute, who were 
 born, respectively, in 466, 742 and 1018. The interval 
 between the year of birth of Sallust, the distinguished 
 Roman historian, and Clovis, is the same as that be- 
 tween the latter's and Hardicanute's (Sallust having 
 been bom in 86 B. C), as is also the interval between 
 the date of Sallust's birth and that of Solon, the noted 
 Athenian law-giver, the date of the latter's birth being 
 638 B. G. Mohammed, William the Conqueror, and 
 Luther, were born in 571, 1027 and 1483 respectively, 
 the interval in each case being 456, the figures forming 
 that number being in ascending order. The celebrated 
 
282 THE ART OF MEMORY. 
 
 Greek philosopher Epicurus was born in 341 B. C, be- 
 tween which date and that of Mohammed's birth the 
 same period elapsed as between Mohammed's and Lu- 
 ther's. 
 
 Magna Charta was signed in 1215: Queen Victoria 
 was born in 1819. The Keformation occurred half way 
 between those periods, in 1517. The U. S. Declaration 
 of Independence was in 1776, the battle of Waterloo in 
 1815, and the Crimean War in 1854. It will be noticed 
 that the interval between the second-mentioned event 
 and each of the others is the same — 39 years. The last 
 battle of the American Revolution (Yorktown) was 
 fought in 1781, the second war with England ended in 
 1814, and the war with Mexico in 1847. The interval 
 is the same in each case — 33 years. Add a cipher to 
 the number of weeks in a year and we have the date of 
 Cincinnatus' birth (520 B. C), which is 1000 years be- 
 fore that of Narses, 1500 years before Avicenna's, and 
 2000 years before that of Sir Thomas More (1408). 
 Subtract the number of weeks in a year from the date 
 of Cincinnatus' birth and we have the year in which 
 Socrates was born (468 B. C). These figures are even 
 and equal intervals apart. Theophrastus, the successor 
 of Aristotle, was born 100 years later; and Marcellus, 
 the distinguished Roman warrior and consul, a hun- 
 dred years later still — which latter was 2000 years 
 before the birth of Washington (1732). One year be- 
 fore the latter date occurred the birth of Cowper, a 
 century earlier was born Dryden, and two centviries 
 earlier still, Joan of Arc was burned at the stake (1431). 
 
HISTORICAL DATES. 283 
 
 St. Benedict was born in 481 (1000 years after Cra- 
 tinus), and Nestor half way between St. Benedict and 
 Dryden — 1056. 
 
 By the date of Washington's birth may that of the 
 battle of Llitzen be recalled, which was fought 100 
 years before — the conquest of Peru by Pizarro, which 
 happened 200 years before (1532) — also the celebrated 
 battle of Tours, which occurred 1000 years before (732). 
 Ten years after the battle of Tours Charlemagne was 
 born, and 1000 years later, Blticher (1742). 
 
 What a curious train of events is the following: 
 • In 1616 Shakespeare and Cervantes died; two years 
 later w^as the beginning of the Thirty Years War; 
 two years later still, occurred the landing of the May- 
 flower; in two years more Moliere was born, Sobieski 
 two years later, Madame Sevigne in another two years, 
 Bunyan two years later; in the next two years, Bar- 
 row, and Locke two years later (1632) — which was just 
 a century before the birth of Washington. 
 
 If we wish to Ivuow the date of Shakespeare's birth 
 we have only to subtract from the date of his death 
 (1616) a number corresponding to the number of weeks 
 in a year. In the date first given (1616), it will be 
 noticed that the last two figures are a repetition of 
 the first two. The square root of 16 is 4; thus the 
 figure 4 may be used as the basis for recollecting the 
 above train of events. 
 
 As we have just seen, the number 16 repeated 
 (1616) indicates the year of Shakespeare's death. If 
 we take the next higher number repeated (1717) and 
 
284 THE ART OF MEMORY. 
 
 add to it a number equal to the number of weeks in 
 a year, it will give the year of Napoleon's birth (1769) 
 — it being a curious coincidence that in the same year 
 were also born his two great field marshals, Soult and 
 Ney, and also his great rival, Wellington. If we add 
 still another 52 to the above number (or add to 1769 
 the difference between the "17" and the "69"), we have 
 the year of Napoleon's death — -Shakespeare and Na- 
 poleon having each lived to the age of 52 years. 
 Napoleon was born 6 years before the American Kevo- 
 lution, and died 6 years after the battle of Waterloo 
 — in 1821. Subtract from this last date a number 
 corresponding to the number of days in a year, and 
 the remainder is 1456 — the last three figures of which 
 are in ascending order. 14 is also one-fourth of 56. 
 If we take the "4" and place it after the "6," we have 
 the year of Shakespeare's birth (1564). 
 
 The three highest numerals, in ascending order, 
 preceded by the lowest numeral, indicate the date of 
 the French Revolution (1789). That event occurred 
 just a century before the Brazilian Revolution — the 
 turbulent character of the former contrasting with 
 the peaceful nature of the latter. Byron's birth hap- 
 pened in the year before the f'rench Revolution. Pope 
 was born a century earlier, which, in turn, was a cen- 
 tury after the destruction of the "Invincible" Armada 
 (1588). 
 
 The cube of 4 is 64. In that year Nero burned 
 Rome. 1500 j^ears later occurred the birth of Shake- 
 speare. 
 
HISTORICAL DATES. 285 
 
 The cube of 5 is 125. In that year the great Latin 
 romance writer Apuleius was born. Nicole, the great 
 French scholar, was born 1500 years later. 
 
 The cube of 6 is 216. In that year the Parthian 
 king Artabanus invaded Syria. Garrick and Gray 
 were born 1500 years afterward. 
 
 The cube of 10 is 1000. In that year was born 
 Ferdinand the Great. 
 
 The cube of 11 is 1331. Cannon were first used at 
 that time. 
 
 The cube of 12 is 1728. In that year Goldsmith and 
 Captain Cook were born. There are 1728 cubic inches 
 in a cubic foot. 
 
 In 31 B. C. occurred the great naval battle ,of 
 Actium. The square of 31 is 961. In 961 B. C. Ho- 
 mer's "Iliad" first appeared. 
 
 Eome was founded in 753 B. C. Those figures are 
 all odd and the intervals between them equal. 
 
 And now that virtitally all of the important events 
 of history have been indicated, together with their 
 corresponding dates, each date being associated either 
 with one or more other dates, or with some peculiarity 
 possessed by itself — a few words as to the practical 
 way to memorize any desired date in history. 
 
 In the first place, carefully associate the figures in 
 a date with each other, by one of the methods indicated 
 in Chapter 10, until the whole is clearly inscribed on 
 the mental vision. Then look at the list of dates at 
 the end of this chapter and turn to the page or pages 
 referred to in said list, wherein the date to be memo- 
 
286 THE ART OF MEMORY. 
 
 • 
 
 rized is preserved by one or more forms of association, 
 and if there be a choice, select such association as will 
 be the most easily retained in the memory; if the 
 event be associated in more than one way its security 
 of retention is thereby increased, provided the asso- 
 ciation be thorough in each case. If the date to be 
 memorized, instead of being one which represents an 
 event of historical importance, is related to simply an 
 occurrence of personal experience, the best plan would 
 be to associate it with some important or impressive 
 event which happened in the same year whose date 
 would be reasonably certain of preservation in the 
 memory. Should no such event suggest itself at the 
 time, the next best plan would be to link the occur- 
 rence wdth some historical event which took place a 
 century before. For the latter purpose a list of events 
 of more or less importance which happened in each 
 year from 1800 to 1822 is here given : 
 
 A. D. 1800: Macaulay and Bancroft born* 
 
 1801: Battle of Copenhagen. 
 
 1802: Hugo and Dumas born. 
 
 1803: Ewald and Emerson born. 
 
 1804: Hawthorne and Sue born. 
 
 1805: Battle of Trafalgar. 
 
 1806: Kossuth and J. S. Mill born. 
 
 1807: Longfellow and Whittier born. 
 
 1808: Balfe and Malibran born. 
 
 1809: Lincoln and Gladstone born. 
 
 1810: Cavour and Renter born. 
 
HISTORICAL DATES. 287 
 
 A. D. 1811: Thackeray and Liszt born. 
 
 1812: Dickens and Browning born. 
 
 1813: Wagner and Lepsius born. 
 
 1814: Bismarck and Yerdi born. 
 
 1815 : Battle of Waterloo. 
 
 1816 : Charlotte Bronte born. 
 
 1817 : Thoreau and Armitage born. 
 
 1818: Gounod and Fronde born. 
 
 1819 : Euskin and Lowell born. 
 
 1820: Tyndall and Spencer born. 
 
 1821: Buckle and Mariette born. 
 
 1822: Gen. Grant born. 
 
 In case it is desired to preserve in the memory 
 the month and day on which an event occurred, it is 
 suggested that the number of the month be first mem- 
 orized, then the day, and that the two be associated 
 together, by rules given in Chapter 10. If the day is 
 on or near any familiar date — such as a birthday or 
 a holiday — it becomes all the easier to recollect; or 
 if it is either the first or last day of a month, or some 
 day representing a number divisible by 5, or a prime 
 number, the memory is thereby materially assisted. 
 
 The fact is, that Association, if properly applied, is 
 fully as effective an aid in memorizing dates, as facts, 
 events, or ideas — for the element of the mathematical 
 relation of figures to each other is introduced, as also 
 other features of comparison and contrast that can- 
 not be used in other forms of association, and they 
 fully equal whatever points of excellence the latter 
 
288 THE ART OF MEMORY. 
 
 may possess. The practice of associating the figures 
 in a date with each other, and the whole with other 
 dates, will so train the eye that many a date may ulti- 
 mately become so vividly impressed on the visual mem- 
 ory at first sight that it will never escape, but become 
 a permanent possession. 
 
 As proficiency in this department of memory cul- 
 ture increases, the forming of associations between 
 dates becomes more and more an unconscious effort 
 of the mind, and a date is memorized not only far 
 more easily, but far more surely than before — thus 
 demonstrating that in this as in other departments of 
 memory culture the power of the unconscious memory 
 may be inc'reased to a wonderful degree; and when so 
 developed its possessor will in after years find himself 
 recompensed many fold for all the time and effort be- 
 stowed on its cultivation. 
 
INDEX TO CHAPTER XL 
 
 HISTORICAL CHAEACTEES. 
 
 [All dates are A. D., except where otherwise indicated.] 
 
 Name. Year of Birth. Page. 
 
 Aarssens 1572 234, 248, 280 
 
 Abauzit 1679 240, 254 
 
 Abelard 1079 252 
 
 Abernethy 1764 239 
 
 Abdallatif 1162 254 
 
 Abrabanel 1437 233, 267 
 
 Abti 1819 216 
 
 Abulf aragius 1226 • 247, 255 
 
 Abulf eda 1273 255 
 
 Acciajuoli , 1428 233 
 
 Accorso 1182 254 
 
 Acidalius 1567 234 
 
 Acilius B. C. 227 223 
 
 Acosta 1539 225, 236, 264 
 
 Adamnan 625 260 
 
 Addison 1672 261 
 
 Adelaar 1622 260 
 
 ^Emilius B. C. 205 219, 229, 269 
 
 ^Eschines B. C. 389 219 
 
 ^Eschylus B. C. 525 208, 214, 228 
 
 ^Esop B. C. 620 226, 227, 229 
 
 ^tius 399 221,266 
 
 Agassiz 1807 210, 242 
 
 Agatharcides B. C. 151 214, 266 
 
 Agathias 536 250, 260 
 
 Ageladas B. C. 544 222, 227 
 
 Agesilaus B. C. 481 221 
 
 Agricola 37 263 
 
 Agrippa B.C. 62 231 
 
 Ainsworth 1560 234 
 
 Akbar 1542 236 
 
 Akenside 1721 243, 271 
 
 Alabaster 1567 234 
 
 19 (i) 
 
11 INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. Page. 
 
 Alaric 376 265 
 
 Alasco 1499 248 
 
 Albani 1578 226, 247 
 
 Albategni 852 232 
 
 Alberoni 1664 239 
 
 Albert! 1404 232 
 
 Albertus Magnus 1193 246 
 
 Alboni 1824 256,271 
 
 Albumazar 805 262 
 
 Albuquerque 1453 224 
 
 Alcseus B. C. 620 226, 227, 229 
 
 Alcibiades B. C. 450 228, 229 
 
 Alcman B. C. 695 222 
 
 Alcuin 730 249,261,280 
 
 Aldhelm 656 215,261 
 
 Aldrich 1836 ^ 256, 273 
 
 Aldrovandi 1522 225 
 
 Alexander B. C. 356 228, 280, 281 
 
 Alexis B. C. 394 268 
 
 Alfleri 1749 255, 271 
 
 Alf ord 1810 242 
 
 Alfred the Great 849 266 
 
 Algazali 1059 252 
 
 Ali Pasha 1741 245 
 
 Allegri 1580 247 
 
 Alleyn 1566 217 
 
 Allori 1577 234, 248 
 
 Allston ■. 1779 240 
 
 Al-Mamun 786 262 
 
 Almansor 939 232 
 
 Almeda-Tameda 1836 256, 273 
 
 Almqvist 1793 241 
 
 Alp-Arslan , 1029 252 
 
 Alphonsus 1396 259 
 
 Alpini 1553 236 
 
 Alva 1508 248 
 
 Alvarez 1768 239 
 
 Amadeus the Great 1249 255 
 
 Ambrose (St.) 340 258 
 
 Amontons 1663 239 
 
 Ampere 1775 262 
 
 Amyot 1513 235 
 
 Amyraut 1596 264 
 
 Anacreon B. C. 562 231, 274 
 
 Anaxagoras B.C. 500 213 
 
 Anaximander B. C. 611 266, 274 
 
 Anaximenes B. C. 606 214, 226, 231 
 
 Andersen (Hans C.) 1805 262 
 
 Andocides B.C. 466 221 
 
 Andrea 1275 232 
 
 Andronicus 1111 215 
 
 Angelo 1475 208, 259 
 
 Anglesey , . . . 1768 239 
 
 Anne (Queen) 1664 239, 273 
 
INDEX TO CHAPTER XI. Ill 
 
 Name. Year of Birth. Page. 
 
 Anselm 1033 252 
 
 Anson 1697 237 
 
 Anthony (St.) 252 220 
 
 Antioehus the Great B.C. 237 266 
 
 Antiphon B.C. 480 221,230 
 
 Antisthenes B. C. 425 208, 228 
 
 Antoinette (Marie) 1755 238 
 
 Antoninus 121 209,214,219,257 
 
 Antony B. C. 83 231 
 
 Antony the Monk 252 220 
 
 Apelles B. C. 332 228 
 
 Apollinaris. Sidonius 430 221 
 
 Apollodorus 60 257 
 
 Apollonius B. C. 249 229 
 
 Apuleius 125 231, 285 
 
 Aquila 1466 217 
 
 Aquinas 1227 246 
 
 Arago 1786 262 
 
 Aratus B. C. 271 230 
 
 Arbuthnot 1667 239 
 
 Arcesilaus B. C. 316 220, 230 
 
 Archimedes B. C. 287 220, 229 
 
 Areson 1484 234 
 
 Argensola 1565 218,234 
 
 Ariosto 1474 234 
 
 Aristides B. C. 520 225, 227, 228, 269 
 
 Aristophranes B. C. 448 224 
 
 Aristotle B. C. 384 207, 220, 228, 274 
 
 Arius 256 264 
 
 Arkwright 1732 237 
 
 Arminius 1560 234, 272 
 
 Armitage 1817 217, 243 
 
 Arnaud 1641 235, 236, 271 
 
 Arnauld 1612 235, 271 
 
 Arndt 1555 225 
 
 Arne 1704 237,241 
 
 Arnold (Edwin) 1832 256, 271 
 
 Arnold (Matthew) 1822 263 
 
 Arnott 1788 255 
 
 A rrian 96 264, 275 
 
 Artedi 1705 237 
 
 Ascham 1515 216, 235 
 
 Ashburton 1774 239 
 
 Asinius Pollio B, C. 76 218, 230 
 
 Asmai 740 261 
 
 Asselyn 1610 235 
 
 Ast '. 1778 239 
 
 Astorga 1680 254, 261, 273 
 
 Astruc 1684 240 
 
 Athanasius 297 264 
 
 Athenagoras 140 219 
 
 Atheilstane 895 208, 251 
 
 Atterbom 1790 256 
 
 Atterbury 1662 254 
 
IV INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. Page. 
 
 Atticus .B.C. 109 267 
 
 Attila 406 221, 259, 281 
 
 Auber 1784 240 
 
 Audubon 1780 ■ 227, 281 
 
 Augereau 17o7 238 
 
 Augustine (St.) 354 220, 258 
 
 Augustus ; B. C. 63 267 
 
 Ausonius 310 219 
 
 Austen (Jane) 1775 262 
 
 Aventinus 1466 217 
 
 Averrhoes 1126 253 
 
 Avicenna 980 249, 251, 282 
 
 Azeglio 1798 241 
 
 Baader 1765 218, 264 
 
 Baber 1483 209, 234 
 
 Bach 1685 240 
 
 Bacon (Francis) 1561 264, 275 
 
 Bacon (Roger) 1214 258, 270 
 
 Baggesen 1765 218, 264 
 
 Bagration 1765 218, 264 
 
 Bailey (PhiUp James) 1816 243, 271 
 
 Baillie (Joanna) 1762 248 
 
 Bajazet 1347 ' 232, 258 
 
 Baker 1821 243 
 
 Baldi 1533 233, 252 
 
 Baldovinetti 1422 224 
 
 Bales 1547 264 
 
 Balf e 1808 263 
 
 Ballanche 1776 262 
 
 Balzac 1799 262 
 
 Bancroft 1800 213 
 
 Banim 1798 241 
 
 Baratynski 1792 241 
 
 Barbarossa (Frederick) 1121 257, 275 
 
 Barbour . 1316 232,258 
 
 Barclay 1648 238 
 
 Barneveldt 1586 236 
 
 Baronius 1538 236 
 
 Barri 1147 253 
 
 Barrow 1630 236, 271, 283 
 
 Barthelemy 1716 217, 243 
 
 Barthez 1734 244 
 
 Bartholinus 1585 235 
 
 Bartolus 1314 258 
 
 Basil the Great 330 246, 265 
 
 Bastiat 1801 241 
 
 Batuta (Ibn) 1304 232 
 
 Baur 1792 241 
 
 Baxter 1615 217, 235 
 
 Bayard 1475 259 
 
 Bayle 1647 253 
 
 Beattie 1735 244 
 
 Beaton 1494 251 
 
INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. 
 
 Beaumarchais 1732 
 
 Beaumont 1585 
 
 Beceaf umi 1488 
 
 Becket 1118 
 
 Bede, The Venerable 672 
 
 Beecher 1813 
 
 Beethoven 1770 
 
 Belisarius 505 
 
 Bellarmine 1542 
 
 Belhni 1802 
 
 Bellman 1740 
 
 Benedict (St.) 481 
 
 Benedict (Sir Julius) 1804 
 
 Beneke 1798 
 
 Bengel 1687 
 
 Benjamin 1809 
 
 Bentham 1748 
 
 Bentley 1662 
 
 Beranger 1780 
 
 Berengarius 998 
 
 Berkeley 1685 
 
 Berlioz 1803 
 
 Bernadotte 1764 
 
 Bernard (St.) 1091 
 
 Bernardin (St.) 1380 
 
 Bernhardt, Sarah 1850 
 
 Berni 1490 
 
 Berosus B. C. 304 
 
 Berzelius 1779 
 
 Bessarion 1635 
 
 Betterton 1395 
 
 Bewick 1753 
 
 Beza 1519 
 
 Bichat . 1771 
 
 Bierstadt 1828 
 
 Bishop 1786 
 
 Bismarck 1814 
 
 Bjornsen 1832 
 
 Blackstone 1723 
 
 Blaine 1830 
 
 Blake (Robert) 1598 
 
 Blake (WiHiam) 1757 
 
 Blucher 1742 
 
 Blumenbach 1752 
 
 Boccaccio 1313 
 
 Boccherini 1740 
 
 Bochart 1599 
 
 Bodin 1530 
 
 Boece 1465 
 
 Boeckh 1785 
 
 Boehmen 1575 
 
 Boerhaave 1668 
 
 Boetius 475 
 
 Page. 
 237 
 2.35 
 225 
 209, 253 
 261 
 242 
 255 
 215, 260, 266, 281 
 236 
 262 
 
 237, 261 
 221, 283 
 
 241 
 241 
 240 
 242 
 238 
 254 
 227, 281 
 252 
 240 
 241 
 239 
 253 
 247 
 245 
 251 
 220 
 240 
 
 236, 253 
 251 
 
 238, 268 
 225 
 262 
 244 
 262 
 242 
 
 256, 271 
 
 237, 243 
 244 
 253 
 238 
 
 245. 261, 271, 283 
 
 261 
 
 216, 258 
 
 237, 261 
 
 253 
 
 236, 260 
 
 234 
 
 240 
 
 252, 260, 272 
 
 239 
 
 259 
 
VI INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. Page. 
 
 Bohaddin 1145 246 
 
 Boiardo 1434 259 
 
 Boieldieu 1775 - 262 
 
 Boileau 1636 237 
 
 Bolingbroke 1678 239 
 
 Bolivar 1783 240 
 
 Bologne 1524 236 
 
 Bonaventura 1221 215, 249 
 
 Bonheur, Rosa 1822 263 
 
 Boniface (St.) 680 261 
 
 Bonnet 1720 243 
 
 Boone 1735 244 
 
 Booth (Edwin) 1833 244 
 
 Bopp 1791 240 
 
 Borrow 1803 241 
 
 Boscovich 1701 241, 268 
 
 Bossuet 1627 236 
 
 Boswell 1740 237, 261 
 
 Bottcher 1682 210,254,268 
 
 Botticelli 1447 232 
 
 Bouflers 1644 226, 236 
 
 Bouillon 1060 257, 272 
 
 Bourignon 1616 216 
 
 Boiirdaloue 1632 237 
 
 Bourrienne 1769 248 
 
 Bowles 1762 248 
 
 Bowring 1792 241 
 
 Boyle (Robert) 1627 236 
 
 Boyle (Richard) 1566 217 
 
 Bozzarris 1790 256 
 
 Braham 1774 239 
 
 Brahe 1546 233 
 
 Brahms 1833 244 
 
 Brainerd 1718 210,243 
 
 Bramante 1444 233 
 
 Brantome 1540 233,271 
 
 Brasidas B.C. 456 228 
 
 Bremer 1801 241 
 
 Bretschneider 1776 262 
 
 Bright 1811 242 
 
 Britannicus 42 .218,274 
 
 Broglie 1785 240 
 
 Bronte, Charlotte 1816 243, 271 
 
 Brougham 1779 240 
 
 Brown, John 1800 213 
 
 Browning (Robert) 1812 242 
 
 Browning (Elizabeth Barrett) 1809 242 
 
 Bruce 1274 258 
 
 Brucker 1696 24i 
 
 Brunei 1769 248 
 
 Brunelleschi 1377 224 
 
 Bruno 1548 264 
 
 Bruno (St.) 1030 249, 272 
 
INDEX TO CHAPTER XI, VU 
 
 Name. Year of Birth. 
 
 Bryant (W. C.) 1794 
 
 Bucer 1491 
 
 Buchanan 1506 
 
 Buckingham 1592 
 
 Buckle 1821 
 
 Buddha (Gautama) B.C. 624 
 
 Buffler 1661 
 
 BufCon 1707 
 
 Bull, Ole 1810 
 
 Bulwer ; 1805 
 
 Bunsen 1791 
 
 Bunyan 1628 
 
 Burckhardt 1784 
 
 Burdett 1770 
 
 Biirger 1748 
 
 Burke 1729 
 
 Burnet 1643 
 
 Burns 1759 
 
 Burritt 1811 
 
 Burrus (Afranius) 24 
 
 Burton (Robert) 1576 
 
 Burton (Sir Richard) 1821 
 
 Butler (Samuel) 1612 
 
 Butler (Bishop) 1692 
 
 Buxtorf 1564 
 
 Byron 1788 
 
 Cabot 1476 
 
 Ceedmon 622 
 
 Caesalpinus 1519 
 
 Csesar B. C. 100 
 
 Cagliostro 1743 
 
 Calderon 1600 
 
 Calderwood 1575 
 
 Calhoun 1782 
 
 Callimachus B.C. 299 
 
 Calvin 1509 
 
 Camden 1551 
 
 Camerarius 1500 
 
 Camillus B. C. 446 
 
 Camoens 1524 
 
 Campanella 1568 
 
 Campbell 1777 
 
 Camuccini 1775 
 
 Canning 1770 
 
 Canova 1757 
 
 Canute 995 
 
 Capet 939 
 
 Capgrave 1393 
 
 Caracalla 188 
 
 Cardan 1501 
 
 Carey 1762 
 
 Carlyle 1795 
 
 Page. 
 
 
 241 
 
 259, 
 
 268 
 
 
 248 
 
 
 235 
 
 
 243 
 
 265, 
 
 269 
 
 
 239 
 
 210, 
 
 242 
 
 
 242 
 
 
 262 
 
 
 240 
 
 226, 
 
 283 
 
 
 240 
 
 
 255 
 
 
 238 
 
 237, 
 
 244 
 
 
 238 
 
 
 238 
 
 
 242 
 
 274, 
 
 276 
 
 
 225 
 
 
 243 
 
 235 
 
 271 
 
 
 241 
 
 
 247 
 
 255, 
 
 284 
 
 
 247 
 
 
 260 
 
 
 225 
 
 213 
 
 281 
 
 
 238 
 
 
 213 
 
 252 
 
 260 
 
 
 240 
 
 229 
 
 268 
 
 235 
 
 263 
 
 215, 233 
 
 264 
 
 
 213 
 
 228 
 
 274 
 
 
 236 
 
 
 234 
 
 215 
 
 248 
 
 
 262 
 
 
 255 
 
 
 238 
 
 208 
 
 222 
 
 215 
 
 232 
 
 
 246 
 
 
 219 
 
 
 283 
 
 
 248 
 
 
 269 
 
Vlll . INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. Page. 
 
 Carlstadt 1480 251 
 
 Carneades B. C. 213 219 
 
 Carnot 1753 238, 268 
 
 Carolan 1670 254 
 
 Carpini 1180 254 
 
 Carracci 1555 215, 225 
 
 Casaubon 1559 252 
 
 Cassander B. C. 354 220, 228, 274 
 
 Cassianus 360 220 
 
 Cassiodorus 468 221 
 
 Castelnau 1520 225 
 
 Castillejo 1494 251 
 
 Castlereagh 1769 248 
 
 Catherine (St.) 1347 232, 258 
 
 Cato (Major) .B.C. 234 219,274 
 
 Cato B.C. 95 274 
 
 Cats 1577 234, 248 
 
 Catullus B.C. 94 267 
 
 Cavalier 1680 254, 261, 273 
 
 Cavendish I73I 244, 255 
 
 Cavour I810 • 242 
 
 Caxton 1422 224 
 
 Cellini I500 * 213 
 
 Cervantes I547 . 264 
 
 Chalmers 1780 227 
 
 Champeaux 1070 252, 272 
 
 Champollion 1790 256 
 
 Channing 1780 227 
 
 Chantrey 1781 240 
 
 Chapman 1559 252 
 
 Charlemagne 742 261, 270, 281, 283 
 
 Charles V 1500 213 
 
 Charron '. 1541 236, 275 
 
 Chartier 1381 224, 275 
 
 Chastelairu 1403 233 
 
 Chateaubriand 1768 239, 273 
 
 Chatham 1708 248 
 
 Chatterton 1752 261 
 
 Chaucer 1340 232, 249, 258 
 
 Cherubini 1760 239 
 
 Chesterfield 1694 241, 254 
 
 Chiabrera . ,. 1552 234 
 
 Chimeric 1 436 259,270 
 
 Choate 1799 262 
 
 Chopin 1809 242 
 
 Christina 1626 253 
 
 Chrysippus .• B. C. 280 223, 230 
 
 Chrysoloras 1355 232 
 
 Chrysostom '. 347 258 
 
 Churchill 1731 244, 255 
 
 Churchyard 1520 225 
 
 Cibber 1671 236 
 
 Cicero B. C. 106 219, 231, 280 
 
 Cid 1034 25T 
 
INDEX TO CHAPTER XI. IX 
 
 Name. Year of Birth. Page. 
 
 Cimabue 1240 232 
 
 Cimarosa 1749 255, 271 
 
 Cimon B.C. 510 ' 231,266,269 
 
 Cincinnatus B. C. 520 225, 227, 228, 269, 282 
 
 Cino 1270 223, 255 
 
 Clarendon 1608 226 
 
 Clarke (Adam) 1762 248 
 
 Clarke (Samuel) 1675 254 
 
 Claude of Lorraine 1600 213 
 
 Claudianus 365 258, 280 
 
 Claudius (Tiberius) B. C. 10 231, 279 
 
 Claudius (M. Aurelius) 214 258, 269, 275 
 
 Clay 1777 215, 248 
 
 Cleanthes B. C. 300 213 
 
 Clemens (S. L.) 1835 244 
 
 Clementi 1752 261 
 
 Cleomenes B. C. 530 227, 269 
 
 Cleon B.C. 453 224,265,274 
 
 Cleopatra B. C. 69 218 
 
 Clive 1725 261 
 
 Clovis 466 221, 281 
 
 Cobbett 1762 248 
 
 Cobden 1804 241 
 
 Coeur 1396 259 
 
 Coke 1552 ' 234 
 
 Colbert 1619 253 
 
 Coleridge 1772 248 
 
 Colet 1466 217 
 
 Collins (Wm.) 1720 243 
 
 Collins (Wilkie) 1824 256, 271 
 
 Colonna 1490 ' 251 
 
 Columba (St.) 521 260, 275 
 
 Columbanus 550 222 
 
 Columbus 1446 233,267 
 
 Comines 1445 224 
 
 Comte 1798 ' 241 
 
 Conde 1621 235 
 
 Condillac 1715 243 
 
 Condcrcet 1743 238 
 
 Confucius B. C. 551 227, 268, 274 
 
 Congreve 1670 254 
 
 Constantine 274 258 
 
 Cook (Capt.) 1728 244,271,285 
 
 Cooper 1789 240 
 
 Copernicus 1473 225, 234 
 
 Coppee 1842 245 
 
 Corelli 1653 236,238 
 
 Corneille 1606 226, 268 
 
 Corot 1796 241 
 
 Correggio 1494 251 
 
 Cortez 1485 235 
 
 Cousin 1792 241 
 
 Coverdale 1488 225 
 
 Cowley 1618 253 
 
INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. Page. 
 
 Cowper 1731 244,255,282 
 
 Crabbe 1754 248 
 
 Cranach 1472 234 
 
 Cranmer 1489 248 
 
 Crashaw 1613 235 
 
 Crassus' B.C. 140 219 
 
 Cratinus B. C. 519 225, 283 
 
 Crgbillon 1674 239 
 
 Crichton 1560 234, 272 
 
 Crcesus B. C. 590 227 
 
 Croly 1785 240 
 
 Cromwell 1599 253 
 
 Cruden 1700 213 
 
 Cruikshank 1792 241 
 
 Cudworth 1617 216, 235 
 
 Cujas 1520 225 
 
 Cullen 1710 242 
 
 Curran 1750 245 
 
 Cusa 1401 233 
 
 Cushman, Charlotte 1816 243, 271 
 
 Cuvier 1769 248 
 
 Cynewulf 725 261 
 
 Cyprian 200 213 
 
 Cyrus the Great B.C. 576 225 
 
 Czerny 1791 240 
 
 Dagobert 1 600 213 
 
 Daguerre 1789 240 
 
 D' Aguesseau 1668 239 
 
 Dahlstjerna 1661 239 
 
 D' Alembert 1717 216, 242 
 
 Dalton 1766 217, 239 
 
 Damascenus 695 222 
 
 Damiani 990 249, 251, 266 
 
 Dampier 1652 253 
 
 Dante 1265 232, 258 
 
 Danton 1759 238 
 
 D' Anville 1697 237 
 
 Darling, Grace 1815 243 
 
 Darwin 1809 242 
 
 D'Aubigne 1794 241 
 
 Daudet 1840 271 
 
 David 1748 238 
 
 David (St.) 490 221 
 
 Davy 1778 239 
 
 De Beriot 1802 262 
 
 De Candolle 1778 239 
 
 Dee 1527 236 
 
 De Foe 1661 215,239 
 
 Dekker 1577 234, 248 
 
 Delacroix 1798 241 
 
 Delaroche 1797 264 
 
 Delavigne 1793 241 
 
 Demetrius Phalereus B. C. 346 228 
 
INDEX TO CHAPTER XI. XI 
 
 Name. Year of Birth. Page. 
 
 Demetrius Poliorcetes B. C. 335 228 
 
 Democritus B. C. 460 228, 265, 266 
 
 Demosthenes B. C. 384 207, 220, 228, 274 
 
 Denham 1615 217, 235 
 
 De Quincey .- 1785 240 
 
 Descartes 1596 264 
 
 Deschamps 1328 258 
 
 Desmoulins 1760 239 
 
 De Vigny 1797 264 
 
 De Witt 1625 260 
 
 Diamante 1400 213 
 
 Dickens 1812 210, 242 
 
 Diderot 1713 242 
 
 Didymus 314 258 
 
 Dillen 1687 240 
 
 Dinarchus B. C. 361 268 
 
 Diocletian 245 220, 232 
 
 Diogenes B. C. 412 221, 228, 230, 269 
 
 Dion B.C. 408 228 
 
 Dionysius B.C. 430 221,229 
 
 D'Israeli 1804 * 241 
 
 Dobell 1824 256 
 
 Doddridge 1702 237 
 
 Dolomieu 1750 245 
 
 Domenichino 1581 234 
 
 Dominic (St.) 1170 254 
 
 Domitian 51 264, 274 
 
 Donatello 1386 251 
 
 Donizetti 1798 241 
 
 Donne 1573 234 
 
 Dore 1832 256, 271, 281 
 
 Doria 1466 217 
 
 Douglas 1474 234 
 
 Draco B. C. 650 229 
 
 Drake 1545 ■ 264 
 
 Drummond 1585 235 
 
 Dryden 1631 247, 282 
 
 Dubos 1670 254 
 
 Ducange 1610 235 
 
 Duchesne 1584 234 
 
 Dudevant (Mme.) 1804 241 
 
 Dugueschin 1314 258 
 
 Dumas 1802 262, 273 
 
 Dumouriez 1739 244 
 
 Dunbar 1460 234 
 
 Dunois 1402 224, 273 
 
 Duns Scotus 1265 232,258 
 
 Dunstan 925 232 
 
 Duquesne 1610 235 
 
 Durandus 1237 255 
 
 Durante 1684 240 
 
 Durer 1471 251,275 
 
 Dyce 1806 263 
 
 Dyer 1699 248 
 
Xll INDEX TO CHAPTER XI. 
 
 Name. Tear of Birth. Page. 
 
 Eastlake 1793 241 
 
 Eberhard 1445 224 
 
 Eccard 1553 236 
 
 Eccelino 1194 254 
 
 Eck 1486 247 
 
 Edgeworth, Maria 1767 239 
 
 Edison 1847 245 
 
 Edmund (St.) 1189 250 
 
 Edrisi 1099 253 
 
 Edward the Confessor 1004 " 252 
 
 Edwards 1703 241 
 
 Egbert 775 208, 262 
 
 Eginhard 771 262 
 
 Egmont 1522 225 
 
 Eldon 1751 238, 273, 275 
 
 Eleanor of Aquitaine 1122 249 
 
 Elias Levita 1472 234 
 
 Eliot (John) 1604 226,237,273 
 
 Eliot (George) 1819 216 
 
 EUzabeth (Queen) 1533 233, 252 
 
 Elmacin 1223 246 
 
 Elphinstone 1431 247 
 
 Emerson 1803 ^ 241 
 
 Emmanuel the Great • 1469 233 
 
 Empedocles B. C. 490 221, 227 
 
 Encina 1468 234 
 
 Encke 1791 240 
 
 Ennius B. C. 238 229, 230 
 
 Epaminondas B. C. 422 221, 224 
 
 Epieharmus B. C. 540 227 
 
 Epietetus 48. 264 
 
 Epicurus B. C. 341 220, 228, 282 
 
 Epimenides B.C. 628 226 
 
 Epiphanius (St.) 304 220 
 
 Episcopius 1582 226 
 
 Erasmus 1467 234 
 
 Erastus 1524 236 
 
 Eratosthenes B. C. 276 223, 230, 267 
 
 Eric the Red 945 246 
 
 Erigena 802 262 
 
 Erinna B. C. 630 227, 229, 269 
 
 Ernesti 1707 242 
 
 Ernst 1814 242 
 
 Ersch 1766 217, 239 
 
 Erskine 1750 245 
 
 Esarhaddon B, C. 705 227 
 
 Espinel 1551 233,264 
 
 Estienme 1503 233 
 
 Etty 1787 240 
 
 Euclid B. C. 323 214 
 
 Eudoxus B. C. 399 221, 229 
 
 Eugene of Savoy 1663 239 
 
 Euler 1707 242 
 
 Eumenes B. C. 361 268 
 
 Eupolis B. C. 445 224, 230 
 
INDEX TO CHAPTER XI. Xlll 
 
 Name. Year of Birth. 
 
 Euripides B. C. 480 
 
 Eu'sebius 265 
 
 Evagrius 536 
 
 Evans, Marian 1819 
 
 Evelyn 1620 
 
 Everett 1794 
 
 Ewald 1803 
 
 Faber, Cecilia 1797 
 
 Fabius B. C. 270 
 
 Fabricius 1668 
 
 Fahrenheit 1086 
 
 Fairfax 1611 
 
 Fairhair, Harold 850 
 
 Falconer 1732 
 
 Faraday 1791 
 
 Farinelli 1705 
 
 i arnese 1546 
 
 Farquhar 1678 
 
 Fauriel 1772 
 
 Fenelon 1651 
 
 Ferdinand the Great 1000 
 
 Ferid-Eddin-Athar 1119 
 
 Ferishta 1570 
 
 Ferrar 1593 
 
 Ferrari *. 1484 
 
 Ferry 1832 
 
 Fichte 1762 
 
 Ficino 1433 
 
 Fielding 1707 
 
 Fiesole 1387 
 
 Filelf o , 1398 
 
 Filicaja 1642 
 
 Finlay 1799 
 
 Firdousi 941 
 
 Fischart 1546 
 
 Flacius 1520 
 
 Flamininus B. C. 228 
 
 Flaxman 1755 
 
 Flechier 1632 
 
 Fleming 1609 
 
 Fletcher 1579 
 
 Fleury 1640 
 
 Fliedner 1800 
 
 Flotow 1812 
 
 Folengo 1491 
 
 Fontenelle 1657 
 
 Foote 1721 
 
 Ford 1586 
 
 Forrest 1806 
 
 Fortunatus 530 
 
 Poscari 1372 
 
 Foster 1770 
 
 Fouchg 1763 
 
 Fouque 1777 
 
 Page. 
 
 221, 
 
 230 
 
 220, 258, 
 
 204 
 
 250, 
 
 260 
 
 
 216 
 
 226, 
 
 204 
 
 
 241 
 
 
 241 
 
 
 264 
 
 
 223 
 
 
 239 
 
 
 236 
 
 
 235 
 
 
 246 
 
 
 237 
 
 
 240 
 
 
 237 
 
 
 238 
 
 
 239 
 
 
 248 
 
 238. 
 
 275 
 
 213, 
 
 285 
 
 
 253 
 
 234, 
 
 252 
 
 
 235 
 
 
 234 
 
 256 
 
 271 
 
 
 248 
 
 
 233 
 
 
 242 
 
 
 247 
 
 
 233 
 
 
 236 
 
 
 262 
 
 
 246 
 
 
 233 
 
 
 225 
 
 
 223 
 
 
 238 
 
 
 237 
 
 
 235 
 
 
 252 
 
 
 237 
 
 
 213 
 
 
 242 
 
 259 
 
 268 
 
 238 
 
 254 
 
 243 
 
 271 
 
 
 236 
 
 
 263 
 
 260 
 
 270 
 
 
 224 
 
 
 255 
 
 239 
 
 262 
 
 215 
 
 248 
 
XIV INDEX TO CHAPTER XI. 
 
 Name. Year of Btrth. Page. 
 
 Foui'ier 1772 248 
 
 Fox 1749 255, 271 
 
 Foxe 1517 235, 252 
 
 Francis (St.) .' 1182 254, 266 
 
 Franklin (Benjamin) 1706 248 
 
 Franklin (Sir John) 1786 262 
 
 Frauenlob 1260 232,272 
 
 Frederick the Great 1712 242 
 
 Freret 1688 236 
 
 Frisi 1728 244 
 
 Frobisher 1535 236 
 
 Froebel 1782 240 
 
 Froissart 1337 256 
 
 Froude 1818 216, 243 
 
 Fuller 1608 226 
 
 Fulton 1765 218, 264 
 
 Fuseli 1741 245 
 
 Fux 1661 239 
 
 Gainsborough 1727 244 
 
 Galba B.C. 3 267,279 
 
 Galen 130 246 
 
 Galileo 1564 247 
 
 Gallatin 1761 239 
 
 Gallus B. C. 69 218 
 
 Galvani 1737 255 
 
 Gama 1460 234 
 
 Gardiner 1483 234 
 
 Garibaldi 1807 242 
 
 Garrick 1716 217, 243, 285 
 
 Garrison 1804 241 
 
 Gascoigne 1535 236 
 
 Gassendi 1592 235 
 
 Gauss 1777 215, 248 
 
 Gautama (Buddha) B. C. 624 265, 269 
 
 Gautier 1811 242 
 
 Gay 1688 236 
 
 Gay-Lussac 1778 239 
 
 Geddes 1737 255 
 
 Geijer 1783 240 
 
 Geminiani 1666 215,239 
 
 Genevieve (St.) 422 221 
 
 Genseric 406 221, 259 
 
 Gentili 1552 234 
 
 Geoffrey of Monmouth 1100 213 
 
 Gerard of Cremona 1114 250 
 
 Gerhardt 1606 226, 268 
 
 Germanlcus B. C. 15 218 
 
 Gerson 1363 246 
 
 Gersonides 1288 - 255 
 
 Gerstacker 1816 243, 271 
 
 Gervaise 1152 253 
 
 Gervinus 1805 262 
 
 Gesenius 1786 262 
 
 Gesner 1516 - 260 
 
INDEX TO CHAPTER XI. XV 
 
 Name. Year of Birth. Page. 
 
 Geulincx 1625 260 
 
 Ghiberti 1378 247, 272 
 
 Ghirlandajo 1449 268 
 
 Giannone 1676 247 
 
 Gibbon 1737 255 
 
 Gibbons 1583 234, 260 
 
 Gibson 1790 256 
 
 Gieseler 1792 241 
 
 Gilbert, Wm 1540 233 
 
 Gildas 516 260 
 
 Gillray 1757 238 
 
 Gioberti 1801 241 
 
 Giorgione 1477 234 
 
 Giotto 1276 223 
 
 Giraldi 1479 225 
 
 Gladstone 1809 242 
 
 Glendower 1354 258 
 
 Glinka 1804 241 
 
 Gluck 1714 242 
 
 Godwin 1756 264 
 
 Godwine 994 251 
 
 Goethe 1749 255, 271 
 
 Goldoni 1707 242 
 
 Goldsmith 1728 244,271,280,285 
 
 Gonzalo 1453 224 
 
 Gottschalk 1829 244 
 
 Goudimel 1510 235 
 
 Goujon 1520 225, 280 
 
 Gounod 1818 ' 216, 243 
 
 Gower 1325 247, 249 
 
 Goya 1746 238 
 
 Gozzoli 1420 224 
 
 Gracchus B.C. 188 219 
 
 Graevius 1632 237 
 
 Grant, Gen 1822 263 
 
 Granvella 1517 252 
 
 Grattan 1746 238 
 
 Graun 1701 241, 268 
 
 Gray, Thomas 1716 217, 243, 285 
 
 Greeley 1811 242 
 
 Gregory of Tours 544 222 
 
 Gresset 1709 242 
 
 Gretry 1741 245 
 
 Grillparzer 1791 240 
 
 Grimm 1785 240, 273 
 
 Gringoire 1480 251 
 
 Grisi 1812 242 
 
 Groot 1340 232,249,258 
 
 Grosseteste 1175 254 
 
 Grote 1794 , 241 
 
 Grotefend 1775 262 
 
 Grotius 1583 234, 260 
 
 Guarini 1537 233, 263 
 
 Guercino 1592 235 
 
XVI INDEX TO CHAPTER XI. 
 
 Name. Tear of Birth. Page. 
 
 Guibert 1053 257 
 
 Guicciardini 1483 234 
 
 <3uido 1575 252, 260, 272 
 
 Guizot 1787 240 
 
 Gustavus Adolphus 1594 253 
 
 Gutenberg 1400 213 
 
 Haco , 920 251 
 
 Hadrian 76 218 
 
 Hafiz 1300 213 
 
 Hahnemann 1755 238 
 
 Hakluyt 1553 » 236 
 
 Hale 1609 235 
 
 Halevy 1799 262 
 
 Hall, Robert 1764 239 
 
 Hallam 1778 239 
 
 Haller 1708 248 
 
 Halley 1656 261 
 
 Hamilton (Alexander) 1757 238 
 
 Hamilton (Sir William) 1788 255 
 
 Hampden 1594 253 
 
 Handel 1685 240 
 
 Hannibal B.C. 247 268,281 
 
 Hardicanute 1018 209, 252, 281 
 
 Hardwicke 1691 240, 254 
 
 Hardyng 1378 247, 272 
 
 Hariri 1054 252 
 
 Harold Fairhair 850 246 
 
 Harold II 1022 246 
 
 Haroun al Raschid 763 262, 266, 270 
 
 Harte, Bret 1839 244 
 
 Hartley 1705 237 
 
 Harvey 1578 226, 247 
 
 Hastings 1732 237 
 
 Havelock 1795 269 
 
 Hawthorne 1804 241 
 
 Ilaydn 1732 237 
 
 Hazlitt 1778 239 
 
 Hecatoeus " B. C. 550 222 
 
 Heem 1604 226, 237 
 
 Hegel 1770 255 
 
 Heine 1797 213, 264 
 
 Hellanicus B.C. 498 225,228,274 
 
 Helps 1813 242 
 
 Helvetius 1715 243 
 
 Hemans, Felicia 1793 241 
 
 Hennepin 1640 ' 237 
 
 Henryson 1425 233 
 
 Heraclides B. C. 381 224 
 
 Heraciitus B. C. 535 214, 227 
 
 Heraclius 575 208,215,260 
 
 Herbart 1776 262 
 
 Herder . . 1744 245 
 
 Hermippus B. C. 245 220, 230 
 
INDEX TO CHAPTER XI. XVU 
 
 Name. Year of Birth. Page. 
 
 Herodotus . B. C. 484 207, 214, 228 
 
 Herrick loOl 253 
 
 Hersehel . 1738 244 
 
 Hesiod B. C. 892 222 
 
 Heyne 1729 237, 244 
 
 Hilary 287 220 
 
 Hilda (Pt.) 614 230 
 
 Hildebert 1055 257 
 
 Hildegard 1098 2.53 
 
 Hill, Sir Rowland 1795 2G9 
 
 Hincmar 806 263, 266 
 
 Hipparchus B.C. 552 2.30 
 
 Hippocrates E. C. 460 228, 265, 266 
 
 Hobbema 1638 226, 236 
 
 Hobbes 1588 236 
 
 Hof er 1767 239 
 
 Hogarth 1697 2.37 
 
 Hog!? 1772 248 
 
 Holbein 1497 225, 267 
 
 Holberg 1684 240 
 
 Holmes 1809 242 
 
 Homer B. C. 995 222, 230 
 
 Honorius 384 220, 275 
 
 Hooch 1632 237 
 
 Hood 1798 241 
 
 Hoof t 1581 234 
 
 Hook 1788 255 
 
 Hooker 1.554 248, 252 
 
 Horace B.C. 65 230,266,280 
 
 Hortensius B. C. 114 229 
 
 Hosius 256 264 
 
 Hotman 1524 236 
 
 Howard 1726 243,255 
 
 Howe 1819 216 
 
 Howitt 1795 269 
 
 Hrabanus 776 262 
 
 Hrosvitha 935 251, 266 
 
 Hucbald 840 270 
 
 Huet 1630 236 
 
 Hugh (St.) 1135 253 
 
 Hugo 1802 262, 273 
 
 Humboldt 1769 248 
 
 Hume 1711 242, 2.55 
 
 Hummel 1778 239 
 
 Hunt, Leigh 1784 240 
 
 Hunter 1728 244 
 
 Huss 1369 209, 233 
 
 Hutcheson 1694 241, 254 
 
 Hutten (Von) 1488 225, 268 
 
 Hutton 1737 255 
 
 Huxley 1825 263, 280 
 
 Huyghens 1629 237 
 
 Hwen T'sang 605 260 
 
 Hyde 1636 237 
 
 20 
 
XVm INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. 
 
 Hyder Ali 1701 
 
 Hypatia . . . ' 350 
 
 Hyperides '. B. C. 396 
 
 Ibn Batuta 1304 
 
 Ibn Khaldoun 1332 
 
 Ibn Khallikan 1211 
 
 Ibsen 1828 
 
 Ibycus ' B. C. 583 
 
 Ignatius (St.) 799 
 
 Ingres 1780 
 
 Ion B. C. 483 
 
 Irenaeus 131 
 
 Irene 752 
 
 Irving' - 1783 
 
 Isaeus B. C. 420 
 
 Isidorus 570 
 
 Isocrates B. C. 436 
 
 Jacobi 1743 
 
 Jamblichus 282 
 
 Jansen 1585 
 
 Jay 1745 
 
 Jefferson 1743 
 
 Jeffrey 1773 
 
 Jenghiz Khan 1163 
 
 Jenner 1749 
 
 Jerome (St.) 341 
 
 Jerome of Prague 1365 
 
 Jerrold 1803 
 
 Joachim 1831 
 
 Johnson 1709 
 
 Joinville 1224 
 
 Jomes, Sir Wm 1746 
 
 Jonson 1574 
 
 Josephus 37 
 
 Jovius 1483 
 
 Julian o 331 
 
 Justin 106 
 
 Justinian the Great 483 
 
 Juvenal 47 
 
 Kane 1820 
 
 Kant 1724 
 
 Karamzin 1765 
 
 Kaulbach 1805 
 
 Kaunitz 1711 
 
 Kean 1787 
 
 Keats 1795 
 
 Keble 1792 
 
 Kemble (John) , 175? 
 
 Kemble (Chas.) 1775 
 
 Kempis 1380 
 
 Ken 1637 
 
 Kepler 1571 
 
 Page. 
 
 241 
 
 , 268 
 
 
 220 
 
 220 
 
 228 
 
 
 232 
 
 229 
 
 25B 
 
 216, 255 
 
 275 
 
 
 244 
 
 
 231 
 
 
 262 
 
 
 227 
 
 221 
 
 274 
 
 
 219 
 
 232 
 
 261 
 
 
 240 
 
 224, 228, 229 
 
 , 269 
 
 
 222 
 
 227 
 
 269 
 
 
 238 
 
 
 258 
 
 
 235 
 
 
 238 
 
 
 238 
 
 
 255 
 
 
 246 
 
 255 
 
 271 
 
 
 220 
 
 
 258 
 
 
 241 
 
 244, 
 
 275 
 
 
 242 
 
 267, 
 
 272 
 
 
 238 
 
 
 234 
 
 
 263 
 
 
 234 
 
 
 258 
 
 
 219 
 
 221, 
 
 275 
 
 264, 
 
 265 
 
 
 243 
 
 
 237 
 
 218, 
 
 264 
 
 
 262 
 
 242, 
 
 255 
 
 
 240 
 
 
 269 
 
 
 241 
 
 
 238 
 
 
 262 
 
 
 247 
 
 
 253 
 
 208, 236, 260, 
 
 275 
 
INDEX TO CHAPTER XI. XIX 
 
 Name. Year of Birth Page. 
 
 Keppel 1725 261 
 
 Key 1776 262 
 
 Khaldoun (Ibn) 1332 229, 256 
 
 Khallikan (Ibn) 1211 216, 255, 275 
 
 Kingsley, Chas 1819 216 
 
 Kirchoff 1826 243 
 
 Kisf aludy 1788 2.55 
 
 Kleber 1754 248 
 
 Kneller 1648 238 
 
 Knowles 1784 240 
 
 Knox 1505 252, 260, 273 
 
 Kock (Paul de) 1794 241 
 
 Kolcsey 1790 256 
 
 Kosciusco 1746 238 
 
 Kossuth 1806 263, 273 
 
 Kriloff 1768 239 
 
 Kublai Khan 1216 232,270 
 
 Laberius B. C. 105 229 
 
 La Bruyere 1645 238 
 
 Lacaille 1713 242 
 
 La Fayette 1757 238 
 
 La Fontaine 1621 235 
 
 Lagrange 1736 237 
 
 Lalande 1732 . 237 
 
 Lamarck 1744 245 
 
 Lamartine 1790 256 
 
 Lamb 1775 262 
 
 Lamennais 1782 240 
 
 La Motte 1777 215,248 
 
 Landor 1775 262 
 
 Landseer 1802 262 
 
 Lanfranc 1005 252, 273 
 
 Langland 1331 258 
 
 Lao-tsze B. C. 604 226, 274 
 
 Laplace 1749 255, 271 
 
 Lardner 1684 240 
 
 Largilliere 1656 261 
 
 Las Casas 1474 234 
 
 Lassen 1800 213 
 
 Latimer 1490 251 
 
 Lavater 1741 245, 275 
 
 Lavoisier 1743 238 
 
 Law 1686 236 
 
 Lawrence 1769 248 
 
 Le Brun 1619 253 
 
 Lecky 1838 244 
 
 Lee, Robert E. 1806 263 
 
 Leeuwenhoek 1632 237 
 
 Legendre 1752 261 
 
 Leibnitz 1646 238 
 
 Leicester 1529 252 
 
 Leighton 1612 235, 271 
 
 Lemonnier 1715 242 
 
XX INDEX TO CHAPTER XI. 
 
 Name. Year of Birth Page. 
 
 Leonardo da Vinci 1452 234 
 
 Leopardi 179S 241 
 
 Leopold the Great 1640 237 
 
 Lepsius 1813 242 
 
 Le Sage 1668 239 
 
 Lessing 1729 237, 244 
 
 Lever 1806 263 
 
 Leverrier 1811 242 
 
 Leyden (Van) 1494 251 
 
 Libanlus 316 220, 258 
 
 Lieber 1800 213 
 
 Liebig 1803 241 
 
 Liguori 1696 241 
 
 Lilye 1466 217 
 
 Linacre 1460 234 
 
 Lincoln 1809 242 
 
 "Lind," Jenny 1820 210,243 
 
 Lindsay 1490 251 
 
 Linneeus 1707 210, 242 
 
 Lipsiuis 1547 264 
 
 Liszt 1811 242 
 
 Littleton 1407 246 
 
 littrg 1801 241 
 
 Liverpool 1770 255 
 
 Livingstone 1813 242 
 
 Livius Andronicus B. C. 283 223 
 
 Livy B. C. 59 274 
 
 Locke 1632 237, 283 
 
 Lockhart 1794 241 
 
 Longfellow 1807 242 
 
 Longinus 210 219, 269 
 
 Lope de Vega 1562 248 
 
 Lorraine 1600 213 
 
 Lotze 1817 217, 243 
 
 Louis XI 1423 246,259,276 
 
 Lover 1797 264 
 
 Lowell 1819 216 
 
 Loyola 1491 259, 268 
 
 Lucan 39 264 
 
 Lucian 120 264 
 
 Lucilius B. C. 149 229 
 
 Lucretius B. C. 95 274 
 
 Lucullus B.C. 105 229 
 
 Luini ... 1465 234 
 
 Lully 1234 276 
 
 Luther 1483 209, 234, 281 
 
 Luxembourg 1628 226 
 
 Lycon E. C. 300 213 
 
 Lycurgus B. C. 912 222, 230, 274 
 
 Lydga.te 1375 232 
 
 Lyell 1797 264 
 
 Lyly 1554 236 
 
 Lysander B. C. 432 228, 269, 274 
 
 Lyslas B.C. 438 221.230 
 
INDEX TO CHAPTER XI. 
 
 XXI 
 
 Name. Year of Birth. Page. 
 
 Lysimachus B.C. 3G1 268 
 
 Lysippus B. C. 394 268 
 
 Mabillon 1632 237 
 
 Macaulay 1800 213 
 
 Maccullagh 1809 242 
 
 Machiavelli 14C9 233 
 
 Mackintosh 1765 218,264 
 
 Macleod 1812 242 
 
 Macready 1793 241 
 
 Mtecenas B. C. 70 229 
 
 Magellan 1470 234, 272 
 
 Magliabechi 1633 237 
 
 Magnusson 1663 239 
 
 Mahmood 971 251 
 
 Maimbourg 1620 226, 264 
 
 Maimonides 11.35 253 
 
 Maistre 1754 248 
 
 Maitland 1,525 233, 247 
 
 MakrizI 1.364 247 
 
 Malachy (St.) , 1094 253 
 
 Malcolm 1769 248 
 
 Malebranche 16.38 226, 236 
 
 Malherbe 1.5.55 225 
 
 Malibran 1808 263 
 
 Malpighi 1628 226 
 
 Malthus 1766 217, 2.39 
 
 Manetho B. C. 290 223 
 
 Manfred 1231 255 
 
 Manley, Mary 1672 2G1 
 
 Man.=jfield 1705 237,241 
 
 Mantegna 1431 247 
 
 Manutius ' 1450 247 
 
 Ma.nzoni 1785 240 
 
 Marat 1744 245 
 
 Marcantonio 1482 233 
 
 Marcellus B. C. 268 229 230, 282 
 
 Marcian 390 259 
 
 Mariana 1536 260 
 
 Marietta 1821 243 
 
 Marignolli 1282 258 
 
 Mario 1810 242 
 
 Marius B. C. 155 223, 265, 274 
 
 Marivaux '. 1688 236 
 
 Marlborough 1650 247 
 
 Marlowe 1564 247 
 
 Marot 1496 225 
 
 Marryatt 1792 241 
 
 Marston 1574 234 
 
 Martel 689 250 
 
 Martians 43 218, 275 
 
 Martin (St.) 316 220, 258 
 
 Martineau, Harriet 1802 262 
 
 Martini 1706 248 
 
 k 
 
XXU INDEX TO CHAPTER XL 
 
 Name. Year of Birth. Page. 
 
 Martino 1283 223 
 
 Martyr 1500 213 
 
 Marvell 1621 235 
 
 Masaccio 1402 224 
 
 MasiRissa B. C. 238 229 
 
 Massena 1758 2G2 
 
 Massinger 1584 234 
 
 Mas' tidy 886 251 
 
 Mather 1663 239 
 
 Matsys 1466 217 
 
 Maupertuis 1697 237 
 
 Maurice 1521 235, 249, 260 
 
 Mazarin (Cardinal) 1602 237,260,273 
 
 Mazzini 1805 262 
 
 Medici 1448 224 
 
 Mehemet Ali 1769 248 
 
 Meissonier 1812 242 
 
 Melancthon 1497 225, 267 
 
 Menage 1613 235 
 
 Menander B. C. 342 268 
 
 Mencius B, C. 372 224 
 
 Mendelssohn 1809 242 
 
 Mercadante 1797 264 
 
 Mercator 1512 235 
 
 Merimee 1803 241 
 
 Mesmer 1734 244, 273 
 
 Metastasio 1698 241 
 
 Methodius 825 232 
 
 Metsu 1630 236 
 
 Metternich 1773 255 
 
 Meyerbeer 1794 241 
 
 Mezzofanti 1774 239 
 
 Michaelis ". 1717 216,243 
 
 Michelet 1798 241 
 
 Michelozzi 1391 251, 267 
 
 Mickiewicz 1798 241 
 
 Middleton 1683 240 
 
 Mill, John Stuart 1806 263 
 
 Miller (Hugh) 1802 262 
 
 Miller (Joaquin) 1841 245, 275 
 
 Millet 1814 242 
 
 Milton 1608 ^ 226, 273 
 
 Mirabeau 1749 ' 255, 271 
 
 Mirkhond 1433 233 
 
 Mitford 1744 245 
 
 Mithridates B. C. 121 214, 219 
 
 Mohammed 571 208,260,281 
 
 Moliere 1622 200,283 
 
 Molina 1535 236 
 
 Moltke (Von) , 1800 213 
 
 Monge 1746 238 
 
 Monk 1608 226 
 
 Montaigne 1533 233, 252 
 
 Montecuculi 1608 226 
 
INDEX TO CHAPTER XI. XXlll 
 
 Name. Year of Birth. Page. 
 
 Montesquieu 1689 240, 248 
 
 Monteverde 1568 234 
 
 Montezuma 1 1390 2.59 
 
 Montgolfier 1740 237, 261 
 
 Montrose 1613 2.35 
 
 Moody 18.37 2.56 
 
 Moore (Sir John) 1761 2.39 
 
 Moore (Thomas) 1779 240 
 
 More (Sir Thomas) 1480 251, 282 
 
 More (Hannah) 1745 238 
 
 Moretto 1498 238, 2.52, 272 
 
 Morland 1763 239, 262, 271 
 
 Moroni 1510 235 
 
 Moscheles 1794 241 
 
 Mosheim 1694 241, 2.54 
 
 Motley 1814 242 
 
 Mozart 17.56 264 
 
 Muller (Karl) 1797 264 
 
 Miiller (Max) 1823 243 
 
 Munkacsy 1844 245 
 
 Muratori 1672 261 
 
 Murchison 1792 241 
 
 Murillo 1618 253 
 
 Murray, Lindley 1745 238 
 
 Musset 1810 242 
 
 Muziano 1528 233 
 
 Nadir Shah 1688 2.36 
 
 Nsevius B. C. 265 220, 230, 274 
 
 Nairne, Caroline 1766 217,239 
 
 Napier (Sir Charles) 1782 240 
 
 TSTapier (Sir William) 1785 240, 273 
 
 Napoleon ' 1769 248, 281, 284 
 
 Narses 480 221, 282 
 
 Nasir Khosran ' 1004 2.52 
 
 Neander 1789 240 
 
 Necker 17.32 237 
 
 Nelson 17.58 262 
 
 Neri 1515 216, 2.35 
 
 Nero 37 263 
 
 Nerva 32 274 
 
 Nestor 1056 283 
 
 Newton 1642 236 
 
 Ney 1769 248 
 
 Nicephorus 758 262 
 
 Nicole 1625 249, 260, 285 
 
 Niebuhr 1776 262 
 
 Nightingale, Florence 1820 243 
 
 Nizanii 1141 246 
 
 North 1785 240, 273 
 
 Northcote 1818 216,243 
 
 Norton, Caroline 1808 263 
 
 Novalis 1772 248 
 
XXIV INDEX TO CHAPTER XL 
 
 Name. Year of Birth. Page. 
 
 O'Connell 1775 262" 
 
 Odoacer 434 214, 259^ 
 
 Odoric 1286 247 
 
 Oehlenschlager 1779 240 
 
 Oersted 1777 215, 248 
 
 Offenbach 1819 216 
 
 Oken 1779 2^0 
 
 Olivarez 1587 247 
 
 Omar 1 583 260 
 
 Omar Khayyam 1017 252 
 
 Opie 1761 239 
 
 Orcagna 1316 258 
 
 Ordericus Vitalis 1075 252 
 
 Origen 185 219, 257 
 
 Ormonde 1610 235 
 
 Otho 32 274 
 
 Otto the Great 912 222, 275, 281 
 
 Otway 1651 238, 275 
 
 '•'Ouida" 1840 271 
 
 Overbeck 1789 240 
 
 Ovid B. C. 43 218 
 
 Owen ' 1616 216 
 
 Pacuvius B. C. 219 • 219, 274 
 
 Paganini 1784 240 
 
 Paine 1736 255 
 
 Palestrina 1524 236 
 
 Paley 1743 238 
 
 Palissy 1510 235 
 
 Palladio 1518 252 
 
 Palmerston 1784 240 
 
 Paracelsus 1493 235 
 
 Parepa-Rosa 1836 256, 273 
 
 Park, Mungo 1771 262 
 
 Parker, Theodore 1810 242 
 
 Parmenides B. C. 539 225 
 
 Parmigiano 1504 252 
 
 Parr 1747 245 
 
 Parrhasius B.C. 440 227 
 
 Parry 1790 256 
 
 Parton 1822 263 
 
 Pascal 1623 237 
 
 Pasteur 1822 263 
 
 'Patrick (St.) 306 259 
 
 Paulus B. C. 229 280 
 
 Pausanias B. C. 508 227, 228 
 
 Payne 1792 241 
 
 Peale 1778 239 
 
 Peel 1788 255 
 
 Penn 1644 226, 236 
 
 Pepys 1632 237 
 
 Pergolesi 1710 242 
 
 Pericles B. C 497 225 
 
 Perrault 1628 226 
 
INDEX TO CHAPTER XT. XXV 
 
 Name. Year of Birth. Page. 
 
 Perseus 34 257, 275, 27G 
 
 Perugini 1446 233, 2<J7 
 
 Peruzzi 1481 234, 275 
 
 Pestalozzi 174G 238 
 
 Peterborough 1G58 2(58 
 
 Peter the Hermit 1050 246, 272 
 
 Peter the Great 1672 261 
 
 Petrarch 1304 232 
 
 Phalereus B. C. 346 228 
 
 Pherecydes B.C. 600 213 
 
 Phidias « B. C. 488 225 
 
 Philemon B. C. 359 220 
 
 Philiscus 219 219, 275 
 
 Phihstus B. C. 441 228 
 
 Phillips, Wendell 1811 242 
 
 Philo B. C. 14 229 
 
 Philolaus B. C. 480 221 
 
 Philopoemen B.C. 252 214,220,229 
 
 Philostratus 170 229, 265 
 
 Philoxenus B. C. 435 228 
 
 Phocion B. C. 402 224 
 
 Photius 822 246, 249. 263 
 
 Phrynicus B.C. 512 228,268 
 
 Piccolomini 1599 253 
 
 Pichegru 1761 239 
 
 Pindar B. C. 522 225 
 
 Pippi 1492 235 
 
 Piranesi 1711 242, 255 
 
 Piron 1689 240,248 
 
 Pisano 1206 246, 270, 273 
 
 Pisistratus B. C. 605 227, 269 
 
 Pitcairne 1652 253 
 
 Pitman 1813 242 
 
 Pitt 1759 238 
 
 Pittacus B. C. 651 227 
 
 Pius, Antoninus 86 219 
 
 Pizarro 1471 251 
 
 Plato ..B.C. 429 230 
 
 Plattner 1800 " 213 
 
 Plautus B. C. 270 223 
 
 Pliny the Elder 23 274, 276 
 
 Pliny the Younger 61 264 
 
 Plotinus 205 219 
 
 Pluckner 1801 24J. 
 
 Plutarch 50 218 
 
 Pocock 1604 226,237 
 
 Poe 1809 242 
 
 Poggio 1380 247 
 
 Poisson 1781 240 
 
 Politian 1454 259 
 
 Pollio B. C. 76 218, 230 
 
 Polo 1254 2.')8 
 
 Polybius B. C. 210 219, 229, 269 
 
 Polycarp 69 218,275 
 
XXVI INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. Page. 
 
 Pompey B. C. 106 219, 231, 280 
 
 Pontanus 1426 247 
 
 Pope 1688 236, 284 
 
 Porphyrius 234 219,276 
 
 Person 1759 238 
 
 Poushkin 1799 262 
 
 Poussin 1594 253 
 
 Powers, Hiram 1805 262 
 
 Praed 1802 262 
 
 Praxiteles B. C 387 229 
 
 Prescott 1796 241 
 
 Priestley 1733 237, 244 
 
 Prior 1664 239 
 
 Proclus 412 221, 270, 275 
 
 Procopius 487 * 259 
 
 Prodicus B. C. 460 225 
 
 Propertius B. C 50 218 
 
 Protagoras B. C. 479 ' 225 
 
 Protogenes B. C. 360 220, 228 
 
 Proudhon 1809 242 
 
 Prynne 1600 213 
 
 Puffendorf 1632 237 
 
 Pym 1584 234 
 
 Pyrrhus B. C. 318 266, 268, 269 
 
 Pythagoras B. C. 582 226 
 
 Quin 1693 241 
 
 Quintilian 36 " 250 
 
 Rabelais 1490 251 
 
 Racine 1639 236, 268 
 
 Raff 1822 263 
 
 Raimondi 1488 225, 268 
 
 Raleigh 1552 234 
 
 Ramsay 1686 236 
 
 Raphael 1483 209, 234 
 
 Raschid, Haroun al 763 262,266,270 
 
 Rashi 1040 249, 257, 266, 272 
 
 Ravenna > 1512 235 
 
 Read, T. Buchanan 1822 263 
 
 Reade 1814 242 
 
 Reaumur 1683 240 
 
 Reeves, Sims 1821 243 
 
 Regnard 1656 261 
 
 Regnier 1573 234 
 
 Reid 1710 242 
 
 Rembrandt 1606 226, 268 
 
 Remigius 438 221 
 
 Remusat 1797 264 
 
 Renan 1823 243 
 
 Rennell 1742 245, 261 
 
 Reuchlin 1455 232 
 
 Reuter 1810 242 
 
 Reynolds 1723 237, 243 
 
INDEX TO CHAPTER XI. XXVU 
 
 Name. Year of Birth. Page. 
 
 Ricardo 1772 248 
 
 Ricasoli 1809 242 
 
 Ricci 1552 234 
 
 Richard Coeur de Lion 1157 254 
 
 RicheUeu 1585 235 
 
 Richter 1768 289, 262, 271 
 
 Ricimer , 423 259, 276 
 
 Rienzi 1313 216, 258 
 
 Ristori 1821 243 
 
 Robespierre 1758 262 
 
 Robusti 1518 252 
 
 Rochefoucauld 1613 235 
 
 Rogers 1762 248. 
 
 Rohan 1579 ■ 252 
 
 Roland (Madame) 1754 248 
 
 Rollin 1661 215, 2.39 
 
 Romanoff 1597 237 
 
 Romney 1734 244, 273 
 
 Rooke 1650 247 
 
 Roscoe 1753 238, 268 
 
 Rossetti 1828 • 244 
 
 Rossini 1792 241 
 
 Rothe 1799 262 
 
 Rousard 1524 236 
 
 Rousseau 1712 241 
 
 Rubens 1577 209, 234, 248 
 
 Rubinstein 1829 244 
 
 Ruckert 1788 2.55 
 
 Rudagi 891 251 ' 
 
 Rufinus 345 232,265 
 
 Ruhnken 1723 237, 243 
 
 Rumi 1207 246 
 
 Rupert 1619 253 
 
 Ruskin 1819 216 
 
 Russell, Sir Charles 1833 244 
 
 Ruysdael 1625 2G0 
 
 Rymer 1641 236 
 
 St. Ambrose 340 258 
 
 St. Anthony 252 220 
 
 St. Augustine 354 220, 2.58 
 
 St. Benedict 481 221, 283 
 
 St. Bernard 1091 2.53 
 
 St. Boniface 680 261 
 
 St. Bruno 1030 249, 272 
 
 St. Catherine 1347 232, 258 
 
 St. Columba 521 260, 275 
 
 St. David 490 221 
 
 St. Dominic 1170 254 
 
 St. Edmund 1189 2.50 
 
 St. Epiphanius 304 220 
 
 St. Francis 1182 254, 266 
 
 St. Genevieve 422 221 
 
 St. Hilda 614 250 
 
XXVlll INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. Page. 
 
 St. Hugh 1135 253 
 
 St. Ignatius 799 262 
 
 St. Jerome 341 220 
 
 St. Malachy 1094 253 
 
 St. Martin 316 220, 258 
 
 St. Patrick 396 220, 259 
 
 St. Sebastian 254 258 
 
 St. Simon 1760 239 
 
 St. Theresa 1515 216, 235 
 
 St. Vincent de Paul 1577 209,234,248 
 
 Saadia 892 221 
 
 Sachs 1494 251 
 
 Sacy 1758 262 
 
 Sa'di 1185 257 
 
 Saint-Amand 1594 253 
 
 Sainte Beuve 1804 • 241 
 
 Sala 1828 ' 244 
 
 Saladin 1137 208, 253, 281 
 
 Sallust B. C. 86 219, 281 
 
 Salmasius 1588 236 
 
 Salvator Rosa 1615 217, 235 
 
 SanS'i 1053 257 
 
 "Sand," George 1804 241 
 
 Sandeau 1811 242 
 
 Sappho B. C. 608 226, 227, 229 
 
 Sardanapalus B.C. 694 266,274 
 
 Sardou 1831 244, 275 
 
 Sarpi 1552 - 234 
 
 Sarto 1487 259 
 
 Savage 1698 241 
 
 Savonarola 1452 234 
 
 Saxe (Marshal) 1696 241, 273 
 
 Saxo Grammaticus 1155 223 
 
 Scaliger, J. S 1484 234, 272 
 
 Scaliger, J. J 1540 233, 271 
 
 Scarlatti, A 1659 238 
 
 Scarlatti, D.. 1083 240 
 
 Schiller 1759 238 
 
 Schilling 1775 262 
 
 Schlegel, W 1767 239 
 
 Schlegel, F 1778 255 
 
 Schleiermacher 1768 239 
 
 Schliemann 1822 263 
 
 Schopenhauer 1788 255 
 
 Schubert • 1797 264 
 
 Schumann 1810 242 
 
 Schwarz 1726 243, 255 
 
 Schwenkfeld 1490 251 
 
 Scipio B. C. 185 219 
 
 Scot 1191 254 
 
 Scott 1771 215,262 
 
 Sebastian (St.) 254 258 
 
 Selden 1584 234 
 
 Semler 1725 261 
 
INDEX TO CHAPTER XI. XXIX 
 
 Name. Year of Birth. Page. 
 
 Seneca B. C. 3 267, 279 
 
 Servetus 1511 235 
 
 Severus 146 246 
 
 Sevigne (Mme.) 1626 253,283 
 
 Shaftesbury 1621 235 
 
 Shakespeare 1564 247, 283 
 
 Shelley 1792 210, 241 
 
 Shenstone 1714 242 
 
 Sheridan 1751 238, 273, 275 
 
 Siddons (Mrs.) 1755 238 
 
 Sidney 1554 24S, 252 
 
 Sigismond the Great 1467 234 
 
 Signorelli 1440 2b3 
 
 Silius Italicus 25 231 
 
 Simon 1638 226, 236 
 
 Simon (St.) 1760 239 
 
 Simonides B. C. 555 225 
 
 Sisenna B. C. 131 214, 219 
 
 Sismondi 1773 255 
 
 Skelton 1460 234,280 
 
 Sleidanus 1506 " 248 
 
 Sloane 1660 239 
 
 Smiles 1816 243, 271 
 
 Smith, Adam 1723 237, 243 
 
 Smith, Sydney 1771 1^15, 262 
 
 ismollett 1721 243,271 
 
 Snorro Sturluson 1179 -54 
 
 Sobieiski 1624 236, 237, 271, 280, 283 
 
 Socinus 1539 225, 236, 264 
 
 Socrates B. C 468 221, 228, 230, 282 
 
 Sodoma 1479 225 
 
 Solario 1382 233 
 
 Solon B. C. 638 226,231, 281 
 
 Sontag 1806 263 
 
 Sophocles B. C. 495 230, 266 
 
 Soult 1769 248 
 
 South 1633 237 
 
 Southey 1774 239 
 
 Spallanzani 1729 237, 244 
 
 Speke 1827 244 
 
 Spencer, Herbert 1820 243 
 
 Spener 1635 236, 253 
 
 Spenser 1552 234 
 
 Speusippus B.C. 406 221, 274 
 
 Spinola 1569 248 
 
 Spinoza 1632 237 
 
 Spohr 1784 240 
 
 Spurgeo<n 1834 244 
 
 Stael (Madame de) 1766 217, 239 
 
 Stahl 1660 239 
 
 Stanhope 1753 238, 268 
 
 Stanley, Dean 1815 243 
 
 Stanley, H. M 1840 271 
 
 Statius 45 264 
 
XXX INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. Page. 
 
 Stedman 1833 244 
 
 Steele 1672 261 
 
 Steffani 1655 238 
 
 Steiner 1796 241 
 
 Stephenson 1781 239 
 
 Sterne 1713 242 
 
 Stesichorus B. C. 630 229, 227, 269 
 
 Stevinus 1548 264 
 
 Stewart (Dugald) 1753 238, 268 
 
 Stilicho 359 220 
 
 Stirling 1806 263 
 
 Stowe (Mrs.) 1814 242 
 
 Strabo B. C. 63 267. 
 
 Stradivarius 1700 213 
 
 Stuart 1720 243 
 
 Suarez 1548 264 
 
 Sue 1804 241 
 
 Sulla B. C. 138 229, 231, 281 
 
 Sullivan, Sir Arthur 1844 245 
 
 Summer 1811 242 
 
 Surrey 1517 235, 252 
 
 Suwaroff 1730 244, 261 
 
 Swedenborg 1688 236 
 
 Swift 1667 239 
 
 Swinburne 1837 256 
 
 Sydenham 1624 . 236, 237 
 
 Sylburg ,1536 260 
 
 Tabari 839 232 
 
 Tacitus 55 214, 257 
 
 Talleyrand 1754 248 
 
 Tallis 1515 216, 235 
 
 Talma 176S 239, 262, 271 
 
 Tamerlane 1336 209, 2-56 
 
 Tannahill 1774 239 
 
 Tasso 1544 233, 236 
 
 Tassoni 1565 218, 234 
 
 Tauler 1290 223, 249, 256 
 
 Taylor (Jeremy) 1613 235 
 
 Taylor (Bayard) 1825 263 
 
 Tennyson 1809 242, 273 
 
 Terence B. C. 185 219 
 
 Terpander B. C. 700 213 
 
 Tertullian 160 257 
 
 Thackeray 1811 242 
 
 Thalberg 1812 242 
 
 Thales B. C. 644 227, 274 
 
 Themistocles B.C. 509 268 
 
 Theocritus B. C. 310 220, 229 
 
 Theodore (Archbishop) 602 260 
 
 Theodoret 389 220 
 
 Theodoric 454 215, 221, 2.59 
 
 Theodosius the Great 346 246 
 
 Theognis • B. C. 570 222, 231 
 
INDEX TO CHAPTER XI. XXXI 
 
 Name. Tear of Birth. Page. 
 
 Theophrastus B. C. 368 228, 229, 282 
 
 Theopompus B. C. 377 224 
 
 Theresa (St.) 1.515 210,235 
 
 Theresa (Maria) 1717 21(5. 243 
 
 Thibaut ] 774 239 
 
 Thiers . 1797 264 
 
 Thirlwall 1797 264 
 
 Tholuck 1790 262 
 
 Thomson 1700 213 
 
 Thoreau 1817 217, 243 
 
 Thorwaldsen 1770 255 
 
 Thucydides B. C. 471 230, 280 
 
 Tiberius B. C. 42 218 
 
 Tibullus B. C. 54 267 
 
 Tieck 1773 255 
 
 Tifctjens 1831 244, 275 
 
 Tillotson 1630 2.36, 271 
 
 Tilly 1559 252 
 
 Timaeus B. C. 352 229. 230 
 
 Timoleon B. C. 408 228, 229, 269 
 
 Timotheus B. C. 454 214, 221, 228 
 
 Timour 1336 209, 256 
 
 Tintoretto 1512 235 
 
 Tippoo Saib 1749 255, 271 
 
 Tischendorf 1815 243 
 
 Titian 1477 209, 234 
 
 Titus 40 257, 265 
 
 Tocqueville 1805 262 
 
 Tolstoi 1828 244 
 
 Tooke 1736 237 
 
 Torquemada 1420 224, 251, 270 
 
 Torricelli 1608 226 
 
 Tourguenieff 1818 210, 243 
 
 Trajan 53 257 
 
 Trebonianus 475 259 
 
 Trevithick 1771 262 
 
 Tribonian 491 259 
 
 Tromp 1597 23T 
 
 Tucker 1705 237 
 
 Tullius B. C. 578 226 
 
 Tupper 1810 242 
 
 Turenne 1611 235 
 
 Turgot 1727 244 
 
 Turner . 1775 262 
 
 "Twain," Mark 1835 244 
 
 Tyndale 1484 234,272 
 
 Tyndall 1820 243 
 
 Udall 1505 260 
 
 Uhland 1787 240 
 
 Ulphilas 313 258 
 
 Urquhart 1605 237, 260 
 
 Ussher 1580 247 
 
XXXll INDEX TO CHAPTER XI. 
 
 Name. Year of Birth. 
 
 Valens 328 
 
 Valerian 213 
 
 "Valla 1406 
 
 Vanbrugh 1666 
 
 Vamdevelde 1633 
 
 Van Dyck 1599 
 
 Van Leyden 1494 
 
 Varro B. C. 116 
 
 Vasa 1496 
 
 Vasari 1512 
 
 Vattel 1714 
 
 Velazquez 1599 
 
 Verdi 1814 
 
 Vergniaud 1753 
 
 Vernet 1789 
 
 Veronese 1528 
 
 Verrocchio 1435 
 
 Vespasian 9 
 
 Vespucci 1451 
 
 Vico 1668 
 
 Victoria (Queen) 1819 
 
 Vida 1489 
 
 Vieuxtemps ' 1820 
 
 Vigny 1799 
 
 Villani 1275 
 
 Villehardouin 1160 
 
 Villon 1431 
 
 Vijncent 1191 
 
 Vincent de Paul (St.) 1576 
 
 Virgil B. C. 70 
 
 Vitellius 15 
 
 Vogler 1749 
 
 Voiture 1598 
 
 Volta 1745 
 
 Voltaire 1694 
 
 Von Hutten 1488 
 
 Von Moltke 1800 
 
 Voragine 1228 
 
 Voss - . 1751 
 
 Wagner 1813 
 
 Waitz 1813 
 
 Walaf rid 808 
 
 Wales (Prince of) 1841 
 
 "Wallace 1270 
 
 "Wallenstein 1583 
 
 Waller 1605 
 
 TValpole (Sir Robert) 1676 
 
 W^alpole (Horace) 1718 
 
 Walton 1593 
 
 Warburton 1698 
 
 Warwick 1428 
 
 Washington 1732 
 
 Watt 1736 
 
 Page, 
 
 
 258 
 
 
 219 
 
 246, 259, 
 
 , 267 
 
 215 
 
 , 239 
 
 
 237 
 
 
 253 
 
 - 
 
 251 
 
 230, 
 
 , 274 
 
 
 225 
 
 
 235 
 
 
 242 
 
 
 253 
 
 
 242 
 
 238 
 
 , 268 
 
 
 240 
 
 
 233 
 
 
 251 
 
 263 
 
 , 280 
 
 233 
 
 , 275 
 
 
 239 
 
 216, 
 
 , 282 
 
 
 248 
 
 
 243 
 
 
 262 
 
 
 232 
 
 232, 
 
 , 257 
 
 
 247 
 
 
 254 
 
 
 225 
 
 229, 
 
 231 
 
 218, 
 
 274 
 
 255, 
 
 271 
 
 
 253 
 
 
 238 
 
 241, 
 
 254 
 
 
 •268 
 
 
 213 
 
 
 223 
 
 238, 273: 
 
 275 
 
 
 242 
 
 
 242 
 
 
 263 
 
 
 244 
 
 223, 
 
 255 
 
 234, 
 
 260 
 
 237, 
 
 260 
 
 247, 
 
 280 
 
 216, 
 
 243 
 
 
 235 
 
 
 241 
 
 233, 
 
 272 
 
 237, 282, 
 
 283 
 
 
 237 
 
INDEX TO CHAPTER XI. XXXlll 
 
 Name. Year of Birth. 
 
 Watts 1674 
 
 Weber 1786 
 
 W^ebster (Noah) 1758 
 
 Webster (Daniel) 1782 
 
 Wedgwood 1730 
 
 Wellington 1769 
 
 Werner 1750 
 
 W^esley 1703 
 
 Wessel 1420 
 
 West 1738 
 
 Whately 1787 
 
 Whiston 1667 
 
 Whitefield 1714 
 
 Whittier 1807 
 
 Wilberf orce 1759 
 
 Wilkes 1727 
 
 Wilkie 1785 
 
 William, of Occam 1280 
 
 William, Prince of Orange 1650 
 
 William the Conqueror 1027 
 
 William the Lion 1165 
 
 William the Silent 1533 
 
 Williams, Roger. .... , 1599 
 
 Willis, N. P 1806 
 
 Wilson, Alexander 1766 
 
 W inckelmajm 1717 
 
 Wolfe (Charles) 1791 
 
 Wolfe (James) 1727 
 
 Wollaston 1766 
 
 Wolsey 1471 
 
 Worcester 1784 
 
 W^ordsworth 1770 
 
 Wotton 1666 
 
 Wren 1632 
 
 Wyatt 1503 
 
 Wycherley 1640 
 
 T^ycliff e 1324 
 
 Wyttenbach 1746 
 
 Xavier ' 1506 
 
 Xenocrates B.C. 396 
 
 Xenophanes B. C. 620 
 
 Xenophon B.C. 430 
 
 Ximenes 1436 
 
 Young (Edward) 1681 
 
 Young (Thomas) 1773 
 
 Zaleucus B. C. 780 
 
 Zarlino 1517 
 
 Zeno B. C. 350 
 
 Zinzendorf 1700 
 
 Zwingli 1484 
 
 21 
 
 Page. 
 
 
 239 
 
 
 262 
 
 
 262 
 
 
 240 
 
 244, 
 
 261 
 
 
 248 
 
 
 245 
 
 
 241 
 
 224, 251, 
 
 270 
 
 
 244 
 
 
 240 
 
 
 239 
 
 
 242 
 
 
 242 
 
 
 238 
 
 
 244 
 
 240, 
 
 273 
 
 223, 
 
 249 
 
 
 247 
 
 246 
 
 281 
 
 218 
 
 232 
 
 233, 
 
 252 
 
 
 253 
 
 
 263 
 
 217, 
 
 239 
 
 216, 
 
 243 
 
 
 240 
 
 
 244 
 
 217 
 
 239 
 
 251, 
 
 275 
 
 
 240 
 
 
 255 
 
 215, 
 
 239 
 
 
 237 
 
 233, 
 
 273 
 
 
 237 
 
 256, 270 
 
 276 
 
 
 238 
 
 
 248 
 
 220 
 
 228 
 
 226, 227 
 
 229 
 
 221 
 
 280 
 
 259, 
 
 270 
 
 
 240 
 
 
 255 
 
 
 227 
 
 
 252 
 
 220 
 
 228 
 
 
 213 
 
 234 
 
 272 
 
XXXIV 
 
 INDEX TO CHAPTER XI. 
 
 YEAE OF BIETH OF HISTOKICAL CHAEACTERS. 
 
 B. C. Page. 
 
 995 222, 230 
 
 912 222, 230, 274 
 
 892 222 
 
 780 227 
 
 705 227 
 
 700 213 
 
 695 222 
 
 694 266, 274 
 
 651 227 
 
 650 .. i 229 
 
 644 226, 227, 274 
 
 638 226, 231, 281 
 
 630 229, 227, 269 
 
 628 226 
 
 624 265, 269 
 
 620 226, 227, 229 
 
 612 269 
 
 611 266, 274 
 
 608 226, 227, 229 
 
 606 214, 226, 231 
 
 605 227 
 
 604 226, 274 
 
 600 213 
 
 590 227 
 
 583 231 
 
 582 226 
 
 578 226 
 
 576 225 
 
 570 222, 231 
 
 562 , 231, 274 
 
 555 ... ' 225 
 
 552 230 
 
 551 227, 268, 274 
 
 550 222 
 
 544 222, 227 
 
 540 227 
 
 536 227 
 
 539 225 
 
 535 214 
 
 530 227, 269 
 
 525 208, 214, 228 
 
 522 225 
 
 520 225, 227, 228, 269, 282 
 
 519 225, 283 
 
 512 228,268 
 
 B. C. Page, 
 
 510 231, 266, 269 
 
 509 268 
 
 508 227, 228 
 
 500 213 
 
 497 225 
 
 496 225, 228, 274 
 
 495 230, 266 
 
 490 221, 227 
 
 488 225 
 
 484 207, 214, 228, 274 
 
 481 221 
 
 483 221 
 
 480 221, 230 
 
 479 225 
 
 473 225 
 
 471 230, 280 
 
 468 221, 228, 230, 282 
 
 466 221 
 
 460 228, 265, 266 
 
 456 228 
 
 454 214, 221, 228 
 
 453 224, 265, 274 
 
 450 228, 229 
 
 448 224 
 
 446 228, 274 
 
 445 224, 230 
 
 441 228 
 
 440 227 
 
 438 221, 230 
 
 436 227, 269 
 
 435 228 
 
 432 228, 269, 274 
 
 430 221, 229, 280 
 
 429 230 
 
 425 208, 228 
 
 422 221, 224 
 
 420 224, 228, 229, 269 
 
 412 .221, 228, 230, 269 
 
 408 228, 229, 269 
 
 406 221, 274 
 
 402 224 
 
 399 221, 229 
 
 396 220, 228 
 
 394 268 
 
 389 220 
 
INDEX TO CHAPTER XI. 
 
 XXXV 
 
 B. O. Page. 
 
 387 229 
 
 884 207, 220, 228, 274 
 
 381 224 
 
 377 224 
 
 372 224 
 
 368 228, 229, 282 
 
 361 268 
 
 360 220, 228 
 
 359 220 
 
 356 228, 280, 281 
 
 354 220, 228, 274 
 
 352 229, 230 
 
 350 220, 228 
 
 346 228 
 
 342 , 268 
 
 341 220, 228, 282 
 
 335 228 
 
 332 228 
 
 323 214 
 
 318 266, 268, 269 
 
 316 220, 230 
 
 310 ' 220, 229 
 
 304 220 
 
 300 213 
 
 299 229, 268 
 
 290 223 
 
 287 220, 229 
 
 283 223 
 
 280 223, 230 
 
 276 223, 230, 267 
 
 271 230 
 
 270 223 
 
 268 229, 230, 282 
 
 265 220, 230, 274 
 
 252 214, 220, 229 
 
 249 229 
 
 247 268, 281 
 
 245 220, 230 
 
 238 229, 230 
 
 237 266 
 
 234 219, 274 
 
 229 230 
 
 228 .223 
 
 219 219, 274 
 
 213 219 
 
 210 219, 229, 269 
 
 205 219, 229, 269 
 
 188 219 
 
 185 219 
 
 170 229, 265 
 
 155 223, 265, 274 
 
 151 214, 266 
 
 149 229 
 
 140 219 
 
 B, C. Page. 
 
 138 , 229, 231, 281 
 
 131 214, 219 
 
 121 214, 219 
 
 116 230, 274 
 
 114 229 
 
 109 267 
 
 106 219, 231, 280 
 
 105 229 
 
 100 2ia 281 
 
 95 '274 
 
 94 267 
 
 86 219, 281 
 
 83 231 
 
 76 218, 230 
 
 70 229, 231 
 
 69 218 
 
 65 230, 266, 280 
 
 63 267 
 
 62 231 
 
 59 274 
 
 54 267 
 
 50 218 
 
 43 218 
 
 42 218 
 
 15 218 
 
 14 229 
 
 10 231, 279 
 
 3 267, 279 
 
 A. D. 
 
 9 263, 280 
 
 15 218, 274 
 
 23 274, 276 
 
 24 274, 276 
 
 25 231 
 
 32 274 
 
 34 257, 275, 276 
 
 36 250 
 
 37 263 
 
 89 264 
 
 40 257, 265 
 
 ■ 42 218, 274 
 
 48 218, 275 
 
 45 264 
 
 47 264. 265 
 
 48 264 
 
 50 218 
 
 51 264, 274 
 
 53 257 
 
 55 214, 257 
 
 60 257 
 
 61 264 
 
 69 218, 275 
 
 76 218 
 
 86 219 
 
XXXVl 
 
 INDEX TO CHAPTER XI. 
 
 A. D. Page. 
 
 96 264, 275 
 
 106 219 
 
 120 264 
 
 121 209, 214, 219, 257 
 
 125 231, 275, 285 
 
 l.-!0 246 
 
 131 219 
 
 140 219 
 
 146 246 
 
 160 257 
 
 185 219, 257 
 
 188 219 
 
 200 213 
 
 205 219 
 
 210 219, 269 
 
 213 219 
 
 214 258, 269, 275 
 
 219 219, 275 
 
 234 219, 276 
 
 245 220, 232 
 
 252 220 
 
 254 258 
 
 256 264 
 
 265 220, 258, 264 
 
 274 258 
 
 282 258 
 
 287 220 
 
 297 264 
 
 304 220 
 
 310 220 
 
 313 258 
 
 314 258 
 
 316 220, 258 
 
 328 258 
 
 330 246, 265 
 
 331 258 
 
 340 258 
 
 341 220 
 
 345 232, 265 
 
 346 246 
 
 347 258 
 
 350 220 
 
 354 220, 258 
 
 359 220 
 
 360 220 
 
 365 258, 280 
 
 376 265 
 
 384 220, 275 
 
 389 220 
 
 390 259 
 
 396 220, 259 
 
 399 221, 266 
 
 406 221, 259, 281 
 
 412 221, 270, 275 
 
 A. D. Page. 
 
 422 221 
 
 423 259, 276 
 
 430 221 
 
 434 214, 259 
 
 436 259, 270 
 
 438 221 
 
 454 215, 221, 259 
 
 466 221, 281 
 
 468 221 
 
 475 259 
 
 480 221, 282 
 
 481 221, 283 
 
 483 221, 275 
 
 487 259 
 
 490 221 
 
 491 259 
 
 505 215, 260, 266, 281 
 
 510 260 
 
 521 260, 275 
 
 530 260, 270 
 
 536 250, 260 
 
 544 222 
 
 550 222 
 
 570 222 
 
 571 208, 260, 281 
 
 575 208, 215, 260 
 
 583 260 
 
 600 213 
 
 602 260 
 
 605 260 
 
 614 250 
 
 622 260 
 
 025 260 
 
 056 215, 261 
 
 672 261 
 
 680 261 
 
 689 250 
 
 695 222 
 
 725 261 
 
 730 249, 261, 280 
 
 740 261 
 
 742 261, 270, 281, 283 
 
 752 232, 261 
 
 758 262 
 
 763 262, 266, 270 
 
 771 262 
 
 775 208, 262 
 
 776 262 
 
 786 262 
 
 799 262 
 
 802 262 
 
 805 262 
 
 806 268, 266 
 
 808 , 263 
 
INDEX TO CHAPTER XI. 
 
 XXXVll 
 
 A. D. Page. 
 
 822 246, 249. 263 
 
 825 232, 263 
 
 839 232 
 
 840 263, 270 
 
 849 266 
 
 850 246 
 
 852 232 
 
 886 251 
 
 891 251 
 
 892 222 
 
 895 208, 251 
 
 932 222, 275, 281 
 
 920 251 
 
 925 232 
 
 935 251, 266 
 
 939 215, 232 
 
 941 246 
 
 945 246 
 
 971 251 
 
 980 249, 251, 282 
 
 990 249, 251, 266 
 
 994 251 
 
 995 208, 222 
 
 998 252 
 
 1000 213, 285 
 
 1004 252 
 
 1005 252, 273 
 
 1017 252 
 
 1018 209, 252, 281 
 
 1022 246 
 
 1027 246, 281 
 
 1029 252 
 
 1030 249, 272 
 
 1033 252 
 
 1034 257 
 
 1040 249, 257, 266, 272 
 
 1050 246, 272 
 
 1053 257 
 
 1054 *. 252 
 
 1055 257 
 
 1056 283 
 
 1059 252 
 
 1060 257, 272 
 
 1070 252, 272 
 
 1075 252 
 
 1079 252 
 
 1091 253 
 
 1094 253 
 
 1098 253 
 
 1099 253 
 
 1100 213 
 
 1111 215 
 
 1114 250 
 
 1118 209, 253 
 
 A. D. Pag-e. 
 
 1119 253 
 
 1121 257, 275 
 
 1122 249 
 
 1126 253 
 
 1135 253 
 
 1137 208, 253, 281 
 
 1141 246 
 
 1145 246 
 
 1147 253 
 
 1152 253 
 
 1155 223 
 
 1157 254 
 
 1160 232, 257 
 
 1162 254 
 
 1163 246 
 
 1165 218, 232 
 
 1170 254 
 
 1175 254 
 
 1179 254 
 
 1180 254 
 
 1182 254, 266 
 
 1185 257 
 
 1189 250 
 
 1191 254 
 
 1193 246 
 
 1194 254 
 
 1206 246, 270, 273 
 
 1207 246 
 
 1211 216, 255, 275 
 
 1214 258, 270 
 
 1216 232, 270 
 
 1221 215, 249 
 
 1223 246 
 
 1224 267, 272 
 
 1226 247, 255 
 
 1227 246 
 
 1228 223 
 
 1231 255 
 
 1234 276 
 
 1237 255 
 
 1240 232 
 
 1249 255 
 
 1254 258 
 
 1260 229, 272 
 
 1265 232, 258 
 
 1270 223. 255 
 
 1273 255 
 
 1274 258 
 
 1275 232 
 
 1276 223 
 
 1280 223, 249 
 
 1282 258 
 
 1283 223 
 
 1286 247 
 
XXXVlll 
 
 INDEX TO CHAPTER XI. 
 
 A. D. Page. 
 
 1288 . 255 
 
 1290 223, 249, 256 
 
 1300 213 
 
 1304 232 
 
 1313 216, 258 
 
 3314 258 
 
 1316 232, 258 
 
 1324 256, 270, 276 
 
 1325 .- 247, 249 
 
 1328 258 
 
 1331 258 
 
 1332 256 
 
 1S36 209, 256 
 
 1337 256 
 
 1340 232, 249, 258 
 
 1347 232, 258 
 
 1354 258 
 
 1355 232 
 
 1363 246 
 
 1364 247 
 
 1365 258 
 
 1369 209, 233 
 
 1372 224 
 
 1375 232 
 
 1377 224 
 
 1378 247, 272 
 
 1S80 247 
 
 1381 224, 275 
 
 1382 233 
 
 1386 251 
 
 1387 .' 247 
 
 1390 259 
 
 1391 251, 267 
 
 1P.93 246 
 
 1395 251 
 
 1306 259 
 
 1398 233 
 
 1400 213 
 
 1401 233 
 
 1402 224, 273 
 
 1403 233 
 
 1404 232 
 
 1406 246, 259, 207 
 
 1407 240 
 
 1420 224, 251, 270 
 
 1422 224 
 
 1423 246, 259, 276 
 
 1425 233 
 
 1426 247 
 
 1428 233, 272 
 
 1431 247 
 
 1433 233 
 
 1434 259 
 
 1435 251 
 
 A. D. Page. 
 
 1436 259, 270 
 
 1437 233, 267 
 
 1440 233 
 
 1 i^4 233 
 
 1445 224 
 
 1440 233, 267 
 
 1447 232 
 
 1448 224 
 
 1449 268 
 
 1450 247 
 
 1451 ; . . . 233, 275 
 
 1452 234 
 
 1453 224 
 
 1454 259 
 
 1455 232 
 
 1460 234, 280 
 
 1465 234 
 
 1466 217 
 
 1467 234 
 
 1468 234 
 
 14^9 233 
 
 1470 234, 272 
 
 1471 251, 275 
 
 1472 234 
 
 1473 225, 234 
 
 1474 234 
 
 1475 208, 259 
 
 1476 247 
 
 1477 209, 234 
 
 1479 225 
 
 1480 251, 282 
 
 1481 234, 275 
 
 1482 233 
 
 1483 234, 281 
 
 1484 234, 272 
 
 14S5 235 
 
 1486 247 
 
 1487 259 
 
 1488 225, 268 
 
 1489 248 
 
 3490 251 
 
 1491 259, 268 
 
 1492 235 
 
 1493 2.35 
 
 1494 251 
 
 1496 225 
 
 1497 225, 267 
 
 1498 233, 252, 272 
 
 1499 248 
 
 1500 213 
 
 1501 233 
 
 1503 238, 273 
 
 3504 252 
 
 1505 252, 273 
 
INDEX TO CHAPTER XI. 
 
 XXXIX 
 
 A. D. Page. 
 
 1506 248 
 
 1508 248 
 
 1509 235, 263 
 
 1510 235 
 
 1511 235 
 
 1512 235 
 
 1518 235 
 
 1515 216, 235 
 
 1517 235, 252 
 
 1518 252 
 
 1519 225 
 
 1520 225, 280 
 
 1521 235, 249 
 
 1522 225 
 
 1524 236 
 
 1525 233, 247 
 
 1527 236 
 
 1528 233 
 
 1529 252 
 
 1530 236 
 
 1533 233, 252 
 
 1535 236 
 
 1537 233, 263 
 
 1538 236 
 
 1539 225, 236, 264 
 
 1540 233, 271 
 
 1541 236, 275 
 
 1542 236 
 
 1544 233, 236 
 
 1545 264 
 
 1546 233 
 
 1547 264 
 
 1548 264 
 
 1551 215, 233, 264 
 
 1552 234 
 
 1553 236 
 
 1554 248, 252 
 
 1555 ^ 225 
 
 1559 ' 252 
 
 1560 234, 272 
 
 1561 264, 275 
 
 1562 248 
 
 1564 247, 283 
 
 1565 218, 234 
 
 1566 217 
 
 1567 234 
 
 1508 234 
 
 1569 248 
 
 1570 234, 252 
 
 1571 208, 236, 275 
 
 1572 234, 248, 280 
 
 1573 2.34 
 
 1574 234 
 
 1575 252, 272 
 
 A. D. Page. 
 
 1576 225 
 
 1577 209, 234, 248 
 
 1578 226, 247 
 
 1579 252 
 
 1580 247 
 
 1581 234 
 
 1582 226 
 
 1583 234 
 
 1584 234 
 
 1585 235 
 
 1586 236 
 
 1587 247 
 
 1588 236 
 
 1591 253 
 
 1592 235 
 
 1593 235 
 
 1594 253 
 
 1596 264 
 
 1597 237 
 
 1598 253 
 
 1599 253 
 
 1600 213 
 
 1602 237, 273 
 
 1604 226, 237, 273 
 
 1605 : 237 
 
 1606 226, 268 
 
 1608 226, 273 
 
 1609 235 
 
 1610 235 
 
 1611 235 
 
 1612 235, 271 
 
 1613 235 
 
 1615 217, 235 
 
 1616 216 
 
 1617 216, 235 
 
 1618 253 
 
 1619 253 
 
 1620 226, 264 
 
 1621 235 
 
 1622 260, 283 
 
 1623 237 
 
 1624 236, 237, 271, 280, 283 
 
 1625 249, 285 
 
 1626 253. 283 
 
 1627 236 
 
 1628 226, 283 
 
 1629 237 
 
 1630 236, 271 
 
 1631 247,282 
 
 1632 237, 283 
 
 1633 237 
 
 1635 236, 253 
 
 1636 237 
 
 1637 253 
 
xl 
 
 INDEX TO CHAPTER XI. 
 
 A. D. Page. 
 
 1638 226, 236 
 
 1639 236, 268 
 
 1640 237 
 
 1641 236 
 
 1642 236 
 
 1643 238 
 
 1644 226, 236 
 
 1645 238 
 
 1646 238 
 
 1647 253 
 
 1648 238 
 
 1650 247 
 
 1651 238, 275 
 
 1652 253 
 
 1653 236, 238 
 
 1655 238 
 
 1656 261 
 
 1657 238, 254 
 
 1658 :.. 268 
 
 1659 238 
 
 1660 239 
 
 1661 215, 239 
 
 1662 254 
 
 1663 239 
 
 1664 289, 273 
 
 1666 215, 239 
 
 1667 239 
 
 1668 239 
 
 1670 .^ . . . 254 
 
 1671 236 
 
 1672 261 
 
 1674 239 
 
 1675 254 
 
 167(5 247, 280 
 
 1678 239 
 
 1679 240, 254 
 
 1680 254, 261, 273 
 
 1681 240 
 
 1682 240, 254, 268 
 
 1683 240 
 
 3684 ... 240 
 
 1685 240 
 
 1686 236 
 
 1697 237 
 
 1688 236, 284 
 
 1689 240, 248 
 
 1691 240, 254 
 
 1692 241 
 
 1693 241 
 
 1694 241. 254 
 
 1696 241, 273 
 
 1697 237 
 
 1698 241 
 
 1699 248 
 
 A. U. Page. 
 
 1700 213 
 
 1701 241, 268 
 
 1702 237 
 
 1703 241 
 
 1704 237, 241 
 
 1705 237 
 
 1706 248 
 
 1707 210, 242 
 
 1708 248 
 
 1709 242 
 
 1710 242 
 
 1711 242, 255 
 
 1712 242 
 
 1713 242 
 
 1714 242 
 
 1715 243 
 
 1716 217, 243, 285 
 
 1717 216, 243 
 
 1718 216, 243 
 
 1720 ' 243 
 
 1721 243, 271 
 
 1723 237, 243 
 
 1724 237 
 
 1725 261 
 
 1726 243, 255 
 
 1727 244 
 
 1728 244, 271, 280, 285 
 
 1729 237, 244 
 
 1730 244, 261 
 
 1781 244, 255, 282 
 
 1732 237, 282, 283 
 
 1733 237, 244 
 
 1734 244, 273 
 
 1735 244 
 
 1736 237 
 
 1737 255 
 
 1788 244 
 
 1739 244 
 
 1740 287, 261 
 
 1741 245, 275 
 
 1742 -» 245, 261, 271, 283 
 
 1743 238 
 
 1744 245 
 
 1745 238 
 
 1746 238 
 
 1747 245 
 
 1748 238 
 
 1749 255, 271 
 
 1750 245 
 
 1751 238, 273, 275 
 
 1752 261 
 
 1758 238, 268 
 
 1754 245 
 
 1755 238 
 
INDEX TO CHAPTEH XI. 
 
 xli 
 
 A. D. Page. 
 
 1756 264 
 
 1757 238 
 
 1758 262 
 
 1759 238 
 
 1760 239 
 
 1761 239 
 
 1762 248 
 
 1763 289,262,271 
 
 1764 289 
 
 1765 218,264 
 
 1766 217, 239 
 
 1767 239 
 
 1768 239, 273 
 
 1769 248, 281, 284 
 
 1770 255 
 
 1771 215, 262 
 
 1772 248 
 
 1773 255 
 
 1774 239 
 
 1775 ' 262 
 
 1776 262 
 
 1777 248 
 
 1778 289 
 
 1779 240 
 
 1780 227, 281 
 
 1781 240 
 
 1782 240 
 
 1783 240 
 
 1784 240 
 
 1785 240, 273 
 
 1786 262 
 
 1787 240 
 
 1788 255, 284 
 
 1789 240 
 
 1790 256 
 
 1791 240 
 
 1792 210, 241 
 
 1793 241 
 
 1794 : 241 
 
 1795 269 
 
 1796 241 
 
 1797 264 
 
 1798 241 
 
 1799 262 
 
 1800 213 
 
 A. D. Page. 
 
 1801 241 
 
 1802 262, 273 
 
 1803 241, 273 
 
 1804 241 
 
 1805 262 
 
 1806 263, 273 
 
 1807 210, 242 
 
 1808 263 
 
 1809 242, 273 
 
 1810 242 
 
 1811 242 
 
 1812 210, 242 
 
 1813 242 
 
 1814 242 
 
 1815 243 
 
 1816 248, 271 
 
 1817 217, 243 
 
 1818 216, 243 
 
 1819 216 
 
 1820 210, 243 
 
 1821 243 
 
 1822 ; 263 
 
 1823 243 
 
 1824 256, 271 
 
 1825 263, 280 
 
 1826 243 
 
 1827 244 
 
 1828 , 244 
 
 1829 244 
 
 1830 244 
 
 1831 244, 275 
 
 1832 256, 271, 281 
 
 1833 244 
 
 1834 244 
 
 1835 244 
 
 1836 256, 273 
 
 1837 256 
 
 1838 244 
 
 1839 244 
 
 1840 263, 271 
 
 1841 245, 275 
 
 1842 245 
 
 1844 245 
 
 1847 245 
 
 1850 245 
 
Xlii INDEX TO CHAPTER XI. 
 
 HISTOEICAL EVENTS. 
 
 [All dates are A. D., except where otherwise Indicated.] 
 
 Event. Year. Page. 
 
 Abyssinia, war with England 1867 257 
 
 Achaia founded B. C. 1329 222 
 
 Achaia, war with Sparta B. C. 227 265 
 
 Actium, battle of B. C. 31 285 
 
 Advertisement, first newspaper 1652 238 
 
 urEgina subdued by Athens B. C. 454 214, 268 
 
 Africa first invaded by Saracens. 647 261 
 
 Agincourt, battle of 1415 216 
 
 Agrigentum founded B.C. 582 226 
 
 Agrigentum destroyed B.C. 405 224 
 
 Air pump invented 1650 253 
 
 Alexandrian Library founded B.C. 284 223,266 
 
 Alhambra commenced 1283 255 
 
 Almanac, first 1150 253 
 
 Almanac, first nautical 1767 239 
 
 iVmerica discovered by Columbus 1492 210, 222, 250, 251 
 
 American Revolution commenced 177o 208, 269 
 
 Amsterdam Bank founded 1609 247 
 
 Anemometer invented 1709 237 
 
 Antioch founded B.C. 300 268 
 
 Antioch destroyed by earthquake 526 260 
 
 Appian Way commenced B. C. 312 224, 269 
 
 Apulia conquered by Tancred 1190 223 
 
 Argos Kingdom founded B. C. 1854 223 
 
 "Armada" destroyed 1588 • 284 
 
 Arras, Treaty of 1414 216 
 
 Asia, first invaded by Romans B. C. 190 223 
 
 Athens founded B. C. 1556 231 
 
 Athens conquered'. B. C. 404 214, 268 
 
 Athens captured by Sulla B.C. 86 219 
 
 Augsburg, Diet of 1530 270, 272. 
 
 Augsburg, Diet of 1555 234 
 
 Babylon rebuilt by Semiramis B.C. 740 266 
 
 Bagdad founded 760 ' 266 
 
 Balloon invented 1783 255 
 
 Bank of Amsterdam established 1609 247 
 
 Bank of England established 1694 249 
 
 Bank of Venice established 1157 249,254 
 
 Bannockburn, battle of 1314 216 
 
 "Barebones" Parliament 1653 247 
 
 Barometer invented 1643 249 
 
 "Baron's" War 1268 • 232,255 
 
 Bastile founded 1369 209,257 
 
INDEX TO CHAPTER XI. xllU 
 
 Event. Year. 
 
 IBible, first English, printed 1535 
 
 Bible, first English, printed in U. S 1752 
 
 "Black Hole," Calcutta 1756 
 
 Blenhedm, battle of 1704 
 
 Book, first 887 
 
 Book, first printed 1455 
 
 Boston> great fire in 1872 
 
 Boyne, battle of the 1690 
 
 Brazilian Revolution 18b9 
 
 Britain first invaded by "Romans B. C. 55 
 
 Britain evacuated by Romans 410 
 
 Brunanburh, battle of 937 
 
 Budapest University founded 1465 
 
 Byzantium founded B. C. 675 
 
 Byzantium fell 196 
 
 Calculating machine invented 1667 
 
 Calcutta, "Black Hole" of. 1756 
 
 Cambridge University founded 635 
 
 Camera Obscura invented 1515 
 
 Cannse, battle of B.C. 216 
 
 Cann^on first used 1331 
 
 Cappiano, battle of : 1325 
 
 Cards (playing) invented 1391 
 
 Carthage founded B. C, 878 
 
 Carthage destroyed by Romans B.C. 146 
 
 Carthage destroyed by Arabs 698 
 
 Catiline, conspiracy of B. C. 63 
 
 Centigrade thermometer invented 1742 
 
 Chalons, battle of 451 
 
 Charta, Magna 1215 
 
 Chess invented B.C. 608 
 
 Chicago, great fire in 1871 
 
 China, conquered by Moguls 1280 
 
 China, Moguls expelled from 1368 
 
 China, war with Japan 1894 
 
 China, Great Wall of. begun B. C. 214 
 
 Coliseum built 70 
 
 Cologne Cathedral -commenced 1248 
 
 Columbian Exposition 1893 
 
 Comedy, first English 1551 
 
 Commons, House of. founded 1265 
 
 Compass, Mariner's, invented .1302 
 
 Constantinople founded 82- 
 
 Constantinople captured by Turks 1453 
 
 Cordova founded 756 
 
 Cordova conquered by Moors 1236 
 
 Coronea, battle of B. C. 447 
 
 Cotton-gin invented 1793 
 
 Crecy, battle of 1346 
 
 Crimean War commenced 1854 
 
 Croesus overthrown by Cyrus B. C. 542 
 
 Crusade, first 1095 
 
 Crusade, Children's 1212 
 
 
 Page. 
 
 
 248, 271 
 
 
 238 
 
 
 245 
 
 
 254 
 
 
 222 
 
 
 234 
 
 
 273 
 
 
 254 
 
 
 246, 284 
 
 
 223 
 
 
 221 
 
 
 266 
 
 
 218 
 
 
 226, 265 
 
 
 257 
 
 
 239 
 
 
 245 
 
 
 209, 260 
 
 
 270 
 
 
 219, 269 
 
 
 215, 285 
 
 
 258 
 
 
 272 
 
 
 214 
 
 
 210, 269 
 
 
 250 
 
 
 266 
 
 
 238 
 
 
 221 
 
 
 282 
 
 
 226 
 
 
 245 
 
 
 223 
 
 
 232 
 
 
 249 
 
 
 219 
 
 
 265 
 
 
 272 
 
 
 24d 
 
 
 250 
 
 
 218, 232 
 
 
 256 
 
 
 270. 276 
 
 
 222, 247 
 
 
 261, 270 
 
 
 267, 2(2 
 
 
 224 
 
 
 246 
 
 
 256 
 
 210, 
 
 223, 269, 273, 282 
 
 
 231 
 
 
 208, 222. 280 
 
 
 216, 270 
 
Xliv INDEX TO CHAPTER XI. 
 
 Event. Year. Pag©. 
 
 Crusade, last 1272 272 
 
 Cuba conquered by Spaniards 1510 270 
 
 Culloden, battle of 1746 255 
 
 Dacian War 86 219' 
 
 Date, first authentic B.C. 776 227,267 
 
 Decemvirate, first Roman B. C. 451 221 
 
 Denmark, war with Sweden 1657 268 
 
 Dictionary, first compiled B. C. 1095 222 
 
 Diving-bell invented 1509 248 
 
 Drama, first B. C. 535 214, 2'dO 
 
 Dunbar, battle of 1296 256 
 
 Ecumenical Council, first 325 258, 264, 265 
 
 Edinburgh University founded 1582 226 
 
 Egypt invaded by Nebuchadnezzar B. C. 550 • 222 
 
 Egypt, conquered by Cambyses B. C. 525 214, 225 
 
 Encyclopaedia, first English 1771 . 245 
 
 Engine, steam, invented 1769 245 
 
 England, founded 829 250 
 
 England, conquered by Danes 1017 252 
 
 England, conquered by Normans 1066 21T 
 
 England, Union of, with Scotland 1603 247 
 
 England, Bank of, established 1694 249 
 
 Englanid, war with U. S. commenced 1812 210,263- 
 
 England, war with U. S. ended 1814 282 
 
 England, war with Abyssinia 1867 257 
 
 Engraving invented 1421 233- 
 
 Ethandune, battle of 878 215 
 
 Eton College founded 1443 224 
 
 Exposition, Paris 1867 257 
 
 Fahrenheit thermometer invented 1726 243 
 
 Fair, Great London 1851 217, 250 
 
 "Field of Cloth of Gold" 1520 270 
 
 Fire, Great Boston 1872 273 
 
 Fire, Great Chicago 1871 245 
 
 Fire, Great Moscow 1812 256 
 
 Fire-arms invented 1363 257 
 
 Fleet, first Roman B. C. 260 230 
 
 Flute invented B. C. 1506 222 
 
 Fontenoy, battle of 1745 238 
 
 Franco-German War 1870 245 
 
 French Academy founded 1635 209, 260 
 
 French Revolution 1789 246, 284 
 
 Garter, order of, instituted 1351 232 
 
 Germany founded 919 251 
 
 Germany, Smalkaldic war began 1546 268 
 
 Germany, war with France 1870 24.5 
 
 Germany, empire established 1848 256, 271 
 
 Gettysburg, battle of 1863 257 
 
 Gisors, battle of 1198 250 
 
 Glasgow University founded 1451 232 
 
INDEX TO CHAPTER XI. xlv 
 
 Event. Year. Page. 
 
 Olass (object), Achromatic, invented 1758 245 
 
 Goths first invade Rome 249 265 
 
 Gottingen University founded 1737 244 
 
 Greenwich Observatory founded 1675 226 
 
 Grist mills invented 214 219,269 
 
 Gunpowder invented 1250 250 
 
 "Gunpowder" Plot .' 1605 210, 249 
 
 Hadrian's Wall built 121 214 
 
 Halidon-Hill, battle of 1333 215 
 
 Hanover, Ki»ngdom of, founded 1814 227 
 
 Harvard University founded 1636 209, 261, 271 
 
 Hastings, battle of 1066 217 
 
 "Hegira" of Mohammed 622 250, 260 
 
 Heidelburg University founded 1386 251 
 
 Heraclea, battle of B.C. 280 223,267 
 
 Holland founded 1348 256 
 
 Holland, conquest of 1672 254 
 
 Homer's "Iliad" first appeared B. C. 961 285 
 
 Hour Glasses first used ' 240 265 
 
 HuoTigary founded 896 251 
 
 Hungary conquered 1526 260 
 
 Hussite wars began 1419 251 
 
 Iceland settled 874 249,263 
 
 "Iliad" first appeared B.C. 961 285 
 
 Independence, Declaration of, U. S 1776 227 
 
 India, Great Mutiny in 18.57 245 
 
 Inquisition established. 1203 254 
 
 Inquisition (Spanish) established 1480 225,250 
 
 Ireland, invasion of by Danes 812 263 
 
 Ireland, conquest of 1172 254 
 
 Japan founded B. C 660 226 
 
 Japan, War with China 1894 249 
 
 Jerusalem captured by Nebuchadnezzar. . B. C. 598 226 
 
 Jerusalem captured by Frederick II 1220 267 
 
 Kalderoon, battle of 1514 217 
 
 Kerosene, first used 1826 243 
 
 Khotin, battle of 1673 268 
 
 Knights of Round Table organized 516 208 
 
 Knights Templars founded 1118 209,253 
 
 Knitting-machine invented 1777 245 
 
 Kremlin (Moscow) founded 1367 257 
 
 Lathe (steam) invented 1843 249 
 
 Latin Kingdom founded 1204 254, 270 
 
 Leipsic University founded 1409 247 
 
 Library, first private B. C. 335 230 
 
 Library, first public B.C. 539 266 
 
 Lightning-rod invented 1752 245 
 
 Lithography invented 1799 256 
 
 Locomotive, first 1814 249 
 
xlvi INDEX TO CHAPTER XI. 
 
 Event. Year. Page, 
 
 Lodi. battle of 1796 256 
 
 Logarithms invented 1614 249 
 
 London rebuilt 306 . 270 
 
 London, Plague in 1665 218 
 
 London, Great Fire in 1666 217 
 
 "Long" and "Short" Parliaments 1640 . 249 
 
 Liitzen. battle of 1632 272,283 
 
 Macedon founded B.C. 814 227 
 
 "Magna Charta" 1215 282 
 
 Mamelukes, Massacre of 1811 242 
 
 Mantineia, battle of B.C. 383 214,224 
 
 Marathon, battle of B.C. 490 231 
 
 Masaniello's Revolt 1647 261 
 
 "Mayflower" landed 1620 210,283 
 
 Medes conquered by Persians B. C. 556 231, 267 
 
 Meloria, battle of 1284 272 
 
 "Merrimac" and "Monitor," battle of 1862 263 
 
 Metric system originated 1790 240 
 
 Mexican War 1847 282 
 
 Microscope invented 1590 272 
 
 Mills (grist), invented 214 219,269 
 
 Moguls conquer China .1280 ' 223 
 
 Moguls expelled from China 1368 232 
 
 Mogul Empire founded 1526 250 
 
 Mohammed, "Hegira" of 622 250 
 
 "Monitor" and "Merrimac," battle of 1862 263 
 
 Morgarten, battle of 1315 256,270 
 
 Moscow, Kremlin of, founded 1367 2.57 
 
 Moscow burned 1812 256 
 
 Muret, battle of 1213 216 
 
 Museum, British, founded . 1753 227 
 
 Musical notation invented 1025 223 
 
 Muskets invented 1521 233 
 
 Mycense founded B. C 1431 231 
 
 Mycense conquered B. C. 1106 222 
 
 Najara, battle of 1366 217 
 
 Nantes, Edict of 1598 226 
 
 Nantes, Edict of, revoked 1685 • 236 
 
 Naples University founded 1224 267 
 
 Narva, battle of 1700 268 
 
 Naseby, battle of 1645 238 
 
 Navaretta, battle of 1367 257 
 
 Navarre, Kingdom of, founded 861 263 
 
 Navarre, Kingdom of, fell 1284 223 
 
 Nemours, Edict of 1585 236 
 
 Neptune discovered 1846 245 
 
 New Orleans, battle of 1815 256 
 
 Newspaper, first 1457 249 
 
 Newspaper, first English 1622 260 
 
 Newspaper, first English daily 1702 241 
 
 Newspaper, first United States 1690 « 240 
 
 Nice, Council of 325 258, 264, 265- 
 
INDEX TO CHAPTER XI. xlvii 
 
 Event. Year. Page. 
 
 Nicopolis, battle of 1396 251 
 
 Nile, battle of the ' 1798 256 
 
 Normandy conquered 1106 222 
 
 Object Glass (achromatic) invented 1758 245 
 
 Olympian games originated B. C. 1453 222 
 
 Olympian games abolished 393 214 
 
 Olympiad of Coroebus B.C. 776.' 227,267 
 
 Omar, Mosque of, founded 636 215,261 
 
 Organ invented 750 250 
 
 Orleans University founded 1312 217, 224, 256, 270 
 
 Orleans, battle of 1429 259, 2(>7 
 
 Ottoman Empire founded 1329 222,250 
 
 Oxford University founded 886 251 
 
 Padua University founded 1222 215 
 
 Pantheon built B.C. 25 223 
 
 Paper invented 716 266 
 
 Parchment invented B.C. 887 222 
 
 Paris, Treaty of 1856 245, 271 
 
 Paris Exposition 1867 257 
 
 Paris University founded 792 262 
 
 Parliament founded 1265 218,232 
 
 Parliament, "Rump" 1648 273 
 
 Parliament, "Barebones" 1653 247 
 
 Parliament, first of Great Britain 1707 242 
 
 Parliaments, "Short" and "Long" 1640 249 
 
 Parthenon commenced B.C. 443 224 
 
 Pavia, battle of 1525 225, 270 
 
 Peloponnesian War commenced B. C. 4-31 231 
 
 Persian Empire founded B. C. 519 231 
 
 Persian Kingdom fell 651 261 
 
 Peru conquered by Pizarro 1532 283 
 
 Pharsaha, battle of B.C. 48 265 
 
 Phillippi, battle of B.C. 42 231 
 
 Phonograph invented 1877 245 
 
 Phonography invented 1837 244 
 
 Photography invented 1802 241, 256 
 
 Piano-forte invented 1709 248 
 
 Pisa, Leaning Tower of, commenced 1174 249 
 
 Plassy, battle of 1757 245 
 
 Plateea, battle of B. C. 479 225 
 
 Poland founded 992 251 
 
 Polish republic crushed 1846 256 
 
 Postoffice, first 1516 216 
 
 Postage (penny), originated 1840 249 
 
 Prague, battle of 1620 235 
 
 Press, hydraulic, invented 1649 250 
 
 Princeton University founded 1746 245 
 
 Printing invented 1441 215 
 
 Printing Machine, first 1814 243 
 
 Pump (air) invented 1650 253 
 
 Punic War, first B.C. 264 267 
 
 Punic War, second B.C. 237 267 
 
xlviii INDEX TO CHAPTER XI. 
 
 Event. Year. Page. 
 
 Railroad, first passenger 1825 264 
 
 Heaumur Thermometer invented 1730 244 
 
 Reformation 1517 ' 252, 282 
 
 Revolutionary War began 1775 208 
 
 Revolvers invented 1830 244 
 
 Rome founded B.C. 753 227,285 
 
 Rome, first Decemvirate B.C. 451 221 
 
 Rome, first Fleet B. C. 260 230, 265 
 
 Rome, first Triumvirate B. C. 60 230 
 
 Rome, second Triumvirate B. C. 43 265 
 
 Rome, invaded by Gauls B.C. 225 269 
 
 Rome, burned by Nero 64 284 
 
 Rome, first invaded by Goths 249 265 
 
 Rome, sacked by Alaric 410 259 
 
 Rome, sacked by Genseric 455 259 
 
 Rome, Sistine Choir established 461 266 
 
 Rome, Empire fell 476 259 
 
 Rome, invaded by Slavs and Huns 550 222 
 
 Rome, plundered by Ladislas 1413 224 
 
 "Roses," War of 1455 . 259 
 
 Round Table, Knights of, organized 516 207 
 
 Royal Society, London, founded 1660 ,226 
 
 "Rump" Parliament 1648 273 
 
 Russia, founded 862 210, 263 
 
 Russia, Serfs freed 1861 210,263 
 
 Russia, War with Turkey 1711 242 
 
 Russia, War with Turkey 1768 255 
 
 Russia, War with Turkey 1770 245 
 
 Russia, War with Turkey 1826 250 
 
 Russia, War with Turkey 1877 263 
 
 St. Peter's Church commenced 1506 222 
 
 St. Petersburg founded 1703 254 
 
 St. Petersburg University founded 1747 245 
 
 Sadowa, battle of 1866 217 
 
 Salamis, battle of B. C. 480 225 
 
 Salvatierra, siege of 1211 257 
 
 Samnite War, first B.C. 343 214,268 
 
 Samnite War, second B.C. 327 268,269 
 
 Saragossa, battle of 1710 261 
 
 Saxon Heptarchy 457 265 
 
 Schools, first pubhc, United States 1642 238,271 
 
 Schools, Sunday, established 1780 2-30 
 
 Scotland, Union with England 1603 247 
 
 Serfs, Russian, emancipated 1861 263 
 
 Seven Years' War commenced 1756 261,271 
 
 Severus, Wall of, finished 211 257 
 
 Severus, war with Persia 232 250 
 
 Seville, siege of 1246 255 
 
 Sewing machine invented 1847 245 
 
 "Short" and "Long" Parliaments 1640 249 
 
 Shrewsbury, battle of 1403 247 
 
 Sicily conquered 429 217,259 
 
 Sicily conquered 1266 217 
 
INDEX TO CHAPTER XI. xlix 
 
 Eve-nt. Year. Page. 
 
 Sistine Choir, Rome, established 461 266 
 
 Slave trade began 1444 215 
 
 Slave trade abolished, Great Britain 1807 210, 242 
 
 Slave trade abolished, United States 1865 218 
 
 Sleeping- Car invented 1858 245 
 
 Sparta,, founded B. C. 1490 231 
 
 Sparta, war with Achaian League B. C. 227 265 
 
 Spartacus, Rebellion of B. C. 71 267 
 
 Spectacles invented 1299 256 
 
 Steahi Engine invented 1769 245 
 
 Steamboat, first 1807 210 
 
 Stenography invented 1413 217,270 
 
 Stereotyping invented 1735 244,248,271 
 
 Stirhng, battle of 1298 256,267 
 
 Stockholm, Massacre of 1520 235 
 
 Suez Canal opened 1869 245,257 
 
 Sunday Schools established 1780 250 
 
 Swansea, battle of 877 263 
 
 Sweden, war with Denmark. 1657 268 
 
 Sydney University founded 1852 245 
 
 Syracuse founded B.C. 751 265 
 
 Syracuse, battle of ' B. C. 413 224 
 
 Syracuse captured by Romans B.C. 212 214 
 
 Syria invaded by Artabanus 216 219, 285 
 
 Tannenberg, battle of 1410 259 
 
 Telegraph invented 1835 244 
 
 Telephone invented 1874 263 
 
 Telescope (refracting), invemted 1608 226 
 
 Telescope (reflecting), invented 1657 254 
 
 Teutonic Knights organized 1190 254 
 
 Thebes founded B. C. 1492 . 222 
 
 Thermometer invented 1609 237 
 
 Thermometer (Fahrenheit), invented.... 1726 243 
 
 Thermometer (Reaumur), invented 1730 244 
 
 Thermometer (Centigrade), invented.... 1742 238 
 
 Thermopylae, battle of B. C. 480 225 
 
 Thessalonica, Massacre at 390 259 
 
 Thirty Years' War began 1618 253, 271, 283 
 
 Torpedoes invented 1777 " 250 
 
 Tours, battle of 732 250,283 
 
 Tower, Leaning, commenced 1174 249 
 
 Trafalgar, battle of 1805 210,249 
 
 Tragedy, first exhibited B. C. 535 214, 230 
 
 Trent, Council of 1545 272 
 
 Triumvirate, first Roman B.C. 60 230 
 
 Triumvirate, second Roman B.C. 43 265 
 
 Turkey, conquered by Saracens 710 " 261 
 
 Turkey, war with Russia 1711 242 
 
 Turkey, war with Russia 1768 255 
 
 Turkey, war with Russia 1770 245 
 
 Turkey, war with Russia 1826 250 
 
 Turkey, war with Russia 1877 263 
 
 Turkistan conquered by Tamerlane 1383 224 
 
 Typewriter Invented 1714 248,271 
 
 22 
 
INDEX TO CHAPTER Xl. 
 
 Event, Year. 
 
 U. S. War of Revolution 1775 
 
 U. S, Declaration of Independence 1776 
 
 U. S. war with England commenced 1812 
 
 U. S. war with England ended 1814 
 
 U. S. Columbian Exposition 1893 
 
 Utrecht, Peace of 1713 
 
 Vaccoli, battle of 1055 
 
 Valmy, battle of 1792 
 
 Varna, battle of 1444 
 
 Vatican Library founded 1447 
 
 Venice, founded 452 
 
 Venice, Bank of, established 1157 
 
 Vienna University founded 1365 
 
 Violins invented 1477 
 
 Volapiik introduced 1881 
 
 Wales subjugated , 1283 
 
 Wall, Great Chinese, begun B. C. 214 
 
 Watches invented 1477 
 
 Waterloo, battle of 1815 
 
 Weissenburg, battle of 1479 
 
 Westminster Abbey consecrated 1065 
 
 Wire, Iron, first used 1349 
 
 Worcester, battle of 1651 
 
 Worms, Concordat of 1122 
 
 Yorktowni, battle of 1781 
 
 Zama, battle of B. C. 202 
 
 Zenobia vanquished by Aurelius 273 
 
 Page. 
 
 208, 269 
 227, 282 
 210, 263 
 
 282 
 246 
 261 
 
 223 
 
 250, 262 
 
 267 
 
 224 
 265 
 
 249, 254 
 218, 232, 272 
 
 209, 250 
 215 
 
 267 
 219 
 209, 250 
 282 
 225 
 218 
 250 
 261 
 
 250, 272 
 282 
 
 214, 267 
 265 
 
 DATES KEPKESENTING FOKEGOING EVENTS. 
 
 B. C. 
 
 1854 . 
 
 1556 . 
 
 1506 . 
 
 1492 . 
 
 1490 . 
 
 1453 . 
 
 1431 . 
 
 1329 . 
 
 1106 . 
 
 1095 . 
 
 961 . 
 
 878 . 
 
 Page. 
 
 B. C. 
 
 Page. 
 
 223 
 
 814 
 
 227 
 
 231 
 
 776 
 
 227, 267 
 
 222 
 
 753 
 
 227, 285 
 
 222 
 
 751 
 
 265 
 
 231 
 
 740 
 
 266 
 
 222 
 
 675 
 
 226, 265 
 
 231 
 
 660 
 
 226 
 
 222 
 
 608 
 
 226 
 
 222 
 
 598 
 
 228 
 
 222 
 
 582 
 
 226 
 
 285 
 
 556 
 
 231, 267 
 
 214 
 
 550 
 
 222 
 
INDEX TO CHAPTER XI. 
 
 BvO. 
 
 542 . 
 539 . 
 535 , 
 525 . 
 519 . 
 190 . 
 480 . 
 479 . 
 454 . 
 451 . 
 447 . 
 443 . 
 431 . 
 413 . 
 410 , 
 405 . 
 404 . 
 383 . 
 343 . 
 335 . 
 327 . 
 312 . 
 300 . 
 284 . 
 280 . 
 264 . 
 260 . 
 227 . 
 225 . 
 217 . 
 216 . 
 214 . 
 212 . 
 202 , 
 190 . 
 146 , 
 
 86 . 
 
 71 . 
 
 63 . 
 60 . 
 55 . 
 48 . 
 43 . 
 42 . 
 31 . 
 25 . 
 19 . 
 
 A. D. 
 
 64 . 
 70 . 
 86 . 
 
 121 . 
 196 . 
 
 Page. 
 
 A. D. 
 
 Page. 
 
 231 
 
 211 
 
 257 
 
 266 
 
 214 
 
 219, 269 
 
 214, 230 
 
 216 
 
 219, 285 
 
 214, 225 
 
 282 
 
 250 
 
 231 
 
 240 
 
 265 
 
 231 
 
 249 
 
 265 
 
 225 
 
 273 
 
 265 
 
 225 
 
 306 
 
 270 
 
 214, 268 
 
 324 
 
 270, 276 
 
 221 
 
 325 
 
 258, 264, 265 
 
 224 
 
 390 
 
 259 
 
 224 
 
 393 
 
 214 
 
 .231 
 
 410 
 
 221, 259 
 
 224 
 
 429 
 
 259 
 
 221 
 
 451 
 
 221 
 
 224 
 
 452 
 
 265 
 
 214, 268 
 
 455 
 
 259 
 
 214, 224 
 
 457 
 
 265 
 
 214, 268 
 
 463 
 
 266 
 
 230 
 
 476 
 
 259 
 
 268, 269 
 
 516 
 
 207 
 
 224, 269 
 
 526 
 
 260 
 
 268 
 
 550 
 
 222 
 
 223, 266 
 
 622 
 
 250. 260 
 
 223 
 
 635 
 
 209, 260 
 
 267 
 
 636 
 
 215, 261 
 
 230, 265 
 
 647 
 
 261 
 
 265 
 
 651 
 
 261 
 
 269 
 
 698 
 
 250 
 
 267 
 
 710 .......... 
 
 261 
 
 219, 269 
 
 713 
 
 261 
 
 219 
 
 716 
 
 266 
 
 214 
 
 732 
 
 250, 283 
 
 214, 267 
 
 750 
 
 250 
 
 223 
 
 756 
 
 261, 270 
 
 210, 269 
 
 760 
 
 266 
 
 219 
 
 792 
 
 262 
 
 267 
 
 812 
 
 263 
 
 266 
 
 829 
 
 250 
 
 230 
 
 861 
 
 263 
 
 223 
 
 862 
 
 210. 263 
 
 265 
 
 874 
 
 249, 263 
 
 265 
 
 877 
 
 263 
 
 231 
 
 878 
 
 215 
 
 285 
 
 886 
 
 251 
 
 223 
 
 896 
 
 251 
 
 231 
 
 919 
 
 251 
 
 
 937 
 
 266 
 
 284 
 
 902 
 
 251 
 
 265 
 
 1017 
 
 252 
 
 219 
 
 1025 
 
 223 
 
 214 
 
 1055 
 
 223 
 
 257 
 
 1065 
 
 218 
 
Hi 
 
 INDEX TO CHAPTER XI. 
 
 A. D. Page. 
 
 1066 217 
 
 1095 208, 222, 280 
 
 1106 222 
 
 1118 209, 253 
 
 1122 2c0, 272 
 
 1150 253 
 
 1157 249, 254 
 
 1L166 217 
 
 1172 254 
 
 1174 249 
 
 1190 223, 254 
 
 1198 250 
 
 1203 254 
 
 1204 254, 270 
 
 1211 257 
 
 1212 216, 270 
 
 1213 216 
 
 1215 282 
 
 1220 267 
 
 1222 215 
 
 1224 267 
 
 1236 267, 272 
 
 1246 255 
 
 3248 272 
 
 1250 250 
 
 1265 218, 232 
 
 1206 217 
 
 1268 232, 255 
 
 1272 272 
 
 1280 223 
 
 1283 255, 267 
 
 1284 223, 272 
 
 1296 256 
 
 1298 256, 267 
 
 1299 256 
 
 1302 256 
 
 1312 217, 224, 256, 270 
 
 1314 216 
 
 1315 256, 270 
 
 1325 258 
 
 1329 222, 250 
 
 1331 215, 285 
 
 1333 . . 215 
 
 1346 256 
 
 1348 256 
 
 1349 250 
 
 1351 232 
 
 1363 257 
 
 1365 217, 232, 272 
 
 1366 217 
 
 1367 257 
 
 1368 232 
 
 1369 209, 257 
 
 1383 224 
 
 A. D. Page. 
 
 1386 251 
 
 1391 272 
 
 1396 251 
 
 1403 247 
 
 1405 224 
 
 1409 247 
 
 1410 259 
 
 1412 270 
 
 '1413 217, 224 
 
 1414 216 
 
 1415 216 
 
 1419 251 
 
 1421 233 
 
 1429 259, 267 
 
 1441 215 
 
 1443 224 
 
 1444 215, 267 
 
 1447 224 
 
 1451 232 
 
 1453 222, 247 
 
 1455 234, 259 
 
 1457 . . 249 
 
 1465 218 
 
 1477 209, 250 
 
 1479 225 
 
 1480 : 225, 250 
 
 1492 210, 222, 250, 251 
 
 1506 222 
 
 1509 248 
 
 1510 270 
 
 1514 217 
 
 1515 270 
 
 1516 216 
 
 1517 . . .' 252, 282 
 
 1520 235, 270 
 
 1521 233 
 
 1525 225, 270 
 
 1526 250, 260 
 
 1530 270, 272 
 
 1532 283 
 
 1535 248, 271 
 
 1545 272 
 
 1546 268 
 
 1551 250 
 
 1555 234 
 
 1582 226 
 
 1585 236 
 
 1588 284 
 
 1590 '. 272 
 
 1598 226 
 
 1603 247 
 
 1605 210, 249 
 
 1608 226 
 
 1609 237, 247 
 
INDEX TO CHAPTER XI. 
 
 liii 
 
 ^- D- Page. 
 
 1614 249 
 
 1618 253, 271, 283 
 
 1620 210, 235, 283 
 
 1622 260 
 
 1632 272, 283 
 
 1635 209, 260 
 
 1636 209, 261, 271 
 
 1640 249 
 
 1642 238, 271 
 
 1643 249 
 
 1645 238 
 
 1647 261 
 
 1648 273 
 
 1649 250 
 
 1650 253 
 
 1651 261 
 
 1652 238 
 
 1653 247 
 
 1657 254, 268 
 
 1660 226 
 
 1666 217 
 
 1667 239 
 
 1672 254 
 
 1673 268 
 
 1675 226 
 
 1685 236 
 
 1690 240, 254 
 
 1694 249 
 
 1700 268 
 
 1702 241 
 
 1703 254 
 
 1704 254 
 
 1707 242 
 
 1709 237, 248 
 
 1710 261 
 
 1711 242 
 
 1713 261 
 
 1714 243, 271 
 
 1726 ,.. 243 
 
 1730 244 
 
 1735 244, 248, 271 
 
 1737 244 
 
 1742 238 
 
 1745 238 
 
 1746 245, 255 
 
 1747 245 
 
 1752 238, 245 
 
 1753 227 
 
 1756 245, 261, 271 
 
 1757 245 
 
 1758 245 
 
 1767 239 
 
 1768 255 
 
 1769 245 
 
 A. D. Page. 
 
 1770 245 
 
 1771 243 
 
 1775 208, 269 
 
 1776 227, 282 
 
 1777 245, 250 
 
 1780 250 
 
 1781 282 
 
 1783 255 
 
 1780 246, 284 
 
 1790 240 
 
 1702 . 250, 262 
 
 1793 246 
 
 1796 256 
 
 1798 256 
 
 1799 256 
 
 1802 241, 256 
 
 1805 210, 249 
 
 1807 210, 242 
 
 1811 242 
 
 1812 210, 256, 263 
 
 1814 227, 243, 249 
 
 1815 256, 282 
 
 1825 264 
 
 1826 243, 250 
 
 1830 244 
 
 1835 244 
 
 1837 244 
 
 1840 249 
 
 1843 . 249 
 
 1846 245, 256 
 
 1847 245, 282 
 
 1848 256, 271 
 
 1851 250 
 
 1852 245 
 
 1854 210, 223, 269, 273, 282 
 
 1856 245, 271 
 
 1857 245 
 
 1858 245 
 
 1861 210, 203 
 
 1862 263 
 
 1863 257 
 
 1865 218 
 
 1866 217 
 
 1867 257 
 
 1869 245, 257 
 
 1870 245 
 
 1871 245 
 
 1872 273 
 
 1874 263 
 
 1877 245, 263 
 
 1881 215 
 
 1889 246, 284 
 
 1893 246 
 
 1894 249 
 
J 
 
CHAPTER XII. 
 
 EVENTS. FACTS. 
 
 Eyents, considered in connection with Memory cul- 
 ture, may be separated into classes, in accordance with 
 the vividness of the impression which various kinds of 
 €^vents^are capable of producing — the particular clian- 
 nels through which the knowledge of events enters the 
 mind determining the relative vividness of such im- 
 pressions, and thus being the proper basis of classifica- 
 tion. On this basis Events may be divided into three 
 classes — Personal, Impersonal, and Historical. 
 
 Personal Events are those that we ourselves witness, 
 or in which we participate, our knowledge of them thus 
 not being derived from any exterior source. 
 
 Impersonal Events are those with which we have no 
 direct connection, but which we learn from other per- 
 sons who have knowledge of them, or through the pe- 
 rusal of current periodicals; being recent, they rarely 
 possess more than ordinary importance. 
 
 Historical Events are those w^hich may have influ- 
 enced the destiny of a state or nation and are deemed 
 w^orthy of perpetuation in History. While they may 
 
 (289) 
 
290 THE ART OF MEMORY. 
 
 be ancient, medieval or modern, yet the term "His- 
 torical" is considered to apply to events which hap- 
 pened prior to the time in which we live. A living 
 man may have participated in an event which proves 
 to be of historical import — but to Mm the event is a 
 personal one. We may read in a newspaper the par- 
 ticulars of an occurrence which at the time seems of 
 only passing consequence— and yet may turn out to 
 be the forerunner of events which thrill the heart of a 
 nation. The attack by John Brown and his compan- 
 ions on Harper's Ferry was considered at the time as 
 only of local significance, but eighteen months after- 
 wards the guns at Fort Sumter sounded the key-note 
 of the Civil War. The levy by the British Pai^liament 
 of a three-penny tax on tea seemed an unimportant 
 matter at the time — but was it not the cause of the 
 "Boston Tea Party?" — which in turn led to the War 
 of the Revolution? The great philanthropist, Thomas 
 Clarkson, when a student at Cambridge, had occasion 
 to write a competitive essay on the subject of human 
 slavery. By the time he had made the necessary re- 
 search to become familiar with his theme, he was so 
 profoundly impressed with the horrors of the slave 
 trade that he resolved to henceforth devote his energies 
 to its extinction. Though his efforts met with scorn 
 and derision for a long time, he lived to see Parliament 
 pass and carry into effect an act abolishing slavery in 
 Great Britain and all her colonies. 
 
 Personal Events, being participated in by ourselves, 
 are the most vividly impressed of all on the conscious- 
 
EVENTS. FACTS. 291 
 
 ness, and are therefore the most enduring in the mem- 
 ory; Historical Events are the least so, as they are 
 learned only through the medium of literature, their 
 vividness of portrayal in the mind being mainly de- 
 pendent on the strength of the imaginative faculty; 
 while the knowledge of Impersonal Events is trans- 
 missible to the understanding by either of two chan- 
 nels — oral or written; thus that class of events comes 
 next to Personal Events in order of retentiveness in the 
 memory. 
 
 The faculty of recalling past events is often pos- 
 sessed in a remarkable degree by persons having little 
 intellectual power. A farm laborer named George 
 Watson, living in Sussex, England, who was unable to 
 either read or write, could recollect every-clay events 
 from an early period of his life. He knew on what day 
 of the week any given date fell, where he was, what he 
 was doing, and the state of the weather. 
 
 A farmer named Daniel McCartney, who was living 
 in 1870, had a remarkable memory of personal events, 
 extending back to the early part of 1827, when he was 
 less than ten years old. He could tell the day of the 
 week for any given date, and the condition of the 
 weather on that day. He could also recollect how he 
 was occupied, and where, during each of those 15,000 ^ 
 days; and besides could give the date and day of all 
 public events during that whole time which had come 
 to his cognizance — and there were evidently few that 
 had not done so. 
 
 The accuracy of McCartney's memory was com- 
 
292 THE ART OF MEMORY. 
 
 pletely borne out by examination, the various questions 
 and answers being given in full in "The Journal of 
 Speculative Philosophy'' for January, 1871. 
 
 In 1896 there died in Murray County, Georgia, at 
 the age of 94 years, a man named Evan S. Howell, who 
 could, up to a short time before his death, give from 
 memory the day and date of every important event that 
 had happened since he was a boy. He recollected the 
 pluralities by which every County, State and National 
 election had been carried, and could give the names of 
 all the candidates. He could tell from memory when 
 the various lands and railroads in his state had been 
 surveyed, and by whom. He frequently asserted that 
 he could recollect the names of every man, woman and 
 child that he had ever met — a claim that seemed to be 
 well founded; and it was said of him by intimate 
 friends that he never forgot anything he had ever seen 
 or heard or knew to be fact. 
 
 While the memory of events carries with it to some 
 extent that of the corresponding dates, yet the two are 
 not inseparable — ^which is especially the case with His- 
 torical Events and their dates; the events may be re- 
 called with the utmost readiness, even to the most 
 minute detail, while the duration of the dates in the 
 memory may be extremely uncertain. To insure the 
 retention of both, an association must be formed be- 
 tween them, the proper method of securing which has 
 already been set forth in Chapter 11. 
 
 No more apt illustration can be given of the best 
 method of cultivating Memory of Personal Events 
 
EVENTS. FACTS. 293 
 
 than is furnished in the "Memoirs'^ of Thurlow Weed, 
 one of the most noted of American politicians, who 
 flourished during the latter half of the first century of 
 American Independence. 
 
 Here are his own words : 
 
 "Some of my friends used to think that I was ^cut 
 out' for a politician, but I saw at once a fatal weakness. 
 My memory was a sieve. I could remember nothing. 
 Dates, names, appointments, faces — everything escaped 
 me. I said to my wife, ^Catherine, I shall never make 
 a successful politician, for I cannot remember, and that 
 is a prime necessity of politicians. A politician who 
 sees a man once should remember him forever/ My 
 wife told me I must train my memory. So when I 
 came home that night I sat down alone and spent fif- 
 teen minutes trying silently to recall with accuracy the 
 principal events of the day. I could remember but 
 little at first — now I remember that I could not then 
 recall what I had for breakfast. After a few days' 
 practice I found I could recall more. Events came 
 back to me more minutely, more accurately, and more 
 vividly than at first. After a fortnight or so of this, 
 Catherine said, ^Why don't you relate to me the events 
 of the day instead of recalling them to yourself? It 
 would be interesting, and my interest in it would be 
 a stimulus to you.' 
 
 "Having great respect for my wife's opinion, I be- 
 gan a habit of oral confession, as it were, which was 
 continued for almost fifty years. Every night, the last 
 thing before retiring, I told her everything I could re- 
 
294 THE ART OF MEMORY. 
 
 member that had happened to me or about me during 
 the day. I generally recalled the very dishes I had for 
 breakfast, dinner and tea; the people I had seen and 
 what they had said; the editorials I had written for 
 my paper, giving her a brief abstract of them; I men- 
 tioned all the letters I had seen and received, and the 
 very language used, as nearly as possible; when I had 
 walked or ridden — I told her everything that had come 
 within my observation. I found I could say my lessons 
 better and better every year, and instead of the prac- 
 tice growing irksome, it became a pleasure to go over 
 again the events of the day. I am indebted to this dis- 
 cipline for a memory of somewhat unusual tenacity, 
 and I recommend the practice to all who wish to store 
 up facts, or expect to have much to do with influencing 
 men." 
 
 This peep into the home life of one of the most 
 prominent and influential men of his time is interest- 
 ing, and the advice on memory culture given by one so 
 well qualified to offer it by reason of an unusually ex- 
 tended experience is invaluable, and the method is rec- 
 ommended to all who are desirous of being able to 
 recollect a Long chain of personal events, from the most 
 important down to the petty details of every-day life. 
 To tell much means to remember much; he who dis- 
 cusses w^hat he has seen, heard or read, will recollect it 
 far better than if he simply thinks over it. As telling 
 is not always possible, however, whatever is w^orth re- 
 membering of past events should be mentally reviewed 
 so often that none of the essential details will be lost; 
 
 I 
 
EVENTS. FACTS. 295 
 
 and if this be done with sufficient attention, the memory 
 will eventually become so strengthened that it will re- 
 tain the first impressions it receives for a surprisingly 
 long period. As what is seen produces the most vivid 
 impressions of all, and what is read the least so, due 
 allowance should be made for this difference, and es- 
 pecial effort made to read with attention that which it 
 is desired to remember, so as by aid of the fancy to 
 realize in some degree how the event depicted must 
 have appeared to an eye witness — thus applying in 
 part, through the medium of the imagination, the vivid- 
 ness contributed by personal participation in the event. 
 And thus through Attention and Keview may the 
 end be accomplished of bringing towards perfection 
 that faculty, one of the most grateful of all the pos- 
 sessions of the human mind, the Memory of Events. 
 
 FACTS. 
 
 An Event is a Fact, but a Fact is not necessarily 
 ;an Event. 
 
 An Event implies action, while a Fact may be either 
 active or passive. As considered with reference to 
 memory culture, it will be assumed that a Fact is pas- 
 sive — ^that it is a truth, which has been proved scien- 
 tifically or practically. 
 
 Facts are more difficult to recollect than Events; 
 for, in the latter case, there is the powerful stimulus to 
 help impress the memory, of action — which is not pos- 
 -sessed by the former; in order, therefore, that nearly 
 
296 THE ART OF MEMORY. 
 
 as vivid an impression may be produced on the mind 
 by Facts, as Events — greater concentration of the at- 
 tention is required. 
 
 The way in which Facts may be best memorized is 
 through Classification. Compare the housewife who 
 has a place for everything and keeps everything in its 
 place, with one who strews her household articles about 
 in a hap-hazard fashion, without the least apparent 
 regard for system, and you have an apt illustration of 
 Method and Disorder. As well might a compositor 
 distribute his type indiscriminately in one pile and ex- 
 pect to set it again with accuracy and dispatch, or a 
 bank teller attempt to pay out moneys with quickness 
 and correctness from a confused mass of coin and bills 
 of all denominations, as a person expect to draw from 
 his memory, at pleasure, facts which have been hurled 
 into it at various times without the slightest regard to 
 classification. 
 
 Let us suppose two men, of equal natural memory 
 power, reading a book replete with miscellaneous facts, 
 each person desiring to retain as many of them in his 
 memory as possible. Both read the book with attention, 
 but one relies entirely on the "naturaP' (so-called) reten- 
 tiveness of his memory, making no effort to classify 
 the various facts — while the other person puts each one 
 carefully away in its proper pigeon-hole of the memory, 
 promptly associating it with correlative facts already 
 there. Suppose that a year afterwards each of these 
 persons should be asked to tell all that he could of what 
 he had read in the book mentioned — which one would 
 
EVENTS. FACTS. 297 
 
 be able to recall the most? To this question there is 
 but one answer: He who had classified his facts could 
 probably recollect nearly all of them — while the other 
 person would be able to recall but few, for want of as- 
 sociation. 
 
 To illustrate the method of classifying: A person 
 interested in learning about the most striking geo- 
 graphical features of the earth, ascertains that the lof- 
 tiest mountain in Europe is Mont Blanc; of North 
 America, Mt. St. Elias; of South America, Mt. Sorato; 
 and of Asia, Mt. Everest, which towers to a height of 
 29,000 feet above the sea. 
 
 At other times he learns that the highest volcano 
 in the world is Cotopaxi, in Ecuador, which is 19,500 
 feet above the sea — the oldest known active volcano^ 
 Stromboli, and the largest, Etna; and that Etna and 
 Vesuvius are never active at the same time, the period 
 of extreme activity in either being that of greatest 
 quiescence in the other. How natural for facts like the 
 above to cluster together in the memory! 
 
 Facts such as the following may be gathered at pe- 
 riods wide apart — and yet how natural the association 
 between them! 
 
 We learn that the highest place on the earth's sur- 
 face inhabited by man is Ancomarca, Peru, which is 
 16,000 feet above the sea; the lowest the valley of the 
 Jordan, nearly a quarter of a mile below sea-level ; and 
 that the lowest inhabited spots below the earth's sur- 
 face are some of the mines in Bohemia, 2000 feet below 
 the sea. The latter fact is suggestive of heat, and we 
 
298 THE ART OF MEMORY. 
 
 find that the city situated nearest the equator is Quito, 
 Ecuador; that fact, by contrast, suggests cold, and we 
 learn that the most northerly town in the world is 
 Hammerfest, Norway, and the most southerly Punta 
 Arenas, on the Straits of Magellan; we also ascertain 
 the curious fact that the former is no. less than 1200 
 miles nearer the North Pole than the latter is to the 
 South Pole. 
 
 How easily facts in Natural History like the follow- 
 ing may be associated together: The Condor is the 
 largest bird, and the Humming-bird the smallest, the 
 Kestrel the swiftest, and the Albatross possesses the 
 greatest endurance — one having been known to follow 
 a ship for sixty-four days without being once seen to 
 rest on the water. 
 
 We may read at different times that among musical 
 composers the greatest were Beethoven, Mozart, Men- 
 delssohn, and Wagner; the most prolific, Bach; the 
 most productive opera composer, Piccini, who produced 
 over two hundred operas; and the most fertile song- 
 writer, Schubert, who wrote over twelve hundred songs 
 during his short life of thirty-one years. 
 
 All of the foregoing illustrations show how easily 
 and naturally facts may be associated together when 
 properly classified. 
 
 In the memorizing of Facts the following plan is 
 recommended : 
 
 When a fact is learned which it is desired to retain 
 in the memory, promptly link it with other facts in the 
 same class which are already known; if those be few, 
 
EVENTS. FACTS. 299 
 
 associate it with all ; if many, with the most important 
 ones. Do not glut the mind with facts which are triv- 
 ial, but memorize only that which is worthy of being 
 preserved among Memory's archives and with which 
 the mind and the heart are in symi3athy. 
 
 It should always be borne in mind that in the stor- 
 ing away of facts, as of anything else, the most essen- 
 tial endowment is enthusiasm — for upon the degree in 
 which that is possessed depends in a great measure the 
 thoroughness and permanence of the results achieved. 
 Where there is true enthusiasm easy is the pathway; 
 and where native zeal is lacking, or is sluggish, an in- 
 terest may be created and cultivated to an uncommon 
 degree. By effort of will an enthusiasm can be forced, 
 for the time being, which may not exist naturally, and 
 associations made at such time are apt to remain well 
 impressed on the memory. 
 
 Each individual should classify facts in the order 
 of their interest and importance to himself, and the as- 
 sociations should be made with intelligence, earnest- 
 ness, and thoroughness. If this be done he will not 
 only eventually develop a rare capacity to memorize 
 facts, but will always have a rich store of facts in his 
 memory at read}^ command. 
 
 28 
 
CHAPTER XIII. 
 
 LITEKATUEE. DEAMA. DISCOUESE. 
 
 "When we set ourselves to read a book what do we do? We 
 place ourselves in communication with a living man. We go back 
 with him to the time when he penned the volmne. We think over 
 the thoughts which he then thought, we sympathize with the feelings 
 which he then experienced. * * * 
 
 If, then, you are admitted to the society of a wise or amusing 
 man who gives instruction or entertainment in a winning and grace- 
 ful manner, you think it important to be wakeful in his society and 
 to catch and weigh every word; why should you not feel the same 
 necessity when he speaks to you through the written page? 
 
 ^ i^ :'f ifi it: ij: iii I'f iii ij: ;i: ^ ^ ii: 
 
 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 rale. * * * 
 
 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 fhe facts like a vise; the im- 
 pressions should be distnictly and sharply received." 
 
 Noah Porter. 
 
 '*We have not read an author till we have seen his object, what- 
 ever it may be, as lie saw it." Carlyle. 
 
 "Learn to read slow; all other graces 
 
 Will follow in their proper places." 
 
 William Walker. 
 
 (300) 
 
LITERATURE. DRAMA. DISCOURSE. 301 
 
 "If we would fix in the memory the discourses we hear, or what 
 we desire to speak, let us abstract them into brief compends, and re- 
 view them often." De. Isaac Watts. 
 
 "A man may think of a handsome performance at his leisure. A 
 short recollection brings it upon the stage, brightens the idea, and 
 makes it shine as much as when it was first stamped upon the 
 memory." ' Jeremy Courier. 
 
 We now come to the consideration of how to best 
 memorize the contents of a book — its essence, not its 
 letter. That which reaches our mental perception 
 through the medium of books (by which is meant, 
 books having a connected plan or purpose throughout) 
 may be divided into two general classes, one appealing 
 largely to the sensibilities, the other chiefly to the 
 intellect. The former is comprised chiefly in Biography, 
 Narrative and Fiction, whose purpose is entertain- 
 ment, rather than instruction, and which, being more 
 easily retained in the memory than that which is in- 
 tended purely to promote knowledge, will be consid- 
 ered first. Biography, Narrative, and Fiction, are 
 stories; the first is the story of a life. Narrative is the 
 story of a part of a life. Fiction is an invented story, 
 a product of the imagination. Their perusal calls into 
 exercise the imaginative faculty, the passions or emo- 
 tions being affected far more than by other kinds of 
 literature. 
 
 Because the imagination and passions are especially 
 influenced by the reading of Biography, Narrative or 
 Fiction, any production representing either of those 
 
802 THE ART OF MEMORY. 
 
 ilopniiinonts of lileratuiv is best nuMiiorizod by a sorios 
 of inviital pivliircs, or iiua^os — aud Iho saiiio images 
 Avhioh are foriuod at llio original reading will, as a 
 rnlo bo roprodnood on a sooond pernsal or a mental 
 nniew. As each seene is presented, each action por- 
 trayed, it shonld be pietnred in the imagination with 
 the ntmost vividness that is possible; every essential 
 detail shonld be inelnded — not a featnre omitted; and 
 as each tdiaraeter is bronght into view, the featnres 
 and form, the general appearance, and even dress, 
 shonld be imagined, so that the whole may seem a 
 living reality. All this shonld be done with thorongh- 
 ness as the reading proceeds; the imagination shonld 
 fnlly grasp each sitnation ere the next is bronght be- 
 fore the nuMital vision; occasionally the mind shonld 
 again pictnre scenes that have been already presented, 
 and when llu^ book is entirely pernsed, it shonld be 
 mentally reviewed from beginning to end. Ulnstra- 
 tions shonld be stndied with the closest attention, and 
 the scenes which they represent vividly impressed on 
 the mind, as they will be more easily grasped and 
 more secnrely retained than what the imagination 
 mnsl invent. To memorize the nnmber of each chap- 
 ter which initiates a marked change of scene, or where 
 new characters appear, will help to impress each scene 
 mori^ vividly on the mind. All this will reqnire time, 
 patience and attention, bnt when the book has been 
 memorized in this wav its contents will be a lasting 
 possession, instead of merely impressions illy detined 
 at the ontset and fading rapidly as time passes ou. 
 
LITERATURE. DRAMA. DISCOURSE. 303 
 
 It may be that the real profit derived from reading 
 a narrative or novel, however faithfully impressed on 
 the memory its details may be, is insignificant com- 
 pared with the benefit gained from the perusal of a 
 book which is instructive rather than merely entertain- 
 ing; but however that may be, it cannot be gainsaid 
 that many a delightful hour may be spent in reviewing 
 in memory the scenes and incidents of a well-written 
 piece of fiction — in feasting the eye upon its woods and 
 fields and hills and dales — in recalling those enchant- 
 ing hours when the senses were enthralled by the 
 stirring events which the magic touch of Fancy 
 wrought into added life — in gazing on the faces and 
 forms that once were so familiar! Who will say that an 
 intimacy with the matchless creations of such masters 
 of the pen as Dickens, Bulwer, or Scott — Hugo, Field- 
 ing, or Thackeray, is not an important part of a liberal 
 education? Surely such characters as Ivanhoe, Glau- 
 cus. Col. Newcome, and Squire Allworthy must live in 
 the minds and hearts of men as long as literature 
 lasts; the sublime self-sacrifice of Thomas Carton, the 
 true loftiness of character of Jean Valjean, must ever 
 be an inspiration to a nobler life! — what a void in 
 literature were there no Nydia, nor Hester Prynne, nor 
 Little Nell! The conspicuous characters of Fiction — 
 their deeds, their ambitions, their passions — are illus- 
 trations of the mainsprings of human action. To read 
 to treasure in the memory the great w^orks of fiction, 
 affords the most grateful entertainment to the mind — 
 is it not instructive also? 
 
304 THE ART OF MEMORY. 
 
 And Biography. The well-written biography of one 
 who has occupied a higher plane than that of the ordi- 
 nary man is usually both interesting and profitable; 
 the various steps by which the person whose life is 
 portrayed has risen above the level of mediocrity, may 
 prove a valuable example to him who reads and re- 
 flects, and who would guide his pathway in life by the 
 experience of one whose footsteps are worthy to be 
 followed. 
 
 Finally, in Biography, Narrative and Fiction, read 
 only that which is the best: do not burden the memory 
 with writings which are of an inferior character: that 
 is the best remembered which is the best written; and 
 besides, why should one's mental dessert be of second- 
 rate quality when the best may be just as easily ob- 
 tained? 
 
 To memorize literature which appeals particularly 
 to the intellect, the reasoning power must aid the mem- 
 ory. Gibbon, the historian, tells us in his Memoirs of 
 the method he pursued in reading a new book. He 
 first glanced at the title and looked carefully through 
 the table of contents. He then endeavored to recollect 
 all that he had ever learned or thought on the subject 
 of which the book treated — thus placing his mind in 
 the most receptive condition for the perusal of the 
 book, and that he might afterwards be better able 
 to determine how much his previous stock of knowledge 
 had been augmented by the author. 
 
 When the student is about to read a book which is 
 of an instructive, rather than entertaining, character, 
 
LITERATURE. DRAMA. DISCOURSE. 305 
 
 and desires that its contents shall become impressed 
 on his memory in the most vivid and enduring manner 
 possible, he should 
 
 1st: Note the title of the book and the author. 
 
 2d: Bead the preface carefully. 
 
 3d. Get an idea of the general plan of the work 
 by examining the table of contents, and noting the 
 relation to each other of the various chapters or di- 
 visions, which relation is usually conveyed by their 
 titles. 
 
 4th : Bead the first chapter slowly and attentively, 
 endeavoring fully to absorb the author's meaning, and 
 especially to grasp the principal ideas or propositions 
 and understand their relation to each other, and asso- 
 ciate the illustrations with the principles which they 
 are intended to elucidate. Coleridge, in his Aids to 
 Reflection, gives this golden advice: "Force yourself 
 to reflect on what you read, paragraph by paragraph." 
 Try to understand each phrase and sentence thorough- 
 ly before proceeding to the next. As the reading of 
 each paragraph is concluded, impress its substance 
 more strongly on the mind by mentally asking such 
 questions as will cover the field of profitable inquiry, 
 and answer them fully before the next paragraph is 
 taken up; by these means a far more intelligent and 
 enduring conception will be obtained of what the book 
 contains than can be done by the ordinary superficial 
 manner of reading. 
 
 The simple questions in the list below include all 
 that is necessary; they are few and easily recollected 
 
306 THE ART OF MEMORY. 
 
 by the fact that each one is a monosyllable, the two 
 first letters of all excepting the last being identical, 
 and the last word consisting of the same letters as the 
 first, but differently arranged: 
 
 Who? Where? 
 
 Which? When? 
 
 What? Why? 
 
 How? 
 
 It will be noticed that the questions in the first 
 column pertain only to identity of the person or thing; 
 in the second column the questions relate to Position 
 or Locality, Time, Keason or Purpose, and Manner. 
 Such of these questions as are pertinent should be ap- 
 plied as the reading of each paragraph is concluded, 
 and when they are answered the mind is likely to ap- 
 prehend quite clearly the contents of the paragraph, 
 which should then be associated by the most conven- 
 ient and natural method with that which is immediate- 
 ly antecedent. After the whole chapter shall have 
 been studied in this manner an abstract of its contents 
 should be written down from memory in the student's 
 own language, framed in as clear, concise terms as idos- 
 sible, without tautology. This abstract should then be 
 read over carefully and destroyed — the intrinsic object 
 of writing it having been accomplished, viz. : to impress 
 the information and ideas contained in the chapter 
 more strongly on the memory. 
 
 Proceed with the second chapter in the same man- 
 ner, and then link its leading features with those of 
 
LITERATURE. DRAMA. DISCOURSE. 307 
 
 the first chapter, so that they will follow each other in 
 natural order in the mind, and repeat the process to 
 the end of the book; then write from memory a con- 
 densed abstract of the whole and read it through 
 carefully, to be certain that no details of importance 
 have been omitted. If in doubt regarding the accuracy 
 of any particular portion of the abstract, turn to the 
 book for verification; then, when the proper correc- 
 tions shall have been made, if any are necessary, de- 
 stroy the abstract, compelling dependence, for a review 
 of what is contained, on the memory itself. It is a 
 good plan to occasionally re-write an abstract of the 
 book, verifying its accuracy if necessary, and each 
 time destroying the abstract; and it is well when op- 
 portunity offers, to relate to others the principal de- 
 tails of the book, for they are thereby impressed still 
 more deeply on the mind, their retention by the mem- 
 ory thus being rendered all the more certain. If this 
 method be persevered in, the memory power will in 
 time become so strengthened that the task of writing 
 an abstract will be unnecessary, the various details, as 
 they are reached in the course of perusal, becoming 
 established in the memory by a sort of intuitive 
 process, and being easily recalled in their natural 
 order whenever desired. 
 
 A long and tedious way of accomplishing this ob- 
 ject, the above method, may seem to the student — but 
 one book mastered will be of more real benefit to him, 
 both in regard to the perspicuity and permanence of 
 the impressions received and also as contributing to 
 
308 THE ART OF MEMORY. 
 
 his intellectual growth — ^than a score of books which 
 are merely "skimmed" over, or read without being 
 properly digested. By reading or studying a book in 
 the way suggested, the student not only familiarizes 
 himself with the thought and purpose of the author, 
 but at the same time improves his own thinking pow- 
 ers. He learns to discriminate, to cultivate his judg- 
 ment, to translate others' thoughts into his own dic- 
 tion, to eliminate whatever is trivial or tautological; 
 and with the added memory-power which such practice 
 must bring, the student will eventually be able to mas- 
 ter the contents of a book at a single reading — and 
 that, too, without having to write a synopsis. 
 
 As an objection to this method of reading a book 
 it may be urged with some plausibility that it involves 
 an expenditure of time and labor which is deserved by 
 but a small portion of the literature that issues from 
 the printing-press, and as far as the reader is con- 
 cerned, by only the especial books of whose contents 
 he desires to become the absolute master. 
 
 To such objection the answer is made that the pur- 
 pose of studying a book in so attentive and thorough a 
 manner is not merely to master the contents of that 
 particular book, but also to so cultivate the intellectual 
 powers that the next book may be read more easily 
 and intelligently, so that ultimately when a book shall 
 have received only a single perusal the memory will 
 retain all in it that is worth knowing. As the me- 
 chanic who constructs a complicated machine is able to 
 build another with less difficulty than the original one: 
 
LITERATURE. DRAMA. DISCOURSE. 309 
 
 as the newly-fledged attorney is able to conduct his 
 second case with greater capability and confidence 
 than the first: as the athlete who performs a difi&cult 
 feat thereby gathers strength and skill to surpass 
 w^hat he has already done — so the student who in read- 
 ing a book takes ample time and applies himself with 
 sufficient assiduity and by the proper method to mas- 
 ter its contents must, through such practice, grow in 
 mental capacity and be afterwards able with less ef- 
 fort than before, to memorize a book of equal pro- 
 fundity, or with a like amount of exertion to master a 
 work of greater depth. 
 
 Kegarding the class of literature to be chosen 
 for perusal, the student is advised to select only such 
 works as are within his capacity to fully understand, 
 and in which he takes a more than ordinary interest, 
 always satisfying himself at the outset that the works 
 are w^ritten by authors of repute. 
 
 And what shall be said regarding the omnivorous 
 reading of the daily newspaper, which has become so 
 prevalent as to be little less than a national epidemic? 
 What effect does such reading have on the memory 
 power? — is it beneficial or baneful? 
 
 The character of a large portion of the matter con- 
 tained in the modern daily newspaper is such that, 
 perchance, read to-day with avidity, to-morrow it will 
 leave scarce a trace on memory's tablet. It does not 
 instruct, nor entertain — it only gratifies a morbid appe- 
 tite for the abnormal and sensational, which has grown 
 to be a curious feature of modern city life. It is read. 
 
310 THE ART OP MEMORY. 
 
 not for the purpose of acquiring knowledge, nor of 
 keeping informed on the significant events of the 
 world's history, but only to satisfy a passing curiosity 
 — not that it may be preserved in the memory; thus is 
 encouraged a habit of forgetting, every succeeding act 
 of which must inevitably tend to weaken the memory. 
 
 It is too true that the wide-spread decadence of 
 memory power which exists in these days is largely due 
 to the reading of trashy and sensational articles in the 
 daily newspapers; and the responsibility for furnish- 
 ing this sort of mental fare does not rest with the 
 newspaper alone, which usually follows the policy of 
 furnishing that which its readers seem to crave — 
 sensation; but of what benefit, or even interest, is it 
 likely to be half a year hence to have read to-day the 
 particulars of some exciting murder trial, or daring 
 train robbery, or sensational divorce suit, or brutal 
 prize-fight? Of what significance is it a month hence 
 that some cricket match or some foot-ball game was 
 won by this or that college team? Are such things 
 worth treasuring in the memory? 
 
 But notwithstanding the unwholesome tenden- 
 cies of the modern daily newspaper, yet that it should 
 not be read at all is by no means advised, but only 
 that it be read with discrimination. Hamerton, in his 
 Intellectual Life, says: "The art of reading is to 
 skip judiciously. * * * In every newspaper that 
 comes to hand there is a little bit that we ought to 
 read; the art is to find that little bit, and waste no 
 time over the rest.'' 
 
LITERATURE. DRAMA. DISCOURSE. 311 
 
 To acquire this art it is necessary to cultivate what 
 might be termed a ^^selecting" memory, which is no less 
 useful for what it rejects than for what it retains. He 
 who possesses a well-trained memory of this kind can 
 so direct and control his attention while reading, that 
 it will intuitively fasten upon that which has a vital 
 bearing on the subject, avoiding with corresponding 
 intuition that which is of minor import — thus econo- 
 mizing the mental energies, and at the same time plac- 
 ing in memory's custody only that which is w^orthy to 
 be preserved. 
 
 This faculty can be developed by intelligent prac- 
 tice so as to be especially serviceable to the habitual 
 reader of the daily newspaper and prevent the gradual 
 weakening of his memory which must result from the 
 continual acts of forgetting which indiscriminate read- 
 ing ordinarily engenders. The possessor of a good 
 "selecting memory'' is able, while reading, to separate 
 the wheat from the chaff with comparatively slight 
 effort; what he reads at all he peruses with attention, 
 instead of distributing his mental energies over all 
 that happens to meet his eye, selecting his mental food 
 from among a heterogeneous mass of reading matter 
 it is likely that he will properly digest it, and as w^hat 
 may be designated the "rubbish" is not allowed to 
 enter his consciousness at all, it cannot well have a 
 deleterious effect on his memory. 
 
312 THE ART OF MEMORY. 
 
 DEAMA. DISCOURSE. 
 
 In every educated community some persons are 
 likely to be found who possess superior aptitude in 
 the following line of memory-culture: They can at- 
 tend a dramatic entertainment or listen to a lecture 
 or address, and retain every salient feature of it in the 
 memory for years afterwards. They can with ease 
 recall the plot of the drama, the principal characters 
 and the most impressive scenes; or if they hear a dis- 
 course they can recollect the pith of the argument, and 
 most of the illustrations or embellishments. The pro- 
 portionate number of persons, however, in any com- 
 munity who can do this is small; not because there 
 is a general lack of memory capacity, but by reason of 
 neglect to improve those faculties which the memoriz- 
 ing of Drama and Discourse essentially calls into exer- 
 cise, the thorough cultivation of which faculties cannot 
 but yield rich reward for all the time and endeavor 
 devoted thereto. 
 
 The ability to witness the performance of a first- 
 class drama, or listen to an able discourse, and retain 
 its essential details in the memory, is an acquirement 
 which is often of great benefit in the practical walks 
 of life — to say nothing of the world of delightful con- 
 templation afforded in intervals of leisure; and to 
 gain this achievement is not difficult — only intelligent 
 application and persevering effort are necessary. 
 
 Let us assume that the student is visiting the the- 
 atre, witnessing the rendition of some great historical 
 
LITERATURE. DRAMA. DISCOURSE. 318 
 
 drama. Scene after scene unfolds itself, each a living 
 portrayal of events, thoughts, and emotions belonging 
 to some turbulent period of the past, and all appealing 
 powerfully to the sensibilities. As the play progresses 
 he follows it with the keenest attention, and the most 
 vivid image of the prominent details of the drama is 
 imprinted on his mind at the conclusion of the per- 
 formance. 
 
 The conditions are now most favorable for this 
 image or perception to become permanently fixed in 
 the memory; it can be if proper effort be made to pre- 
 serve it — otherwise its duration in the memory is un- 
 certain, for, however powerful the impressions may be, 
 it is not sufficient that they be left to take care of 
 themselves: they must be digested and the whole re- 
 viewed at intervals. 
 
 Shortly after the play has been witnessed the stu- 
 dent should cause the whole to again pass before his 
 mental vision, no detail being omitted that can pos- 
 sibly be recollected; in this way the habit of thorough- 
 ness will be cultivated. It is all the better to also 
 describe the play to others, as that will cause the de- 
 tails to become more strongly impressed on the mem- 
 ory; Oral narration is always superior to mental re- 
 view as a means of making impressions more lasting. 
 
 On a first endeavor to recall the incidents of a play, 
 it is likely that only the main particulars will be recol- 
 lected; but if the attempt be repeated it will be found 
 that a larger proportion of the details can be recalled 
 than before, and the proportion will increase with each 
 
314 THE ART OF MEMORY, 
 
 trial, until eventually all the essential particulars will 
 remain fixed in the memory without the necessity of 
 repetition. 
 
 The same method should be pursued in the case of 
 Discourse as in that of Drama, and if persevered in 
 the practice will be found not only of great value in 
 an educational sense, but also highly interesting; and 
 the opportunities, especially in cities, of witnessing 
 theatrical productions and listening to discourses of 
 various kinds, are so frequent that there need be little 
 difficulty in obtaining abundant practice. A dramatic 
 performance is the most easily recollected of all, and 
 an argumentative discourse, as a legal or political ad- 
 dress, or a sermon, the least so. In the former case 
 scenery, action, and utterance all unite in the creation 
 of a vivid impression, while in the latter case both 
 scenery and action are wanting — it thus being neces- 
 sary that those features should be supplied, as far as 
 may be, by the imagination, spurred by increased at- 
 tention. Next to a dramatic performance, an illus- 
 trated lecture is the most easily impressed on the mem- 
 ory, and next a plain lecture or an address on some 
 interesting topic, and so on — the faculty of retention 
 diminishing as the subject is more abstract. 
 
 In the development of Memory of Drama and Dis- 
 course the student need not expect that he can attain 
 proficiency by a few rapid strides; he must progress 
 by easy stages, advancing gradually from the easiest 
 to the most difficult, and not attempting to memorize 
 too much at any one time — especially at first. The 
 
LITERATURE. DRAMA. DISCOURSE. 315 
 
 memory-power will continue to expand with properly 
 directed practice, but its growth, to be enduring, must 
 have a substantial foundation and advance by moderate 
 degrees; the first tasks undertaken should be easy — 
 even small — to be augmented as the capacity of the 
 memory increases. Every exertion should be made to 
 keep the attention riveted upon the subject in hand — 
 whether it be a play or a sermon; but this should be 
 maintained only so long as it can be done without fa- 
 tigue; when the brain begins to feel wearied, all effort 
 to longer concentrate the attention upon the subject 
 should cease, and the brain be either allowed to rest, 
 or its energies be diverted into other channels, which is 
 often quite as beneficial. The poet has well said: 
 
 "Absence of occupation is not rest; 
 A mind quite vacant is a mind distressed." 
 
 — and it frequently happens that a complete diversion 
 of the thoughts in a different direction is fully as rest- 
 ful to the mind as entire passiveness. 
 
 That no memorizing should be attempted when 
 strict attention cannot be given, while true in the case 
 of reading a book, is especially so in that of witnessing 
 a dramatic production or in listening to a discourse, 
 for the impressions derived from the two latter sources 
 must be taken "on the wing," as it were, while in read- 
 ing there is opportunity for reviewing that which the 
 mind may not fully grasp at first. The opportunity to 
 witness some celebrated play, or to hear some noted 
 lecturer or preacher, may occur only once in a lifetime, 
 
 2i 
 
816 THE ART OF MEMORY. 
 
 and the mind and memory should be so trained as to 
 make the most of that opportunity — for what the mind 
 and senses may receive on such an occasion, and the 
 memory afterwards preserve, can well constitute an 
 invaluable and enduring contribution to the fund of 
 thought and fancy which the appreciative and provi- 
 dent mind is ever acquiring and storing aw^ay in the 
 treasury of Memory. 
 
 While it is true that not every one is afforded the 
 opportunity to often attend the theatre or listen to 
 a lecture, it is also true that with the frequency of 
 those opportunities decreases the natural inclination 
 to improve them, which can be compensated for only 
 by intelligent and persevering effort. Rarity and nov- 
 elty inspire curiosity, which begets attention, the great 
 key to success in memor^^-culture. Native enthusiasm 
 decreases as the surroundings grow more fortunate, 
 and the deficiency can be supplied only by intelligent 
 effort and constancy of purpose; when this shall have 
 been adhered to for a sufficient length of time, it will 
 be found that a profound sermon can be recollected as 
 easil}^ and perfectly as was a simple play at first. 
 
CHAPTER XIV. 
 
 ANECDOTE. 
 
 "And without anecdote what is biography, or even history?" 
 
 Lowell. 
 
 The ability to treasure up an anecdote in the mem- 
 ory after once hearing or reading it, and to summon 
 it forth at an opportune time, is one of the most val- 
 uable endowments of the disputant or the converser. 
 
 How pleasurable and stimulating is a conversation 
 that is interspersed with spicy anecdotes, especially if 
 they are apropos! into what an excellent humor are 
 they likely to put the company, and what an added zest 
 is given to the conversation! The man who carries in 
 his memory a plentiful stock of good anecdotes which 
 he can draw upon when the occasion justifies, is rea- 
 sonably certain to be considered an acquisition to what- 
 ever circle of society he may wish to move in — provided 
 that his anecdotes do not have a bitter or ironical al- 
 lusion, but are happy illustrations of the topic of con- 
 versation, intended to please — not to pain. 
 
 (317) 
 
318 THE ART OF MEMORY. 
 
 Many a case before a jury has been won through 
 the narration of a timely anecdote — many a victory 
 achieved on the stump by the sldllful wielding of pun- 
 gent witticisms and the telling of entertaining stories. 
 Many a dinner-party has been "set in a roar" by the 
 utterance of some apposite hon mot — many a mute and 
 spiritless gathering exhilarated by a few seasonable 
 anecdotes. An apt, well-told story, often accomplishes 
 far more than a protracted homily. A pathetic inci- 
 dent introduced in a sermon will frequently prove more 
 effective than all the reasoning in the rest of the dis- 
 course. Illustrations from life, real or imaginary, en- 
 gage the attention and excite the sensibilities where the 
 most logical arguments and undoubted truths may fail. 
 
 One of the best recommendations of an anecdote is 
 its brevity. It is a story boiled down so that its gist 
 is brought prominently into view — being engirded by 
 only the clothing of language necessary to give the 
 story coherency. 
 
 Anecdotes seldom revert to the mind unbidden; 
 they are suggested by something else — some other an- 
 ecdote or chance remark, usually; even a word may 
 suffice to call forth an anecdote which has slumbered in 
 the memory for years. For an anecdote to be readily 
 revived in the memory some allusion is necessary; if 
 one in a company tells a story, that may remind some 
 one else of another, which in turn suggests another 
 anecdote to a third party — and so on, till perchance 
 each of the company finds that he is able to recollect 
 several additional anecdotes, and all through Allusion 
 
LITERATURE. DRAMA. DISCOURSE. 319 
 
 - — each anecdote suggesting others. But even under 
 favorable conditions few persons can recall more than 
 a small part of all the anecdotes which they have heard 
 or read, for the reason that a large proportion of them, 
 not having been systematically filed away in the mem- 
 ory, are so faintly established in the consciousness as 
 to be beyond the possibility of revival. Many of those 
 anecdotes the hearer might recognize were he to hear 
 them again, but he cannot reproduce them from mem- 
 ory — and thus, as far as availability is concerned, they 
 are as if he had never heard them. 
 
 If the proper method is adopted, almost any anec- 
 dote once heard or read may be indefinitely retained in 
 memory, and be always available for use. 
 
 An anecdote is revived in the memory through either 
 the similarity or contrast which its essence bears 
 to the idea embodied in something else seen, heard or 
 read. This idea may always be indicated by a common 
 noun; but if the central idea, or some word which sug- 
 gests it, be not recollected, the anecdote itself has es- 
 caped the memory past recall. Let us illustrate. A 
 common noun is a thing: it has definite shape and ap- 
 pearance, and is usually a familiar object; an adjective 
 represents quality, and a verb SiCtion; the ideas of qual- 
 ity or action cannot be grasped by the consciousness 
 except in connection with the object or thing to which 
 they are related; in order to form a mental image by 
 using as a basis an adjective or a verb, an object or 
 thing must be invented by the imagination as a found- 
 ation for the chosen quality or action. It is thus far 
 
320 THE ART OF MExMORY. 
 
 easier to form a mental image by using as a basis the 
 tiling itself than to work backwards and invent in im- 
 agination the thing which must embody certain quality 
 or action. A common noun, then, being the substantial 
 basis of every mental image, and an anecdote being a 
 single scene — a "tale soon told," its dominant idea can 
 always be represented by a single word — and that a 
 common noun. 
 
 As, then, by the recollection of a single word can 
 be revived in the memory the essential details of an 
 anecdote, it perforce follows that the most efficient aid 
 in the memorizing of anecdotes is the committing to 
 and retaining in memory a list of words (common 
 nouns) of different meaning and sufficient in nvimber 
 to supply a word to associate with each anecdote 
 learned. This is the true secret of success in memoriz- 
 ing anecdotes — the method is infallible; each tale is 
 hung on its proper "memory peg," and can be brought 
 forth at will. 
 
 At first thought it may seem that the task is an 
 extremely arduous one of committing to memory such 
 a number of words that an association can be easily 
 formed with every anecdote learned — that even were 
 the words once learned many of them would after- 
 wards be forgotten, and that the results would not jus- 
 tify the labor involved. But experience will demon- 
 strate that such is far from being the case; if the words 
 are arranged in a systematic manner the task can be 
 accomplished with surprising facility. 
 
LITERATURE. DRAMA. DISCOURSE. 321 
 
 The author has prepared lists of more than four 
 hundred common nouns of different meaning, arranged, 
 it is believed, in the most advantageous, manner for 
 memorizing. All of these lists should be thoroughly 
 committed to memory before any associations with anec- 
 dotes are formed, and the way in w^hich this can be best 
 accomplished is by taking plenty of time in which to 
 do the memorizing of each list of words, and fully mas- 
 tering it before the next is even looked at. If ten or 
 fifteen minutes be spent each day in study and review 
 all the lists can easily be learned in a few weeks, when 
 the student will be ready for memorizing anecdotes. 
 
 The way to then proceed is as follows: On hearing 
 or reading an anecdote which it is desired to memorize, 
 take a prominent word therein, suggesting the main 
 idea (which word should be a common noun), and go 
 over the list mentally until a word is reached to which 
 the word selected to represent the anecdote is the most 
 closely related in meaning or suggestion; then asso- 
 ciate this word with the anecdote, and whenever the 
 word is afterwards met with in mentally reviewing the 
 list it will at once suggest the anecdote — and thus does 
 the latter become a permanent possession of the mem- 
 ory. 
 
 When a number of anecdotes are heard on the same 
 occasion it is well, while they are yet fresh in the mem- 
 ory, to write on a slip of paper the key word in each 
 anecdote which it is desired to memorize, and these key 
 words can afterguards be associated with the proper 
 
322 THE ART OF MEMORY. 
 
 words in the lists. It may sometimes happen that one 
 word can be used with which to connect several anec- 
 dotes; it is suggested however, to avoid possible con- 
 fusion, that no more than three or four anecdotes be 
 associated with any one word. 
 
 The general plan which has been adopted in ar- 
 ranging the lists is as follows: 
 
 First: Words of one and two syllables only have 
 been selected; and to facilitate their retention in the 
 memory the monosyllables have been put in one place 
 and the dissyllables in another. 
 
 Second: The first letter of every word is a con- 
 sonant. 
 
 Third: The second letter is a vowel. 
 
 Fourth: The words in each "group'' begin with 
 the same consonant. 
 
 Fifth: The first vowel in each of the words in a 
 *^set'' is identical. 
 
 Sixth: The first letter in the words of the various 
 groups in each list, used in connection with the proper 
 vowels, forms an acrostic. (A "list" is intended to 
 mean any collection of six or more words having one 
 key word or phrase; a "group" includes all the contig- 
 uous words in a list that begin with the same consonant 
 and which represent one of the acrostical letters or 
 words; a "set" consists of any three contiguous words 
 in a group of six or more words, whose first and second 
 letters are the same; the "sets" are confined to the first 
 and second lists of Monosyllables, and the first and 
 second lists of Dissyllables.) 
 
ANECDOTE. 323 
 
 Seventh : Words having the same vowel sound have, 
 as far as possible, been placed together, the long sound 
 of the vowel, where it occurs, being given first — as a 
 in "mate," e in "mete," i in "mite," o in "mote," and u 
 in "mute." 
 
 In all cases w and y are excluded. 
 
 Some of the acrostical words and sentences, when 
 considered by themselves and without reference to 
 their mission, may be thought extremely lacking in 
 suggestiveness; but it should be borne in mind that if 
 the simplicity of plan is to be preserved, the key words 
 must consist of such words as can be constructed out 
 of the material available; and if the construction is 
 such that the fewest possible number of key words are 
 employed, the task of memorizing them is reduced to 
 a minimum. Only 31 key words are used to connect 
 more than 400 common nouns, all of different meaning 
 and having no natural association with each other — 
 and if they are rendered easy of memorizing, it matters 
 little that the words which link them together may not 
 constitute pertinent phrases or sentences. 
 
 In List No. 1 of Monosyllables, it will be noticed 
 that there are nine groups, each containing three sets 
 of three words each, the second letter in each set of 
 words being a, e and i, respectively. 
 
824 
 
 THE ART OF MEMORY. 
 
 On inserting the proper vowels the first letter in 
 each group forms the acrostic 
 
 HONEST PKOBLEM. 
 
 MONOSYLLABLES. 
 
 
 
 List No. 1. 
 
 
 
 H«il 
 
 Head 
 
 Hive 
 
 H. 
 
 Haze 
 
 Helve 
 
 Hill 
 
 
 Harp 
 
 Heart 
 
 Hip 
 
 O. 
 
 
 
 
 
 Nail 
 
 Neck 
 
 Nile 
 
 N. 
 
 Nave 
 
 Nest 
 
 Nine 
 
 
 Nap 
 
 Nerve 
 
 Nip 
 
 E. 
 
 
 
 
 
 Saint 
 
 Seal 
 
 Sign 
 
 S. 
 
 Salt 
 
 Seat 
 
 Site 
 
 
 Saw 
 
 Serf 
 
 Siege 
 
 
 Tart 
 
 Tea 
 
 Tide 
 
 T. 
 
 Tank 
 
 Tear 
 
 Tie 
 
 
 Tax 
 
 Tent 
 
 Tile 
 
 
 Paste 
 
 Pen 
 
 Pine 
 
 P. 
 
 Palm 
 
 Pear 
 
 Pig 
 
 
 Pawn 
 
 Perch 
 
 Pin 
 
 
 Race 
 
 Ream 
 
 Rice 
 
 H. 
 
 Raid 
 
 Reef 
 
 Rind 
 
 
 Raft 
 
 Reel 
 
 Ring 
 
^py 
 
 
 
 ANECDOTE. 
 
 
 0. 
 
 Babe 
 
 Bead 
 
 Bike 
 
 B. 
 
 Barn 
 
 Beet 
 
 Bill 
 
 
 Bat 
 
 Bet 
 
 Bit 
 
 
 Lace 
 
 Leaf 
 
 Lid 
 
 L. 
 
 Lake 
 
 League 
 
 Lift 
 
 
 Lathe 
 
 Leap 
 
 Link 
 
 E. 
 
 
 
 
 
 May 
 
 Meal 
 
 Mine 
 
 M. 
 
 Mace 
 
 Meat 
 
 Mite 
 
 
 Maze 
 
 Mesh 
 
 Mill 
 
 325 
 
 List No. 2 consists of ten groups, each containing 
 two sets of three words each, the second letter in each 
 set being o and u. 
 
 When the proper Yow^els are inserted, the first letter 
 In each group forms the acrostic 
 
 CHAKMED STUDENT. 
 
 
 
 List No. 2, 
 
 
 
 Coat 
 
 
 Cube 
 
 c. 
 
 Cone 
 
 
 Cub 
 
 
 Core 
 
 
 Ct^fC 
 
 
 Hose 
 
 
 H?<b 
 
 H. 
 
 Hop 
 
 
 H^/11 
 
 
 Horn 
 
 
 Hwt 
 
 A. 
 
 
 
 
■v..,jp 
 
 326 
 
 THE ART OF MEMORY. 
 
 
 Roll 
 
 E. 
 
 Rome 
 
 
 Rope 
 
 
 Mop 
 
 M. 
 
 Moth 
 
 
 Moor 
 
 E. 
 
 
 
 Dome 
 
 D. 
 
 Dot 
 
 
 Doubt 
 
 
 Sore 
 
 S. 
 
 Soup 
 
 
 South 
 
 
 Toad 
 
 T. 
 
 Toast 
 
 TT 
 
 Toll 
 
 U. 
 
 Dog 
 
 D. 
 
 Doll 
 
 TT 
 
 Dove 
 
 Jli. 
 
 Nose 
 
 N. 
 
 Note 
 
 
 Notch 
 
 
 Top 
 
 T. 
 
 Tooth 
 
 
 Torch 
 
 Hug 
 
 Hum 
 
 Hut 
 
 M?ite 
 Mttsk 
 M^<st 
 
 D/m 
 
 Dimce 
 
 Di^sk 
 
 Sifit 
 
 Si^ite 
 
 ^un 
 
 Tune 
 
 Tun 
 
 Tu^k 
 
 Dwpe 
 D;<ck 
 T>uct 
 
 Nt^n 
 Nwt 
 Ni^rse 
 
 Tuft 
 Turf 
 Turk 
 
ANECDOTE. 
 
 327 
 
 In List No. 3 there are eight groups of three words 
 each, the second letter in each word being a, and, with 
 the proper vowels inserted, the first letter in each group 
 forms the acrostic 
 
 CLAM-FED SLAVE. 
 
 
 
 List No, 3. 
 
 
 
 Cake 
 
 
 Sack 
 
 c. 
 
 Cab 
 
 S. 
 
 Sand 
 
 
 Cat 
 
 
 Sash 
 
 
 Lass 
 
 
 Lad 
 
 L. 
 
 Last 
 
 L. 
 
 Lamp 
 
 
 Lath 
 
 
 Lance 
 
 A. 
 
 
 A. 
 
 
 
 Mail 
 
 
 Vane 
 
 M. 
 
 Mate 
 
 V. 
 
 Van 
 
 
 Map 
 
 E. 
 
 Vault 
 
 
 Fair 
 
 
 
 F. 
 
 Fan 
 Fall 
 
 
 
 E. 
 
 Dane 
 
 
 
 D. 
 
 Date 
 Dance 
 
 
 
328 
 
 THE ART OP MEMORY. 
 
 List No. 4 consists of six groups each of tliree words, 
 the second letter of each word being o. The first letter 
 of the various groups, when the proper vowels are in- 
 serted, forms the acrostic 
 
 PLOUGH CAE. 
 
 P. 
 
 L. 
 
 O. 
 U. 
 
 G. 
 
 Pole 
 Pore 
 Pot 
 
 Loaf 
 Lock 
 Log 
 
 Gong 
 
 Gorge 
 
 Gout 
 
 List No, If, 
 
 
 
 Coast 
 
 C. 
 
 Comb 
 
 
 Coil 
 
 A. 
 
 
 
 Eock 
 
 E. 
 
 Eod 
 
 
 Eouge 
 
 H. 
 
 Hood 
 Hook 
 Hoop 
 
ANECDOTE. 329 
 
 In the next five lists attention is called to the fol- 
 lowing features: 
 
 There are in each list two groups of three words in 
 each group; when the proper vowels are inserted the 
 first letter in each group forms the words 
 
 GAME, DALE, SAFE, FANE and GALE, 
 
 respectively, there being four letters in the key word 
 representing each list, the second and fourth letter be- 
 ing a e in each case. 
 
 The second letter in the words of the first list is a, 
 in the second list, e, in the third, i, in the fourth, o, and 
 in the fifth, ii. 
 
 These lists are as follows: 
 
 
 List No. 
 
 J. 
 
 Gage 
 
 
 March 
 
 Gauge 
 
 A. 
 
 Marsh 
 
 Gag 
 
 
 Mask 
 
 
 List No. 
 
 6. 
 
 Deer 
 
 
 Leash 
 
 Desk 
 
 A 
 
 Leech 
 
 Deuce 
 
 
 Lent 
 
 
 List No. 
 
 7. 
 
 Silk 
 
 
 Fife 
 
 Sill 
 
 A 
 
 File 
 
 Sink 
 
 
 Film 
 
 E 
 
 E 
 
 E 
 
330 
 
 THE ART OF MEMORY. 
 
 
 List No. 8. 
 
 Four 
 
 Nook 
 
 Fork 
 
 A Noon 
 
 Fox 
 
 North 
 
 
 List No. 9. 
 
 Gum. 
 
 Lime 
 
 Gun 
 
 A Jjiim-p 
 
 Guide 
 
 Liung 
 
 E 
 
 E 
 
 In the following list there are four groups, each 
 containing six words. The key word of each group 
 consists of four letters, ending in ST preceded by the 
 first four vowels in consecutive order. The kev words 
 are MAST, PEST, MIST, HOST. 
 
 / 
 
 
 List No. 
 
 10. 
 
 
 Mart 
 
 A 
 
 Safe 
 
 Tail 
 
 Match 
 
 Sail 
 
 Tape 
 
 Pea 
 
 E 
 
 Sect 
 
 Team 
 
 Peg 
 
 Seed 
 
 Text 
 
 Mint 
 
 I 
 
 Sieve 
 
 Tier 
 
 Mile 
 
 S/x 
 
 Tithe 
 
 Hoe 
 
 
 
 Soot 
 
 Tow 
 
 Hod 
 
 Sot 
 
 Tower 
 
ANECDOTE. 
 
 331 
 
 In the next list there are five groups of two words 
 in each group; the first letter of the words in each 
 group, with the insertion of the vowels o u form the 
 word "Four^^ in each case. 
 
 The second letter in the first group is a, in the sec- 
 ond group, e, in the third, i, in the fourth, o, and in the 
 fifth, u. 
 
 
 
 List No. 
 
 11, 
 
 
 
 arce 
 
 Fence 
 
 Fib 
 
 
 Font 
 
 Fwse 
 
 
 
 
 
 
 
 
 
 
 o 
 
 u 
 
 u 
 
 u 
 
 
 u 
 
 u 
 
 am 
 
 Eent 
 
 Kib 
 
 
 Kose 
 
 Eiesh 
 
 In List No. 1 of Dissyllables the same features will 
 be noticed that are in the first list of Monosyllables, 
 except that there are six groups instead of nine, the 
 acrostic being 
 
 • (■' 
 
 FAT LEOPAED. 
 
 DISSYLLABLES. 
 
 
 
 List No. 1. 
 
 
 
 Failure 
 
 Felon 
 
 Fiddle 
 
 F. 
 
 Farmer 
 
 Fender 
 
 Filter 
 
 A 
 
 Father 
 
 Ferret 
 
 Finger 
 
 J\., 
 
 Tariff 
 
 Teller 
 
 Ticket 
 
 T. 
 
 Tartar 
 
 Tempest 
 
 Tinker 
 
 
 Tattoo 
 
 Temple 
 
 Tinsel 
 
 23 
 
382 
 
 THE ART OF MEMORY. 
 
 
 Ladder 
 
 Lemon 
 
 Light-house 
 
 L. 
 
 Lattice 
 
 Leper 
 
 Lion 
 
 
 Lava 
 
 Levee 
 
 Lily 
 
 E. 
 
 
 
 
 0. 
 
 
 
 
 
 Paris 
 
 Pekin 
 
 Pickle 
 
 P. 
 
 Parrot 
 
 Persia 
 
 Picture 
 
 
 Patent 
 
 Peru 
 
 Pillow 
 
 A. 
 
 
 
 
 
 Eainbow 
 
 Eeview 
 
 Eiot 
 
 E. 
 
 Eazor 
 
 Eelict 
 
 Einglet 
 
 
 Eabbit 
 
 Eescue 
 
 Eiver 
 
 
 Dairy 
 
 Degree 
 
 Dial 
 
 D. 
 
 Dagger 
 
 Depot 
 
 Diamond 
 
 
 Dandy 
 
 Despot 
 
 Dipper 
 
 The features of List No. 2 are identical with those 
 in the second list of Monosyllables, except that there 
 are seven groups, instead of ten, the acrostic being 
 
 CEAFTY JUDGE. 
 
 0. 
 
 
 List No. 2, 
 
 
 Cobweb 
 
 
 Ci^ba 
 
 College 
 
 
 Cwdgel 
 
 Comet 
 
 
 Cuttev 
 

 ANECDOTE. 
 
 
 Romance 
 
 E?iby 
 
 E. 
 
 Eocket 
 
 Ei^bber 
 
 
 Eoorbach 
 
 Ewssia 
 
 A. 
 
 
 
 
 Focus 
 
 Fidcrum 
 
 F. 
 
 Football 
 
 Ft^rlong 
 
 
 Footstool 
 
 Ftfrlough 
 
 
 Topaz 
 
 Ttembler 
 
 T. 
 
 Tory 
 
 Tttrkey 
 
 
 Toilet 
 
 Tt^rtle 
 
 Y. 
 
 
 
 
 Joker 
 
 Juiy 
 
 J. 
 
 Jockey 
 
 Juggleir 
 
 
 Journal 
 
 Julj 
 
 Uo 
 
 
 « 
 
 
 Dogma 
 
 Dublin 
 
 D. 
 
 Dollar 
 
 Difchess 
 
 
 Dozen 
 
 Dwmb-bell 
 
 
 Gopher 
 
 Gt^sset 
 
 G. 
 
 Gotham 
 
 Giftter 
 
 
 Goggle 
 
 Gmnea 
 
 E. 
 
 
 
 333 
 
334 THE ART OF MEMORY. 
 
 List No. 3 is similar to the fourth list, of Monosyl- 
 lables, except that there are four groups, instead of sixj 
 the acrostic is 
 
 PLEBEIAN. 
 
 List No. S. 
 
 Poem 
 P. Porter 
 Pocket 
 
 Loadstone 
 L. Lobby 
 
 London 
 E. 
 
 Bolter 
 B. Bombay 
 
 Bottle 
 E. 
 I. 
 A. 
 
 Nomad 
 N. Norway 
 
 Nostrum 
 
ANECDOTE. 
 
 335 
 
 The next five lists are similar to Lists Nos. 5 to 9 of 
 Monosyllables. The words formed by the first letter 
 in each group, with the proper vowels inserted, are, 
 respectively, 
 
 FATE, HATE, SAGE, FACE and PACE. 
 
 
 List No, 
 
 ). 
 
 
 Famine 
 
 
 
 Tablet 
 
 Fashion 
 
 A 
 
 
 Tallow 
 
 Fathom 
 
 
 
 Tavern 
 
 
 List No, 
 
 0, 
 
 
 Hebrew 
 
 
 
 Tendon 
 
 Helmet 
 
 A 
 
 
 Tennis 
 
 Herald 
 
 
 
 Tenor 
 
 
 List No. 
 
 6, 
 
 
 Siphon 
 
 
 
 Giant 
 
 Siren 
 
 A 
 
 
 Gibbet 
 
 Sickle 
 
 
 
 Giraffe 
 
 
 List No. 
 
 7. 
 
 
 Forceps 
 
 
 
 Coral 
 
 Forest 
 
 A 
 
 
 Colonel 
 
 Forfeit 
 
 
 
 Cousin 
 
 
 List No. 
 
 8, 
 
 
 Pi/pil 
 
 
 
 Cwrler 
 
 Plodding 
 
 A 
 
 
 Ci^rrant 
 
 Pidpit 
 
 
 
 Certain 
 
 E 
 
 E 
 
 E 
 
 E 
 
 E 
 
336 
 
 THE ART OF MEMORY. 
 
 List No. 9 corresponds with the tenth list of Mono- 
 syllables, except that e a are the A^owels inserted, in- 
 stead of u, BEAM is the word formed by the first 
 letter of the words in each group. 
 
 
 
 List No. 9, 
 
 
 
 allot 
 
 Bellows 
 
 Bivalve 
 
 Boiler 
 
 Bifshel 
 
 e 
 
 e 
 
 e 
 
 e 
 
 e 
 
 a a a a a 
 
 Maelstrom Meerschaum Mirror Monkey Mifshroom 
 
 List No. 10 consists of six groups of two words in 
 each group. The second letter of each w^ord is the 
 vowel e. The key word is DEAM SHOP. 
 
 
 List No, 10, 
 
 
 
 Deluge 
 
 Reaper 
 
 A 
 
 Melon 
 
 Debate 
 
 Resin 
 
 J:\. 
 
 Meter 
 
 Sentry 
 
 Heathien 
 
 
 
 Pension 
 
 Sewer 
 
 Heron 
 
 Pepper 
 
 As a proper conclusion to this chapter a few anec- 
 dotes will now be related, to illustrate the application 
 of the foregoing method. 
 
 A certain sea captain w^ho was about starting on a 
 long cruise, determined to keep in his log-book a de- 
 tailed account of all that happened on the voyage. 
 It belonged to the first mate's duties to keep up this 
 
ANECDOTE. 337 
 
 record, which he did with due regard to all essential 
 particulars. One day when the ship was in port the 
 mate obtained leave to go ashore for a few hours, and 
 the captain agreed to keep up the log-book during his 
 absence. The mate improved the opportunity, to get 
 drunk, and returned to the ship at night in a decidedly 
 hilarious state. Next morning on looking at the log- 
 book he found the following entry, in the captain's 
 handwriting: 
 
 "First mate was drunk all day." 
 
 He protested to the captain against such an entry 
 being made a part of the record, insisting that it might 
 injure him. The captain, however, was obdurate, and 
 said : 
 
 "Is it not true?" 
 
 "Yes, but it was unnecessary to state it." 
 
 "I consider that it was necessary; I am simply car- 
 rying out my purpose to keep an accurate record of 
 what occurred on the voyage." 
 
 The mate had to submit, and made no further pro- 
 test. The next morning the captain, on looking at the 
 log-book, noticed the following entry: 
 
 "The captain was sober all day." 
 
 Filled with indignation, the captain demanded of 
 the first mate why he had made such an entry. 
 
 "That is the truth, isn't it?" 
 
 "Of course it is; but there w^as no use of stating it." 
 
 "But, sir, I was simply carrying out your instruc- 
 tions to keep a full record of everything that happened 
 on board!" 
 
338 THE ART OP MEMORY. 
 
 — The most significant word in the above anecdote 
 is "Log," which will be found in List No. 4 of Monosyl- 
 lables and second group. 
 
 Some years ago, during a season of unusually cold 
 weather at a frontier army post, the commanding officer 
 directed that limited rations of whiskey be issued to 
 his men. This order was by no means displeasing to 
 the garrison, and all went well until one day a soldier, 
 whom we will call Pat Maloney, was put in the guard- 
 house because of intoxication. The quantity of whis- 
 key allotted to each man was insufficient to produce 
 such a result, and a few inquiries developed the fact 
 that the soldier had stolen the ration of a comrade. 
 The commanding officer ordered the private to appear 
 before him on the charge of stealing. Pat promptly 
 appeared, and denied that he had stolen the w^hiskey, 
 but admitted drinking the double allowance, and his 
 subsequent drunkenness. When ordered to explain 
 Pat delivered himself in this wise: 
 
 "Now, sir, ye see, it was this way: Mike Rafferty 
 axed me to git his rations, an' I had me own requisition 
 an' only wan bottle, an' so Mike's ration had to be 
 poured atop o' mine. Now, sur, how could I help me- 
 self ? Me own whiskey was in the bottom o' the bottle, 
 an' how could I get at it but by dhrinkin' Mike's first? 
 I lave it to yees if that was a stalin' !" 
 
 — This anecdote would be easily suggested by the 
 word "Bottle," which will be found in List No. 3 of Dis- 
 syllables and the third group. 
 
ANECDOTE. 339 
 
 Here is an incident that is said to liave happened 
 during the civil war: 
 
 A zealous chaplain called on a certain Colonel, bet- 
 ter noted for his bravery than his piety, to talk about 
 the religious interests of his men. 
 
 "Colonel," said he, "from all accounts you have a 
 brave lot of men in your regiment." 
 
 "Well, sir, I think I have." 
 . "Do you think their religious instruction is fully 
 observed?" 
 
 "Well, I can't say as to that, sir." 
 
 "A great interest has been awakened in Col. Brown's 
 regiment, and ten men have been baptized." 
 
 "Is that so?" asked the Colonel. 
 
 "Yes, Colonel, it is true." 
 
 "Sergeant, have fifteen men detailed to be baptized; 
 I'll be hanged if Col. Brow^n shall get ahead of me!" 
 
 — The word "Eiver" would recall this anecdote; it 
 will be found in List No. 1 of Dissyllables, the fifth 
 group and third set. 
 
 In the old slavery days a darkey had a habit of ap- 
 propriating one of his master's turkeys every now and 
 then, for his Sunday dinner. He was caught one day 
 and brought before his master, who said sternly : 
 
 "Sambo, did you steal that turkey?" 
 
 "Well, sah, I can't 'zactly say ez I did steal it, but I 
 took it, sah." 
 
 "What did you mean by taking what didn't belong 
 to you?" 
 
340 THE ART OF MEMORY. 
 
 "Well, massa, I didn't see ez dar was any harm in 
 takin' it; it was only changin' de form of massa's prop- 
 erty — he has less turkey, but moah niggaliP^ 
 
 — The most important word in this anecdote is 
 "Turkey." It will be found in List No. 2 of Dissyl- 
 lables, the fourth group and second set. 
 
 An Irishman, whose chief occupation was poaching, 
 was being tried by a jury for stealing a goose. He was 
 about to be convicted on circumstantial evidence, when 
 a brother poacher, also an Irishman, appeared and tes- 
 tified that the goose was his, and had been ever since 
 it was a gosling. This testimony was so positive that 
 the jury had to bring in a verdict of acquittal. 
 
 Some time afterwards poacher No. 2 was arrested 
 and brought to trial on the charge of stealing a gun. 
 Just in the nick of time his friend appeared and whis- 
 pered in his ear: "Don't yez be afraid, Pat, I'll get ye 
 off;" whereupon he went into the witness-box and testi- 
 fied that the gun was his and had been ever since it was 
 a pistol! 
 
 — The word "Gun" would certainly recall the above 
 anecdote; it is in List No. 9 of Monosyllables, and the 
 first group. 
 
 A man in Texas was accused of stealing a horse. 
 The supposed culprit was promptly tried, found guilty 
 and lynched. Scarcely had this been done when the 
 lynchers found, to their horror, that they had hanged 
 the wrong man. Filled with remorse they started at 
 once for the home of the widow to break the sorrowful 
 news as gently as possible and implore forgiveness. 
 
ANECDOTE. 341 
 
 Arriving at the house the party entered, and the chair- 
 man, twirling his hat in his hand and very much em- 
 barrassed, accosted the widow thus : 
 
 "Marm, we've jest hung your husband fur stealin' 
 a hoss, an' come to find out, he aint the right man. 
 Thar aint no use o' talkin', niarm, the joke is on us I'' 
 
 — What more suggestive word to revive this anec- 
 dote than '^Gibbet;" which is in List No. 6 of Dissyl- 
 lables and the second group. 
 
 Here is another story of a somewhat similar char- 
 acter: 
 
 A premature explosion in a quarry killed one of the 
 workmen. One of his comrades was detailed to break 
 the sad news to the widow, and was expressly cautioned 
 to do so in as delicate a way as possible, as she was 
 known to be a very tender-hearted woman. Keaching 
 the home he spoke thus: 
 
 "Did ye hear that foine blast, mum?" 
 
 "Indade I did, and it frightened me." 
 
 "Sure, mum, and I wish I had been here to purtect 
 yez; it's a foine woman like ye I'd like to purtect as 
 long as I live, so I would." 
 
 "Wot do ye mane by talkin' like that, an' me mar- 
 ried to a foine man like Mike Flannigan?" 
 
 "Och, an' ye needn't moind about him any more, 
 mum — he was killed by the blast!" 
 
 — The word "Fuse would, easily suggest the above 
 anecdote; it is in List No. ik of Monosyllables and the 
 fifth group. 
 
 The story is told that Benjamin Franklin once ar- 
 
342 THE ART OF MEMORY. 
 
 rived at an inn on horseback, on a very cold day. Hitch- 
 ing his horse, he went inside to warm himself, but 
 found that he could not get anywhere near the fire, every 
 chair being taken. Turning to the hostler, he said: 
 ^'I wish you would get half a peck of oysters in the shell, 
 and feed to my horse." All the occupants of chairs at 
 once rushed out to see the horse eat oysters. The hostler 
 soon returned and said: "Why, sir, your horse won't 
 eat the oysters at all!'' 
 
 "Is that so?" said Franklin, now comfortably seat- 
 ed at the fireplace; "He don't know what's good; bring 
 'em to me then and I'll eat 'em!" 
 
 — In List No. 9 of Dissyllables, and the third group, 
 will be found the word "Bivalve," which is certainly 
 suggestive of the above anecdote. 
 
 Sydney Smith once presided at a meeting held to 
 raise a fund to complete a church. Just before the 
 contribution plates were passed around, the distin- 
 guished divine made an earnest appeal, stating the 
 urgent necessities of the case, and concluded by com- 
 plimenting Englishmen on their liberality and love of 
 their species. The appeal did not meet with a very 
 generous response, however, and as the witty minister 
 glanced at the lean looking plates, he arose and said: 
 
 "I desire to correct a statement made a few mo- 
 ments ago; I should have said that Englishmen are 
 noted for the love of their specie T^ 
 
 — The word "Dollar" would recall this anecdote to 
 mind; it will be found in List No. 2 of Dissyllables, the 
 sixth group and first set. 
 
ANECDOTE. 343 
 
 A prominent merchant in a certain city was impor- 
 tuned by his two hopefuls, aged respectively eight and 
 ten years, to buy them a dog, the chief reason urged 
 being that they would train him to be a good watch- 
 dog. The father finally consented and the dog was 
 duly procured, the boys forthwith taking the most live- 
 ly interest in his training. One evening not long after- 
 ward, the father happened to be out, and returned un- 
 usually late. The night was dark, and on reaching 
 home he was greeted in the most energetic fashion by 
 the dog, who treated him with such marked discourtesy 
 that he was confined to the house for several days. On 
 the day after the adventure, one of his business part- 
 ners called to inquire if any mishap had befallen him. 
 He was met at the door by one of the youthful dog 
 trainers, who told him the particulars of the unfortu- 
 nate occurrence, upon which the caller expressed his 
 regret at the mishap, and remarked that it was a most 
 unpleasant experience for the father. 
 
 ^'Yes,'' said the enterprising youth, "it was pretty 
 tough on dad, of course — but then, you know, it was 
 great practice for the dog!" 
 
 — Surely nothing could be more suggestive of this 
 anecdote than the word "Dog," which will be found in 
 List No. 2 of Monosyllables, the eighth group and first 
 
 set. 
 
 A story is told of a Hebrew gentleman on his death- 
 bed. His physician was in attendance and had just 
 conveyed to his patient the unwelcome tidings that his 
 case was hopeless. 
 
344 THE ART OF MEMORY. 
 
 ii- 
 
 'Vell, doctor," said the latter, "if I must die, I die 
 gontendet anyhow — my life vas insuret for ten tousand 
 dollars/' 
 
 '^Well, that will leave your wife and family in very 
 comfortable circumstances, the assurance of which will 
 of course be a great comfort to you. Now, by admin- 
 istering powerful tonics I can probably keep you alive 
 for a week or so longer.'' 
 
 "For Heaven's sake, doctor, don't do it; der bremium 
 comes due der day after to-morrow !" 
 
 — The above anecdote will be readily recalled by 
 the word Hebrew, which occurs in List No. 5 of Dissyl- 
 lables, and the first group. 
 
 An Irishman was arrested on the charge of commit- 
 ting some grave criminal act, and on being brought be- 
 fore the court felt very uneasy, and complained bitterly 
 that he should be placed in such an awkward position 
 so far from his home and friends. The Judge, a very 
 kind-hearted man, said to the prisoner: 
 
 "Young man, you are arrested on a very grave 
 charge, but you can rest assured, although among 
 strangers, full justice will be done you." 
 
 "Upon me word," groaned Pat. "an' it's the fear of 
 that same that throubbles me!" 
 
 — This anecdote would be easily revived through 
 the word "Felon," which may be found in List No. 1 of 
 Dissyllables, the first group and second set. 
 
 An Irish student, who was attending the University 
 of Edinburgh, called upon a celebrated teacher of the 
 harp, and asked his terms for giving a few lessons. The 
 
ANECDOTE. 345 
 
 harp-teacher told him that his customary charges were 
 two guineas for the first month and one guinea for the 
 second. 
 
 "Then, be me sowl/' replied the quick-witted Hi- 
 bernian, "I'll come in the second month!" 
 
 — The word "Harp'' would suggest this anecdote; it 
 will be found in List No. 1 of Monosyllables, the first 
 group and first set. 
 
 A well-to-do Kentuckian, who was interested in 
 quite a number of industries, among them being that of 
 running a distillery, was attending church one Sunday, 
 when the minister preached a powerful sermon against 
 the evils of intemperance. After the services were 
 over, one of the Kentuckian's friends approached and 
 said: 
 
 "Well, Colonel, the preacher gave a pretty strong 
 talk on a subject that interests you, didn't he?" 
 
 "Oh! well, I didn't mind that — It's a mighty poor 
 sermon that don't hit me somewhere!" 
 
 — This anecdote would be remembered by the word 
 "Rum," which is in List No. 2 of Monosyllables, the 
 third group and second set. 
 
 In a crowded tavern a Judge and an Irishman were 
 obliged to occupy the same bed. 
 
 "Well, Pat," said the Judge; "you would have had 
 to stay a long time in Ireland before you could have 
 slept with a Judge." 
 
 "Yes, an' yer honor would have to stay a long time 
 in Ireland afore you'd ha' hen a Judge!" 
 
 — The word "Tavern" would easily suggest the 
 
346 THE ART OF MEMORY. 
 
 ^ 
 
 above anecdote; it will be found in List No. 1 of Dis- 
 syllables, and the second group. 
 
 "Is your father at home?" asked a man of a boy. 
 "No, he's down town, but you'll find the grindstone 
 out in the shed.'' 
 
 "Why, I don't want to use the grindstone; what 
 makes you think I did?" 
 
 "Oh! because pa says you never come here unless 
 you have an axe to grind!" 
 
 — This anecdote would be easily suggested by the 
 ivord "Helve," which is in List No. 1 of Monosyllables, 
 the first group and second set. 
 
 A certain wag who was somewhat awkward 'in his 
 movements, when at a ball was accosted by a man in 
 a state of intense excitement, who said: 
 
 "Sir, you stepped on my partner's foot just now, and 
 I demand satisfaction!" 
 
 "All right; my wife sits over there; you can go and 
 step on her foot!" 
 
 — The word "Dance" would recall the above anec- 
 dote; it will be found in List No. 3 of Monosyllables 
 and the fifth group. 
 
 The foregoing anecdotes will illustrate the method 
 of memorizing anecdotes which has been set forth in 
 these pages. It is not to be supposed that the lists 
 given will always contain the precise word which is 
 the duplicate of the key-word representing the anec- 
 dote — it is not necessary that they should: a simple 
 Musion will impress the anecdote on the memory so 
 
ANECDOTE. 347 
 
 that it may be recalled at will. Thus, if an anecdote 
 were told about a horse, the word "Jockey'^ would be 
 a sufficient allusion; ''Dairy" w^ould be an ample re- 
 minder of a story about a cow; ''Cutter" would suggest 
 snow; "Hull" would suggest a ship; "Hive" would re- 
 mind one of bees or honey; "Curler" would suggest ice, 
 and "Hop" ale or beer; "Focus" would indicate a tele- 
 scope, and "Loadstone" a compass; "Last" would sig- 
 nify a shoe, and "Goggle" an eye; "Pawn" would sug- 
 gest chess, and "Mite," cheese; "Razor" would indicate 
 a barber, and "Nostrum" a doctor; "Gong" would sug- 
 gest a bell, "Rut" a road, and "Toll" a bridge or ferry; 
 *'Lent" would refer to any denomination w^hich ob- 
 serves it; the name of a city will suggest the country 
 in which it is located — or that of a country an inhabit- 
 ant of it. 
 
 One thing may also suggest its opposite; thus a 
 dwarf may be indicated by "Giant," a teacher by "Pu- 
 pil," or a vassal by "Despot;" "Noon" would signify 
 midnight, and "July," January; "Tear" might suggest 
 a smile, "Doubt," certainty, and "Farce" a tragedy; 
 ^'Gorge" would indicate a mountain, "Forest," a plain, 
 and "River" a brook; "Dome" would refer to a cellar, 
 ^'Hut" to a mansion, and "Famine" to a feast; a zephyr 
 would be suggested by "Tempest," genius by "Dunce," 
 success by "Failure" — and so on. 
 
 It may sometimes happen that either one of several 
 words w^ould answer to form an association with an 
 anecdote, and it may be thought that confusion would 
 
 26 
 
348 THE ART OF MEMORY. 
 
 be likely to result on that account — but such is not 
 the case; each anecdote becomes identified, not only 
 with the word itself, but also with its location in the 
 particular list to w^hich it belongs, and as the word is. 
 recalled the proper anecdote with which it is associated 
 is at once recognized. 
 
 Through the aid of these lists Riddles, Charades, 
 Conundrums, etc., may also be memorized, and he who 
 wishes can easily carry in his memory a suppl}^ ample 
 for all occasions. 
 
 The student can rely implicitly on the entire practi- 
 cability of the foregoing method; it has undergone the 
 most thorough experiment, and has proved to be the 
 only reliable method of accomplishing the desired pur- 
 pose; without this method, or one similar to it, com- 
 paratively few anecdotes can be effectually retained 
 in the memory, and those can be brought forth only by 
 aid of a chance allusion now and then; with it, every 
 anecdote that has ever been memorized can be recalled 
 at will. 
 
CHAPTER XV. 
 
 DICTION. 
 
 "I can repeat whole books that I have read, and poems of some 
 selected friends, which I have liked to charge my memory with." 
 
 Ben Jonson. 
 
 "It is impossible for a man to be a great writer or speaker with- 
 out a great memory; and it must have, besides other qualities, that 
 
 of being a verbal one." 
 
 Prof. Mathews. 
 
 Memory of Diction, or "Verbal" memory, is the 
 power of recollecting anything uttered or written, in 
 the precise diction in which it was originally heard 
 or read. While the term "Verbal Memory'' may in- 
 clude, in its general application, all spoken or w^ritten 
 language, of whatever form, character, or quality, yet 
 it will be here applied only to that class of literary 
 production which is of more than ordinary merit and 
 worthy to be treasured in the memory in its exact 
 terms. 
 
 A memory replete with noble and beautiful 
 thoughts culled from the teeming treasury of litera- 
 
 (349) 
 
850 THE ART OF MEMORY. 
 
 ture, cannot but confer on its possessor a perennial 
 inspiration and delight beyond the power of language 
 to portray. Who that can recall word for word even 
 a few of the rare gems of literature does not earnestly 
 wish that he were equally familiar with many more? 
 Happily, in the memorizing of the choice thoughts of 
 master minds desire increases with acquisition, and as 
 new treasures are gained the mind expands and its 
 best impulses are quickened. He who has garnered 
 in his memory an abundant store of precious thoughts 
 and glowing fancies, may well felicitate himself that 
 the effort which he has thus devoted to the enrichment 
 of his mind will be compensated for an hundred-fold 
 throughout the years of life. Often in moments of 
 sweet communion with the past there will be mirrored 
 in the imagination the subtle thought, the glowing 
 sentiment, the gorgeous imagery that once burst forth 
 from the soul of genius into living language, to never 
 be obliterated from the page of literature or the mem- 
 ories of men, but to ever shine resplendent in the realm 
 of Thought and Fancy through the untold years of 
 Time. 
 
 Only the best and greatest products of the human 
 intellect deserve a permanent place in the memory; 
 they may be serious, or they may be humorous, so that 
 they are of the best of their kind. The mission of the 
 humorous is to divert, that of the serious is to exalt; 
 the former may soothe and cheer the heart that is 
 weary or sad, the latter expands the sensibilities; it 
 
DICTION. 351 
 
 exalts, it inspires; it furnishes food for profound reflec- 
 tion; it unfolds the higher powers of the mind and 
 heart. 
 
 There are some people in whom the possession of 
 good ^^verbal memory'' seems inherent; they can "learn 
 by heart" with ease, and their power of retention is 
 such that they are able to reproduce, almost at will, 
 with scarce an exception, everything which they have 
 ever committed to memory. Others have great diffi- 
 culty in recollecting in its exact terms anytliing which 
 they have read, although they may be able to recall 
 the suhstance of what they read quite distinctly. It 
 seems as if a strong imaginative faculty is a prerequi- 
 site to the possession of good "verbal memory,'' that 
 the two are inseparably related; it is at least certain 
 that the gift of good "verbal memory" is almost in- 
 variably associated with a lofty sense of the noble and 
 beautiful in language, with a love of tender sentiment, 
 of profound thought, of all that constitutes grace and 
 grandeur of expression; it is also true that a weak 
 verbal memory can be strengthened to a surprising 
 degree, which must also expand the capacity of appre- 
 ciating the power and the beauty of form into which 
 language can be moulded. Actors, elocutionists, and 
 opera-singers, from the nature of their vocation, ac- 
 quire great proficiency in the art of "Verbal Memory;" 
 and not a few lecturers, ^clergymen, and others who 
 speak in public memorize their discourses throughout, 
 which may be considered the very acme of proficiency 
 
352 THE ART OP MEMORY. 
 
 in the art of ^'Verbal Memory," as it is commonly much 
 less difficult to memorize another's thoughts than 
 one's own, the familiarity with the latter being a hin- 
 drance rather than a help, to their memorizing. 
 
 In ancient times, when there were few writings, 
 most remarkable memory powers were often attained. 
 The Eig-Vedas, the sacred book of the Brahmans, con- 
 taining more than 150,000 words, were preserved 
 orally, and handed down from generation to generation 
 in the same manner for thousands of years, and to-day 
 there are many thousands of Brahmans who, if all the 
 written copies of the Hindoo religious books should 
 be destroyed, could replace them from memory, word 
 for word. 
 
 In modern times many instances are recorded of 
 strong powers of ^^verbal memory," and it will be in- 
 teresting to cite some of the most notable examples. 
 
 Thomas Fuller was known as a "perfect walking 
 library." It is said that he could repeat five hundred 
 disconnected words after hearing them twice, and a 
 sermon after one hearing. 
 
 The distinguished Wesleyan divine, Adam Clarke, 
 had such a phenomenal memory, even when a boy, that 
 after listening to a sermon lasting an hour he could 
 go home and repeat the whole, word for word. 
 
 Bishop Jewell, who lived in the sixteenth century, 
 could repeat anything that he had written, after one 
 perusal. He was known to commit his whole sermon 
 to memory after the first church bell had commenced 
 ringing. 
 
DICTION. 853 
 
 John Wyndham Bruce, a noted classical scholar, 
 knew all the plays of ^Eschylus by heart, and could 
 name from memorj^ the exact location of any line in the 
 Odes of Horace. 
 
 Rev. E. Coleridge memorized the entire works of 
 Homer, Horace, and Virgil. 
 
 Gilbert Wakefield, a theologian and savant, knew 
 by heart the works of Virgil and Horace, nearly all of 
 Homer and Pindar, and entire books of the Old and 
 New Testament. 
 
 It is stated on the authority of Rev. B. J. Johns, 
 chaplain of the Blind Asylum, London, that a young 
 man who was an inmate of the institution could repeat 
 not only the whole of the 150 Prayer-book Psalms and 
 a large number of other psalms and hymns, but also 
 a great many modern poems, including Goldsmith's 
 ^'Deserted Village,'' and the whole of ''Paradise Lost," 
 with all the marginal notes and Milton's biography. 
 
 Francisco Suarez, a noted Jesuit, author of several 
 religious and philosophical works, is reputed to have 
 known by heart the whole of St. Augustine's writings, 
 comprising eleven large folio volumes. In a sketch 
 of Suarez' life which accompanied his works, it is 
 stated that if any portion of St. Augustine were mis- 
 quoted in his hearing he could at once, from memory, 
 give the correct quotation and its location, no matter 
 what the subject might be. 
 
 Lord Macaulay, on one occasion when crossing the 
 Irish Channel, repeated to himself the whole of 'Tara- 
 
354 THE ART OF MEMORY. 
 
 dise Lost.'' At another time, while waiting for a post- 
 chaise, he happened to pick up a country newspaper 
 containing two poems, named ^^Reflections of an Exile," 
 and ^^Parody on a Welsh Ballad." He read them 
 through once, and never gave them a further thought 
 for forty years, when he repeated them both without 
 the omission of a single word. 
 
 Dr. Samuel Johnson had a power of ^^verbal mem- 
 ory" that often astonished his best friends. His friend 
 Dr. Hawkesworth had just completed a poem called 
 "Ode on Life." Being invited to visit a friend in the 
 country, he took the poem with him, for the purpose of 
 reading it to his friends and re-touching it where neces- 
 sary. Dr. Johnson was also one of the party, and the 
 author read the poem to him and asked his opinion of 
 it. The doctor replied that he couldn't properly de- 
 termine on hearing it read once, and requested a sec- 
 ond reading. Dr. Hawkesworth complied, after which 
 Johnson read the poem himself, complimented the 
 author very highly and returned it. While at break- 
 fast the next morning the subject of the poem was 
 naturally a prominent topic of conversation, and John- 
 son, after expressing his hearty admiration of it, said 
 that he had only one criticism to make, which was that 
 he had doubts of its originality. Hawkesworth, feel- 
 ing very much nettled, challenged his friend for proof 
 of the truth of that assertion, who thereupon repeated 
 the whole poem (which was not a short one), omitting 
 only a few lines. On being asked what he had to say 
 
DICTION. 355 
 
 now, Hawkesworth replied: "I have only this to say: 
 that I shall never again recite a composition of mine 
 in your presence, for you have a memory that would 
 convict an author of plagiarism in any court of litera- 
 ture in the world!'' 
 
 Pierre Gassendi, a French philosopher, who was ap- 
 pointed professor of rhetoric at Digne, at the age of six- 
 teen could recite 6,000 Latin verses from memory. As 
 an exercise he used to repeat every day 600 verses 
 from different languages. 
 
 Antoine Muretus, a noted French humorist, tutor 
 to Montaigne, relates that in the course of his travels 
 about Europe he met at Padua a young Corsican 
 named Molino, who was prosecuting his law studies 
 at the university, and was reputed to possess an ex- 
 traordinary gift of memorizing disconnected words. 
 Molino consented willingly to undergo a test of hi^ 
 powers, to be applied by three distinguished Venetians. 
 The young Corsican stood all the while with his atten- 
 tion deeply fixed and his eyes half closed. They read 
 to him Latin and Greek; barbarous, significant, and 
 non-significant words until wearied. Molino without 
 the slightest hestitation repeated them all correctly, 
 both forward and backward. Then, to show how thor- 
 oughly his memory had retained every word, he re- 
 peated each alternate word — the first, third, fifth, 
 and so on, until his listeners were thoroughly con- 
 vinced that the reports which had reached them con- 
 cerning the young Corsican's powers had not been ex- 
 
-356 THE ART OF MEMORY. 
 
 aggerated. He then stated that he could memorize 
 36,000 disconnected words and retain them a year. On 
 being questioned as to how he had developed such a 
 wonderful faculty, he replied that he had learned the 
 art from a French teacher on mnemonics. 
 
 Coming down to more recent times we learn that 
 Justice Story, Clay, Calhoun, Sumner, Edward Ever- 
 ett, Wendell Phillips, Secretary Stanton, Conkling, 
 Blaine and other distinguished men had remarkable 
 verbal memories. Stanton could repeat any named 
 chapter from almost any of Dickens' books. One of 
 Judge Story's intimate friends said that his brain was 
 a "gigantic reference library." Conkling could repeat 
 selections from the classics by the hour. His principal 
 speeches were carefully committed to memory, the 
 memorizing of his great speech in New York during 
 the Garfield campaign being an especially wonderful 
 achievement. 
 
 Blaine generally knew, before delivering an impor- 
 tant speech, exactly what he was going to say and 
 how he was going to say it. On the occasion of his 
 last appearance in Eochester, New York, he sent for an 
 expert stenographer, who came to Mr. Blaine's private 
 room in the hotel, where the ex-Secretary, slowly pac- 
 ing back and forth in the room, deliberately thought 
 out and dictated a speech. A type- written copy of the 
 reporter's notes was taken to the newspaper offices, 
 and a few hours later the distinguished statesman de- 
 livered the speech, word for word, as previously re- 
 
DICTION. 357 
 
 ported. Between the time when the speech was dic- 
 tated and its delivery, Mr. Blaine received many call- 
 ers, and his thoughts were more or less diverted in 
 other ways, but his memory did not fail him in the 
 slightest. Blaine often repeated whole bills under dis- 
 cussion, after one reading. 
 
 Col. John E. Fellows had a phenomenal memory. 
 In the most prolonged and intricate cases he took no 
 notes whatever of the testimony, depending entirely 
 on his memory to review the same at the proper time, 
 which he invariably did with the most unfailing accu- 
 racy. He possessed a remarkable verbal memory also. 
 Scott was his favorite author, from whose works he 
 could quote, off-hand, for hours at a time. He could 
 recite the whole of ^'Marmion'' and '^Lady of the Lake,'' 
 which he had committed to memory in two or three 
 readings. 
 
 In June, 1896, John G. Carlisle, Secretary of the 
 Treasury, delivered an address at the Auditorium in 
 Chicago, which consisted of nearly 10,000 words, in- 
 cluding numerous and extensive marshalings of groups 
 of figures, setting forth many columns of percentages 
 and requiring for its argument ratios and equations 
 relating to wages, values of commodities, the fluctua- 
 tions of currency, and voluminous statistics affecting 
 labor and life in various countries. The address was 
 delivered without reference to manuscript, or even to 
 notes, except in two instances of minor importance, 
 and was delivered without hesitation, in an earnest 
 
858 THE ART OF MEMOKY. 
 
 and forcible manner. The entire speech was in print 
 before Mr. Carlisle appeared on the platform, and not 
 a word was altered in the delivery. 
 
 In the same year a revivalist named William Cul- 
 len Hicks astonished the people in various parts of 
 Kentucky, where he was preaching, by his familiarity 
 with the Bible. He could recite the whole Bible, with 
 the exception of the Psalms. He could start at any 
 part of any chapter and go either forward or back- 
 ward without hesitation. 
 
 An instance of remarkable precocity is that of Ethel 
 Carroll, of Oakland, Cal. In 1896, when four years of 
 age, she was taken to an entertainment and after its 
 conclusion was asked if she remembered a certain reci- 
 tation, remarkable for its length and beauty; without 
 the slightest hesitation she recited the whole piece cor- 
 rectly. She can recall, weeks and even months after- 
 wards, every word of a conversation, however long, 
 including all the names, dates, and figures mentioned. 
 
 Many other examples of strong "verbal memory" 
 might be given, but the above will suffice for purposes 
 of illustration. In considering the cultivation of Mem- 
 ory of Diction, one of the first questions to arise is: 
 "Which is the less difficult to memorize. Poetry or 
 Prose?'' Poetry is memorized with less difficulty than 
 Prose, for two reasons: Poetry has Ehyme and Ehythm 
 — neither of which is possessed by Prose. Poetry will 
 therefore be considered first. In order that the student 
 may prosecute intelligently and systematically the 
 study and practice of memorizing poetry, he should 
 
DICTION. 359 
 
 be well acquainted with the details of poetical form 
 and construction — an outline of which may be useful 
 to some students and is here given. 
 
 Poetry may be divided into two classes, Verse and 
 Blank Verse. 
 
 Verse is metrical language which rhymes. 
 
 Blank Verse is metrical language without rhyme. 
 
 Verse possesses three properties: Ehythm, Meter, 
 and Khyme. 
 
 Ehythm is the periodical recurrence of accent. 
 
 Meter is the measure of such accent. 
 
 Ehyme is repetition of sound in the last accepted 
 syllables or words in two or more lines of a stanza. 
 
 Every line of Verse consists of one or more divi- 
 sions or measures, each properly containing one ac- 
 cented syllable or word, together with either one or 
 two unaccented syllables or words. Each of such 
 divisions is termed a Poetical Foot; the number of 
 poetical feet in each line of a stanza in Verse deter- 
 mines the kind of Meter. 
 
 There are four kinds of Poetical Feet: the Iambus, 
 the Trochee, the Anapest and the Dactyl. 
 
 An Iambus consists of two syllables, the second one 
 being accented, as Delay, Convey. 
 
 A Trochee consists of two syllables, the first one 
 being accented, as Tempest, Sunshine. 
 
 An Anapest consists of three syllables, the last one 
 being accented, as We rejoice; It is night. 
 
 A Dactyl consists of three syllables, the first one 
 being accented, as Beautiful, Theatre. 
 
860 
 
 THE ART OF MEMORY. 
 
 There are also other poetical feet — such as the 
 
 Spondee, which consists of two long syllables, as Dark 
 
 days — the Pyrrhic, consisting of two short syllablesr— 
 
 and others seldom used. 
 
 The various kinds of meter are as follows: 
 
 Monometer is a line of one foot, as: 
 
 Fearfully, 
 Tearfully, 
 
 Dimeter is a line of two feet, as: 
 
 'Touch her not 
 Think of her 
 
 scornfully, 
 mournfully;" 
 
 Trimeter is a line of three feet, as: 
 
 'I am out I of human 
 I must tin ish my iour 
 
 ity's, reach, 
 ney alone;" 
 
 Tetrameter is a line of four feet, as : 
 
 "There is no death! the stars go down 
 To rise upon some fair er shore;" 
 
 Pentameter is a line of five feet, as: 
 
 'Tnie wit 
 What oif t 
 
 IS na 
 
 was thought, 
 
 ture to ] advan | tage dresised, 
 but ne'er ! so w^ell 1 expressed." 
 
 Hexameter is a line of six feet, as: 
 
 'His heart 
 He sits 
 
 is sad, 
 
 and mourns 
 
 his hope 
 in si 
 
 IS gone, 
 lent grief 
 
 his light 
 the ling' 
 
 is passed; 
 ring day." 
 
 Heptameter is a line of seven feet, as: 
 
 tie boat 
 
 '•Loud hissed 
 But fast 
 
 the sea 
 er still 
 
 beneath 
 the rush 
 
 her lee, 
 ing storm 
 
 my lit 
 came borne 
 
 upon 
 
 Octometer is a line of eight feet, as: 
 
 And the 
 
 Raven, 
 
 never 
 
 flitting, 
 
 still is 
 
 sitting, 
 
 still is 
 
 On the 
 
 pallid 
 
 bust of 
 
 Pallas, 
 
 just a 
 
 bove my 
 
 chamber 
 
 flew fast; 
 the blast.'" 
 
 sitting 
 door." 
 
DICTION. 
 
 361 
 
 Each of the forms of meter above named refers to 
 a single line of verse, and no more — the number of feet 
 in one line not necessarily being the same as in an- 
 other. 
 
 In Iambic Verse there is what is known as Long^ 
 Short, and Common Meter, the terms being used chiefly 
 in connection with church music, a stanza consisting 
 of either four or eight lines — usually the former. 
 
 A Lono- Meter stanza contains four feet in each 
 line, as: 
 
 'Oh! ev 
 
 er thus, 
 
 from child 
 
 hood's hour 
 
 I've seen 
 
 my fond 
 
 est hopes 
 
 decaj-; 
 
 Inev 
 
 er loved 
 
 a tree 
 
 or flower 
 
 But 'twas 
 
 the first 
 
 to fade 
 
 away." 
 
 In a Short Meter stanza the two first lines and the 
 last contain three feet each, and the third line four 
 
 feet, as: 
 
 
 
 "Beyond 
 
 this vale 
 
 ■of tears 
 
 There is 
 
 a life 
 
 above. 
 
 Unmeas 
 
 ured by 
 
 the flight 
 
 And all 
 
 that life 
 
 is love." 
 
 of years; 
 
 In a Common Meter stanza the first and third lines 
 contain four feet each, and the second and fourth lines 
 three feet each, as: 
 
 AJi, hap 
 
 py hills ! 
 
 ah, pleas 
 
 ing shade! 
 
 Ah, fields 
 
 beloved 
 
 in A^ain ! 
 
 
 Where once 
 
 my care 
 
 less child 
 
 hood strayed, 
 
 A stran 
 
 ger yet 
 
 to pain!*' 
 
 
 A poem is rarel}^ found which is absolutely free 
 from all irregularity to its Ehythm, Meter and Khj^me: 
 There are lines in which the rhythm is not entirely uni- 
 
362 
 
 THE ART OF MEMORY. 
 
 form, or where there is either an excess or lack of syl- 
 lables — or there may be other irregularities. This does 
 not necessarily indicate, however, that a lack of talent 
 or genius is evinced in the composition of the poem; 
 the vocabulary of the language may be insufficient to 
 meet the demands of perfect versification — and thus 
 advantage must needs be taken of poetical license, 
 which by universal agreement, requires, and is given, 
 the widest possible range. 
 
 The following are examples of perfect verse, in each 
 of the four kinds: 
 
 'Here rests 
 
 his head 
 
 
 upon 
 
 the 
 
 lap 
 
 of earth, 
 
 A youth 
 
 to for 
 
 — 
 
 ence frowned 
 
 tun-e and 
 not on 
 
 to fame 
 his hum 
 
 unknown; 
 
 Fair Scl 
 
 ble birth, 
 
 And mel 
 
 anchol 
 
 y marked 
 
 him for 
 
 her own." 
 
 "Fare thee 
 
 weel, thou 
 
 first and 
 
 fairest! 
 
 Fare thee 
 
 weel, thou 
 
 best and 
 
 dearest ! 
 
 Thine be 
 
 ilka 
 
 joy and. 
 
 treasure. 
 
 Peace, en 
 
 ioyment. 
 
 love, and 
 
 pleasure." 
 
 "When I think 
 
 of my own 
 
 nat 
 
 iveland, 
 
 In a mo 
 
 ment I seem 
 
 to 1 
 
 3e there!" 
 
 "Malve no deep 
 
 scrutiny 
 
 
 
 lnt< 
 
 D h 
 
 er 
 
 
 mutir 
 
 ly:" 
 
 
 
 The examples are legion in poetry of the first order 
 in which some of the features belonging to perfect verse 
 are wanting; but the beauty and grandeur of the senti- 
 ment amply compensate for all deviation from strict 
 form. The limitations to perfect poetical expression 
 
DICTION. 363 
 
 are so severe that the composition in faultless meter 
 of a worthy poem of ordinary length, is hardly pos- 
 sible of accomplishment; and there is a just limit, too, 
 to the sacrifice of thought to form; if the rules of rhyme 
 be not violated and there be a proper distribution of 
 accent, the addition or omission now and then of a syl- 
 lable from an exact metrical arrangement, and even the 
 occasional adoption of certain other forms of poetical 
 license, do not impair the real worth of the poem; these 
 very deviations from a strict standard may, if care- 
 fully noted, be utilized both in the impression of the 
 poem on the memory, and its recollection in the future. 
 
 Generally speaking, Iambic is the most natural and 
 majestic of the various kinds of Yerse, and it contains 
 less technical imperfections than any other form. 
 
 Khythmical Prose is almost invariably written in 
 Iambic, as the works of Shakespeare and other great 
 dramatists amply illustrate — that being the only form 
 which is adapted to the production of such class of lit- 
 erature. 
 
 In Iambic Verse it not infrequently happens that 
 the first foot of a line is a Trochee, the accent being 
 reversed, as: 
 
 •'Errors 
 He who 
 
 like straws 
 would search 
 
 upon the 
 for Dearls 
 
 sur 
 must dive 
 
 face flow: 
 below." 
 
 Next to Iambic, Trochaic Verse is perhaps the most 
 €ommonly employed; it is somewhat more difficult to 
 compose than Iambic, the vocabulary of rhyming 
 w^ords being much less in the former case than in the 
 
 27 
 
364 
 
 THE ART OF MEMOEY. 
 
 latter on account of the difference in accent. In pure 
 Trochaic verse the last foot of each line must usually 
 consist of a dissyllable — while in Iambic it may be com- 
 posed of either one or two words, and is quite as likely 
 to be one as the other; thus there is a much larger 
 list of rhyming words to select from in the latter case. 
 In Trochaic Yerse, as it is generally written, the 
 last measure of the even lines contains only one syl- 
 lable, which renders the rhythm more euphonious than 
 if every line ended with a full Trochee. The follow- 
 ing illustrates the form of Trochaic Yerse most com- 
 monly used: 
 
 "EngiaDd's 
 
 sun was 
 
 slowly 
 
 setting 
 
 O'er the 
 
 hills so 
 
 far a 
 
 way, 
 
 Filling 
 
 all the 
 
 land with 
 
 beauty, 
 
 At the 
 
 clo®e of 
 
 one sad 
 
 day." 
 
 Sometimes the odd lines end also with a foot con- 
 taining only one syllable, which is called "Single- 
 rhymed" Trochaic, as: 
 
 "One kind 
 Drop a 
 Though we 
 
 Till we 
 
 kiss he 
 
 fore we 
 
 tear and 
 
 bid a 
 
 sever. 
 
 my fond 
 
 meet shall 
 
 pant for 
 
 part, 
 dieu; 
 heart 
 you." 
 
 Among the examples of perfect Trochaic Yerse 
 without rhyme, perhaps the most notable is Longfel- 
 low's "Hiawatha," an extract from which is here given: 
 
 "Thus departed Hiawatha 
 To the land of the DacotaJis, 
 To the land of handsome women; 
 Striding over moor and meadow 
 Through interminable forests, 
 Through uninterrupted silence." 
 
DICTION. 
 
 365 
 
 Anapestic Yerse, while perhaps more difficult to 
 compose than Trochaic, is much less so than Dactylic. 
 In the former case the measures are u.sually complete, 
 although it is allowable for the first foot of an Ana- 
 pestic line to be an Iambus, as: 
 
 "So sweet 
 I thought 
 
 ly slie bade 
 that she bade 
 
 me adieu 
 me return. 
 
 Dactylic Yerse is the most difficult of all to com- 
 pose, and comparatively few poems are written in 
 that form. As in Trochaic Yerse, there is usually but 
 one syllable in the last foot of even lines, as: 
 
 "One more un 
 
 fortunate 
 
 Weary of 
 
 breath, 
 
 Rashly im 
 
 portunate, 
 
 Gone to her 
 
 death." 
 
 In both Anapestic and Dactylic Yerse the oppor- 
 tunity and necessity of introducing variations to a 
 strict rhythmical arrangement are very great— hence 
 the extreme rarity of pure verse in either of those 
 forms — and yet so skillfully are these variations often 
 interwoven that the beauty of the poem seems not 
 impaired in the least. In the ''Burial of Sir John 
 Moore," which Byron pronounced the "most perfect 
 lyric in the language,'' and which is written in Ana- 
 pestic Yerse, these variations are most marked, as will 
 be noticed in the last stanza, which is here given: 
 
 Slow 
 
 ly and sad 
 
 ly we laid 
 
 him down, 
 
 From the field 
 
 of his fame 
 
 fresh and go 
 
 ry; 
 
 We carved 
 
 not a line 
 
 and we raised 
 
 not a stone, 
 
 But we left 
 
 him— alone 
 
 with his glo 
 
 ry." 
 
366 
 
 THE ART OF MEMORY 
 
 In the following selection from ^^The Bohemian 
 Girl/' the mingling of Iambic and Anapestic Verse 
 will be especially noticed: 
 
 "I dreamt 
 
 that I dwelt 
 sals a^nd serfs 
 
 in mar 
 
 ble halls, 
 
 With vas 
 
 at my side; 
 
 
 And of all 
 
 who assem 
 
 hied within 
 
 those walls, 
 
 That I 
 
 was the hope 
 
 and the pride. 
 
 
 I had rich 
 
 es too great 
 ances 
 
 to count, 
 
 could boast 
 
 Of a high 
 
 tral name; 
 which pleased 
 
 
 But I al 
 
 so dreamt, 
 
 me most, 
 
 That jou loved 
 
 me still 
 
 
 
 the same." 
 
 
 As a general proposition, the more simple in con- 
 struction a poem is, the more beautiful and majestic, 
 and the least difficult to recollect. A stanza com- 
 posed of two lines is the easiest of all to retain in the 
 memory — the facility so to do decreasing with the ad- 
 dition of each couplet. 
 
 In Iambic Verse the most universal forms are the 
 Long, Short, and Common Meter, and poems thus con- 
 structed are, from their simpicity of form, more 
 easily memorized than those which are modeled upon 
 any other plan : the more simple and regular, the more 
 easily are they impressed on the memory and the more 
 permanently retained therein. Although the forego- 
 ing forms of Verse, by reason of their peculiar sym- 
 metry of structure, are deservedly considered superior 
 to all others in true poetic worth, yet there are not a 
 few examples of poetic excellence the stanzas of which 
 consist of an odd number of lines. 
 
 The following are notable illustrations: 
 
DICTION. 367 
 
 "A Battle Song for Freedom," by Gail Hamilton 
 (Abigail Dodge), the first stanza of which is as fol- 
 lows: 
 
 "Men of action, men of might, 
 Stern defenders of tlae right, 
 Are you girded for the fight?" 
 
 A poem similar in form to the above, is "The Worth 
 of Hours," by Lord Houghton, a selection from which 
 is here given: 
 
 "Believe not that your inner eye 
 Can ever in just measure try 
 The worth of Hours as they gO' by; 
 For every man's -weat: self, alas! 
 Malies him to see them, while they pass, 
 As throug*h a dim or tinted glass." 
 
 Another poem constructed of three line stanzas is 
 "A Lay of Keal Life," a humorous poem by Thomas 
 Hood: the first, last, and a couple of intermediate 
 stanzas are here given: 
 
 "Who ruined me ere I was born. 
 Sold every acre, grass or corn, 
 And left the next heir all forlorn? 
 My grandfather. 
 
 Who got in scrapes— an endless score, 
 But always laid them at my door, 
 Till many a bitter bang I bore? 
 My cousin. 
 
 W^ho used to share in what was mine, 
 Or took it all, did he incline, — 
 'Cause I was eight and he was ninef 
 My brother. 
 
368 THE ART OF MEMORY. 
 
 Through all this weary world, In brief. 
 Who ever sympatliized with grief, 
 Or shared my joy— my sole relief? 
 Myself." 
 
 The following are selections from several fine 
 poems, consisting of five-line stanzas — no two possess- 
 ing identical characteristics. 
 
 The first is from "The Old Story/' by Florence 
 Percy: (Elizabeth Akers Allen.) 
 
 "My heart is chilled, and my pulse is Silow, 
 But of ten and often will memory @o, 
 Like a blind, child lost in a waste of snow, 
 Back to the days whan I loved you so— 
 The beautiful long ago." 
 
 The next selection is from "The Pauper's Death- 
 bed/' by Mrs. Southey: 
 
 "Tread softly— bow the head — 
 In reverent salience bow- 
 No passing bell doth toll- 
 Yet an immortal soul 
 Is passing now." 
 
 The following selection is from "Take Heart," by 
 Edna Dean Proctor: 
 
 "All day the storm and wind has blown 
 From off the darlv and rainy sea; 
 No bird has past the window flown, 
 The only song has been the moan 
 The wind made in the willow-tree." 
 
DICTION. 369 
 
 The next selection is from "Lost/ ■ by an anonymous 
 writer: 
 
 "There are gains for all our losses, 
 There are balms for all our pains; 
 But when youth, the dream, departs, 
 It talies something from our hearts, 
 And it never comes again." 
 
 The following are examples of seven-line stanzas: 
 The first is from "The Brides of Enderby/' by Jean 
 Ingelow: 
 
 "The old mayor climbed the belfry tower, 
 
 The ringers rang by two, by three, 
 *Pull, if ye never pulled before; 
 
 Good ringers, pull your best' quoth he. 
 'Play uppe, play uppe, O, Boston bells! 
 
 Play all your changes, all your swells, 
 
 Play uppe, 'The Brides of Enderby.' " 
 
 The next example is from Chatterton's "My Love is 
 Dead:" 
 
 "O, sing unto my roundelay! 
 O, drop the briny tear with me! 
 Dance no more at holiday; 
 Like a running river be. 
 My love is dead, 
 Gone to his death bed, 
 All under the willow tree." 
 
 In "The Cotter's Saturday Mght," by Burns, the 
 Stanzas are of nine lines each. 
 
 The following is the first stanza: 
 
370 THE ART OF MEMOKY. 
 
 "My loved, my honored, much respected friend! 
 No mercenary bard bis homage pays; 
 With honest pride I scorn each selfish end; 
 My dearest need, a friend's esteem and praise: 
 To you I sing, in simple Scottish lays, 
 The lowly train in life's sequestered scene; 
 The native feelings strong, the guileless ways; 
 What Aiken in a cottage would have been; 
 Ah! though his worth unknown, far happier there, I ween!'* 
 
 Here is a selection from another beautiful poem, 
 
 similarly constructed; it is ^^The Jolly old Pedagogue/^ 
 
 by George Arnold: 
 
 " 'Twas a jolly old pedagogue, long ago, 
 Tall and slender, and sallow, and dry; 
 His form was bent, and his gait was slow, 
 His long thin hair was as white as snow; 
 But a wonderful twinkle shone in his eye. 
 And he sang every night as he went to bed, 
 'Let us be happy down here below; 
 The living should live, though the dead be dead,' 
 Said the jolly old pedagogue, long ago." 
 
 The ability to dissect sl poem cannot but be of in- 
 calculable assistance in storing it away in the mem- 
 ory. There cannot be too intimate an acquaintance 
 with the detail of construction of the various parts of 
 a poem, for such knowledge can be used to most ex- 
 cellent advantage, both in the committing to memory 
 of the poem and its subsequent recollection. 
 
 Presuming that the student is now sufficiently 
 familiar with the preceding portions of this chapter 
 to take up the memorizing of a poem, the following 
 order of procedure is suggested: 
 
DICTION. 871 
 
 First: Read the poem through carefully, to grasp 
 its general meaning. 
 
 Second: Note the title and author of the poem. 
 
 Third: Note the number of stanzas. 
 
 Fourth: Note the number of lines in each stanza. 
 
 Fifth: Note the form of verse. 
 
 Sixth: Note the meter. 
 
 Seventh: Note whether the rhyme is consecutive 
 or alternate. 
 
 Eighth: Note whether the poem begins on the 
 right or left-hand page, and on what part thereof, and 
 where it ends; also, which stanza is at the top and 
 bottom of each page, and how many stanzas are on 
 each page. 
 
 Ninth: Note the stanzas in which occur phrases 
 or sentences that terminate at other than the end of a 
 line. The following is an example: 
 
 "Night is the time to weep; 
 To wet with unseen tears 
 Those graves of memory, where sleep 
 The joys of other years." 
 
 Tenth: Note the most important word or words in 
 each line, and especially the first and last accented 
 word. 
 
 Eleventh: Note any cases in which two syllables 
 or words are united in one; as 
 
 "Howe'er it be, it seems to me 
 'Tis only noble to be good." 
 
372 THE ART OF MEMORY. 
 
 Twelfth: Note any measures in which the accent 
 is reversed, as: 
 
 ''Large was 
 Heaven did 
 
 his boTin 
 
 a rec 
 
 ty and 
 ompenise 
 
 his soul 
 
 as large 
 
 sincere; 
 ly send." 
 
 Thirteenth: Note any cases where, in order that 
 the laws of rhythm may not be violated, the accent is 
 given to the least important word in a measure, as: 
 
 "For the 
 And things 
 
 soul is 
 
 are not 
 
 dead that 
 what they 
 
 slumbers, 
 
 seem. 
 
 or in which the accent is given to the wrong syllable 
 of a word, as: 
 
 "And if I find the maiden coy, 
 I'll murmur forth decorous joy." — Or 
 
 "Perishing gloomily, 
 Spurred by coniwmely." 
 
 Fourteenth: Note any word at the beginning of 
 a line that is repeated at the beginning of any other 
 line or lines in the poem, as: 
 
 "Farewell!" said he, "Minnehaha: 
 Farewell, O my Laughing Water! 
 All my heart is buried with you, 
 All my thoughts go onward with you, 
 Corae not bacli again to labor, 
 Come not back again to suffer, 
 Where the Famine and the Fever 
 Wear the heart and waste the body, 
 Soon my task will be completed, 
 Soon your footsteps I shall follow 
 To the Islands of the Blessed; 
 To the Kingdom of Ponemah, 
 To the land of the Hereafter!" 
 
 i 
 
I 
 DICTION. 373 
 
 Fifteenth: Note all cases of Alliteration. In- 
 stances frequently occur in which the memory is ma- 
 terially assisted through "apt alliteration's artful aid.'' 
 Alliteration is often introduced in poetical composi- 
 tions with charming effect. Shakespeare made fre- 
 quent use of it, and always with the highest artistic 
 skill, the following being notable instances: 
 
 "To-day he puts forth the tender leaves of hope, to-morrow 
 Mossoms, and 6ears his Slushing honors thick upon him." 
 
 "For I have neither wit, nor tf;ords, nor w^orth." 
 
 "The ripest fruit first falls." 
 
 "This precious ^tone set in the silver sea." 
 
 "Now, I am cabined, cribbed, confined." 
 
 "How silver-sweet sound lovers' tongues by night." 
 
 In Gray's Elegy is the following couplet: 
 
 "His Zistless Zength at noontide would he stretch, 
 And pore upon the 6rook that Gabbles 6y." 
 
 In Thomson's Seasoiis occurs this fine alliterative 
 sentence : 
 
 "Ships, dim-discovered, dropping from the clouds." 
 
 And here is a gem from one of Hartley Coleridge's 
 
 poems: 
 
 "Her very frowns are fairer far 
 Than smiles of other maidens are." 
 
 The following is the first couplet of a familiar song: 
 
 "Kathleen Mavoumeen, the gray dawn is breaking, 
 The Ziorn of the ftunter is Zjeard on the Tiill." 
 
374 , THE ART OP MEMORY. 
 
 The following, from Coleridge's Ancient Mariner 
 is perhaps the finest specimen of Alliteration in all 
 literature: 
 
 "The fair breeze &lew, tlie white foam /"lew, 
 The /Tirrow jfollowed free; 
 We were the firs* that ever hurst 
 Into that silent sea." 
 
 Having become familiar with the foregoing sug- 
 gestions, the student is now presumably ready to be- 
 gin the actual memorizing of a poem. In entering upon 
 this task the resolution should be formed, to make hast& 
 slowly; plenty of time should be taken for the memo- 
 rizing — only small tasks being undertaken at first — and 
 the paramount object should never be lost sight of, 
 which is that the poem shall have a place in the mem- 
 ory not merely transitory, but permanent. With prac- 
 tice the memorizing will grow less difficult, and there- 
 fore less slow, but speed should not be sought at the 
 sacrifice of thoroughness; when a task is once begun 
 it should be fully completed before another is com- 
 menced; it is better to know one poem well than sev- 
 eral imperfectly. 
 
 In the memorizing of Yerse the student is advised 
 to learn the lines in pairs rather than one line at a time. 
 There are two reasons for so doing. In the first place, 
 a couplet is usually a natural division of the stanza, 
 and thus the meaning is the more easily carried in the 
 mind; and in the second place, the swing of the poem 
 is more securely grasped; and if the rhyme be con- 
 secutive, each of the rhyming words is more easilj 
 
DICTION. 375 
 
 recollected than if only one line is memorized at a time, 
 and a firm retention of the rhyming words is of mate- 
 rial assistance in the recollection of what precedes. 
 Each stanza should first be memorized mentally, and 
 then repeated orally, until it shall have become per- 
 fectly familiar. 
 
 When a stanza shall have been memorized in this 
 wa}^, the preceding stanza should be repeated in con- 
 nection with it, and so on through the whole poem. By 
 this time days, and perhaps weeks, will have elapsed 
 since the memorizing of the poem first began, and the 
 latter portion will thus be the freshest in the memory. 
 The student should then try to repeat the first two 
 stanzas from memory; if any portion cannot be readily 
 recalled the memory should be refreshed by reference 
 to the book, until both stanzas can be repeated with- 
 out hesitation. The two next stanzas should then be 
 reviewed in like manner — and so on to the end — the 
 two previous stanzas to be alw^ays repeated in connec- 
 tion with the two just rehearsed; then the student 
 should try to recall the first four stanzas — and proceed 
 through the whole poem in the same manner as before. 
 By this time it is probable that the poem can be re- 
 peated entirely through without hesitation, if it is not 
 too long; should there be any weak spots here and 
 there, they can be easily repaired, and the poem may 
 then be considered as perfectly memorized; it should 
 be reviewed at occasional intervals, that it may become 
 firmly intrenched in the memory. It is of the great- 
 est importance to keep every detail of the poem before 
 
376 THE ART OF MEMORY. 
 
 the visual memory, that every word, line, and stanza 
 may appear as clearly defined in the mental vision as 
 if the eye were gazing on the printed page itself. Thus 
 it is highly essential to note the position of each stanza 
 with reference to the top or bottom of either page; each 
 stanza thus has a location in the visual memory, and is 
 therefore more easily recalled. . 
 
 Some persons, as they memorize each stanza of a 
 poem, repeat all that precedes, but the result of em- 
 ploying such a method is that while the first part of 
 the poem is memorized thoroughly the latter part is 
 memorized less fully than it should be, and thus the 
 time is not employed to the best advantage. The stu- 
 dent is especially urged not to fall into this habit; there 
 is no advantage in being more conversant with one part 
 of a poem than another; every part of it should be 
 equally familiar; "the chain is no stronger than its 
 weakest link," and the effort should be to forge a chain 
 that is equally strong throughout 
 
 The theory is sometimes advanced that the tran- 
 scription of a poem will aid its retention in the memory. 
 While the general proposition is true that the act of 
 writing anything down tends to impress it more 
 strongly on the memory, yet this theory applies to the 
 essence rather than the letter, and to prose rather than 
 to poetry. In the memorizing of a poem there is far 
 more to be gained by cultivating the visual memory 
 than can possibly be done by transcription, and the 
 student is advised not to resort to the latter plan un- 
 der any circumstances whatever, but to rely entirely 
 
DICTION. 377 
 
 on the methods already indicated, which will suffice for 
 all cases that can arise. 
 
 Poetry, besides appealing most powerfully to the 
 sensibilities — ^to all that is best and greatest in human 
 nature — is often an invaluable aid in the memorizing 
 of names, facts, events, etc., that would be otherwise 
 recollected only with much difficulty. 
 
 Every one is familiar with the old rhyme: 
 "Thirty days hath September," etc., w^hose useful- 
 ness at times most of us can attest. What more con- 
 venient and certain a way to determine what date Eas- 
 ter Sunday falls upon than by keeping in mind the fol- 
 lowing rhyme : 
 
 THE DATE FOR EASTER. 
 
 " 'Thirty days hath September,' 
 Every person can remember; 
 But to know when Easter's come 
 Puzzles even scholars, some. 
 
 When March the twenty-first is past, 
 
 Just watch the silvery moon, 
 And when you see it full and round, 
 
 Know Easter'll be here soon. 
 
 After the moon has reached its full. 
 
 Then Easter will be here 
 The very Sunday after 
 
 In each and every year. 
 
 And if it hap on Simday 
 
 The moon should reach its height, 
 The Sunday following this event 
 
 Will be the Easter bright." 
 
578 THE ART OF MEMORY. 
 
 How easily can be recalled the various parts of 
 
 speech and their application by means of the following 
 
 Terses? 
 
 "Three little words you often see 
 Are Articles a, an, and f^e." 
 
 A Noun's the name of anything, 
 As scTiool or garden, Jioop, or sioing. 
 
 Adjectives show the kind of noun, 
 As great, small, 'pretty, white, or hrown. 
 
 Instead of nouns the pronouns stand, 
 Her head, 7iis face, your arm, my hand. 
 
 Verbs tell us something to be done, 
 
 To read, count, laugh, sing, jump, or run. 
 
 How things are done, the Adverbs tell, 
 As slowly, quiclcly, ill, or well. 
 
 Conjunctions join the words together, 
 As men and women, wind or weather. 
 
 The Preposition stands before 
 
 A noun, as in, or through, the door. 
 
 The Interjection shows surprise, 
 As Oh! how pretty— A7^/ how wise. 
 
 TJie whole are called nine parts of speech, 
 Which leading, writing, spelling, teach. 
 
 Can "Shall" and "Will" be defined in terms easier 
 to be retained in the memory than by the following 
 rhyme: 
 
 "In the first person simply Shall foretells; 
 In Will a threat or else a promise dwells; 
 Shall in the second and the third doth threat; 
 Will simply then foretells the future feat." 
 
DICTION. 379 
 
 As a concluding illustration, hei'e is a rhyme for 
 
 memorizing the keys on a piano-forte: 
 
 "All the G and A keys 
 Are between the black tlirees; 
 And 'tween the twos are all the D's: 
 Then to the right side of the threes 
 Will be found the B's and C's; 
 But on the left side of the threes 
 Are all the F's and all the E's." 
 
 The foregoing illustrations cannot, it is true, be con- 
 sidered gems of poetic art; they are simply doggerel 
 verse, intended solely to aid the memorizing of facts. 
 There is hardly the opportunity for the introduction of 
 tender sentiment or glowing imagery! 
 
 And now we come to the memorizing of Blank 
 Yerse, which is more dif&cult than that of Verse, as it 
 has no Rhyme, but only Rhythm. 
 
 Yet, while Blank Yerse is indeed lacking in certain 
 qualities which lend a peculiar charm to Yerse it has 
 its compensative features in gaining greater latitude of 
 expression in an intellectual sense; loftier flights of 
 fancy can be attained, and thought can be moulded into 
 more majestic diction. It is written mostly in Iambic, 
 which renders possible a grandeur of expression supe- 
 rior to that afforded by any other form of poetical 
 measure. 
 
 The method which is suggested for the memorizing 
 of Blank Yerse is as follows: 
 
 First: Read the poem through with attention, in 
 order to grasp its general meaning, as in the case of 
 Yerse. 
 
 28 
 
380 THE ART OF MEMORY. 
 
 Second: Note the title and author of the poem. 
 
 Third : Note whether the poem begins on the right 
 or left-hand page, and on what part thereof, and where 
 it ends; also, which is the top and bottom line of each 
 page. 
 
 Fourth: Note the most important words in each 
 sentence. 
 
 Fifth: Note any cases in which two syllables or 
 words are united in one. 
 
 It is suggested that the student memorize from one 
 punctuation mark to the next — then from that to the 
 following, and so on until a period is reached ; then re- 
 view whatever is included between that period and the 
 preceding one; after which proceed with the next sen- 
 tence in like manner, and as each one is committed to 
 memory the previous sentence should be repeated in 
 connection therewith, and so on until some natural 
 division in the composition is reached; then the stu- 
 dent should return to the beginning and repeat tivo 
 sentences at a time, following the same plan as in the 
 memorizing of Verse. While this form of poetry will 
 be committed to memory more slowly than in the case 
 of Verse, yet many of the most sublime conceptions 
 which ever emanated from the human mind are found 
 in Blank Verse, and if selections be memorized as op- 
 portunities occur from grand creations such as those 
 of Shakespeare, Milton, or Goethe, the student will be 
 abundantly satisfied that the time thus spent has been 
 occupied in the most profitable manner that could well 
 be conceived. 
 
DICTION. 381 
 
 Much the same plan should be followed in the memo- 
 rizing of Prose, as of Blank Verse, and while there is 
 usually in Prose an absence of those qualities which 
 constitute the chief charm of Verse, yet in the measure- 
 less realm of literature many noble examples of prose 
 may be found that are well worth committing to 
 memory. 
 
 To the student w^ho has not cultivated a habit of 
 "verbal" memorizing it may seem not an easy matter 
 to find the required time for such study, but there are 
 many odd moments of everyday life which would other- 
 wise be spent in idle rumination, that could well be em- 
 ployed in memorizing choice selections from the boun- 
 teous stores of thought and sentiment left as the legacy 
 of genius for man's education and exaltation; in gar- 
 nering in the memory beautiful gems of literature to 
 comfort and delight the mind and heart throughout 
 the coming years. 
 
 Every now and then all the poetical and other pro- 
 ductions that have been learned should be carefully 
 reviewed, that nothing may be lost, for it is as neces- 
 sary to have at ready command that which has already 
 been stored in the memory, as to make new acquisi- 
 tions. It is also an excellent plan, and will afford 
 much satisfaction, to keep a list of such compositions as 
 have at various periods been committed to memory, add- 
 ing to the list from time to time as new acquisitions 
 are made, which list can be glanced at now and then, 
 to the end that in reviewing from memory the various 
 poems and other selections none may be inadvertently 
 
382 THE ART OF MEMORY. 
 
 neglected or omitted, but all preserved in the remem- 
 brance with equal thoroughness and permanence. It 
 is a good plan, just before retiring at night, to review 
 whatever may have been memorized during the day, 
 and to repeat the same on rising the next morning; it 
 will often be found that what was but imperfectly im- 
 pressed on the memory at night will be easily recalled 
 the next morning, after the faculties shall have been 
 refreshed by sleep. 
 
 Every one who has a realizing sense of the grand 
 and beautiful in literature is strongly urged to begin at 
 once, if he has not already done so, to cultivate Memory 
 of Diction, and to continue the exercise throughout life. 
 At first progress may seem slow, but with practice the 
 facility to memorize will expand in a degree which at 
 first would have seemed incredible; with growing famil- 
 iarity with the inspiring thoughts which the touch of 
 genius has moulded into expression, he will find that 
 their true appreciation and the desire to attain added 
 intimacy with the best and greatest in literature, as 
 well as the ability to retain it in the memory in its 
 exact diction, will increase with each act of memoriz- 
 ing; and when the memory shall have become abun- 
 dantly stored with examples of graceful sentiment, ma- 
 jestic thought, and glowing imagery, from the mind and 
 heart of genius, the student can felicitate himself that 
 he possesses a fund of riches which is destined to be a 
 source of untold satisfaction and inspiration through- 
 out life, and cannot fail to recompense him an hundred- 
 fold for the time and effort devoted to its accumulation. 
 
CHAPTER XVL 
 
 PEOPEE NAMES. 
 
 "The memory of Dames is a subject witla -which most persons 
 must have a more than passing interest. * * * 
 
 "The numher of persons who never or rarely forget a name is 
 exceedingly small; the number of those who have a poor memory 
 for them is very large. The reason for this is partly a defect of 
 mental development and partly a matter of habit. In either case 
 it may be overcome by effort. * * * 
 
 "I have satisfied myself by experience and observation that a 
 memory for names may be increased not only two, but a hundred- 
 fold." Pkof. Holbeook. 
 
 That names are far more difficult to recollect than 
 faces, is a fact which is amply verified by the experi- 
 ence of universal mankind. Who indeed is not able to 
 recall with far more readiness a person's features than 
 his name? A single attentive glance at the former is 
 often sufficient to insure their recognition the next time 
 they are seen, however long may be the intervening 
 period — but how different with the name: how brief 
 indeed is likely to be its duration in the memory! Un- 
 less there be some prompt association, sufficient to bind 
 
 (383) 
 
384 THE ART OF MEMORY. 
 
 the face and name together, in the consciousness, there 
 is little doubt that ere long the name will either have 
 entirely vanished from the memory or be possible of 
 recall only by the most persistent effort of the will. 
 
 We will surely all agree that there is little satis- 
 faction in being recognized and greeted by name by 
 an acquaintance, and yet be unable to respond further 
 than in the first particular. In many cases we may 
 recollect the name directly afterwards — but then it is 
 too late — our memory has proved recreant to its trust, 
 and we are thereat annoyed, if not mortified; it is only 
 necessary to recall incidents in our own experience in 
 which ire were not recognized by name when in our 
 opinion we ought to have been, to appreciate another's 
 feelings when the conditions are reversed. 
 
 What an irresistible charm there is in being 
 promptly recognized in both feature and name by those 
 whom we have only casually met! and even if vanity 
 be the medium through which the charm is w^rought, 
 yet the sentiment thus inspired is confessedly^ instinct- 
 ive in mankind the whole world over; no less so is it 
 to-day than when Young, nearly two centuries ago, 
 said : 
 
 "The love of praise, howe'er concealed by art, 
 Reigns more or less and glows in every heart." 
 
 And although simply to be recognized and called by 
 name can hardly be said to constitute praise, yet it at 
 least suggests a feeling of interest, if not regard, which 
 is more or less flattering to the vanity of the recipient 
 
PROPER NAMES. 385 
 
 — and if there be a charm in being readily remembered 
 on brief acquaintance, there is a more than correspond- 
 ing pleasure to the one who remembers — and he who 
 has sedulously cultivated the power to recall both by 
 countenance and cognomen those whom he has met, no 
 matter when or where, or how frequently, need have 
 no fear of ever regretting it; he will not only derive 
 untold pleasure through the exercise of this faculty, 
 but will find the pathway of life far less rugged than 
 it would otherwise be; and his ambitions, whether they 
 be modest or lofty, will be more likely of realization 
 than if the culture of this branch of his memory were 
 neglected. 
 
 That the ability to promptly call by name any per- 
 son whose face has been seen and name heard is a 
 highly desirable faculty to possess, is universally rec- 
 ognized and abundantly confirmed by the experiences 
 of life; it means to the business man increased patron- 
 age; it means to him who is in public life added hon- 
 ors and emoluments; and to the man in social life it 
 means an enhanced popularity, whose true value can- 
 not be measured in the currency of mere words. 
 
 But it is not only in the personal intercourse of 
 social, business and public life that material advan- 
 tage is derived from cultivating the memory of proper 
 names; if the literary student would carry "within 
 the book and volume" of his brain the legends of 
 Mythology, the facts of History, or the tangled threads 
 of Fiction, a good memory for names is indispensable. 
 Of how little real value would be one's familiarity with 
 
386 THE ART OF MEMORY. 
 
 Mythology if the names of its deities should perchance 
 have eluded his memory: How vast a yoid in Grecian 
 mythology y^^ould there seem if such names as Jupiter 
 and Juno and Pluto and Mars and Apollo were foreyer 
 blotted from the recollection : What significance would 
 there seem to Egyptian mythology were Osiris and Isis 
 and Seth and Horus and Thoth to be expunged from 
 Memory's tablet: And what a hiatus in one's knowl- 
 edge of History if the names of the warriors and states- 
 men whose inspiring deeds are written on the scroll of 
 Fame are found to haye faded from the recollection! 
 
 And the familiar characters of Fiction: how 6iig- 
 gestiye of the imagined scenes in which they partici- 
 pated are their very names! To preserve in memory 
 the details of that masterpiece of Hugo's Les Mise- 
 7^ah1es, how indispensable are such names as Jean Val- 
 jean, and Gavroche, and Marius, and Cosette! To one 
 who has read that greatest of Fielding's works, "Tom 
 Jones," the recollection of the very names of the benev- 
 olent Squire Allworthy, the lovely Sophia Western, her 
 jolly father the Squire, and the hero of the stoiw, Tom 
 Jones — surely serve to revive in the memory a world of 
 incident. And in the works of the immortal Dickens 
 how suggestive are such names as Uriah Heep, Silas 
 Wegg, Sam Weller, Dick Swiveler, Captain Cuttle, Al- 
 fred Jingle, Micawber, Fagin, Quilp, Squeers, Nan 
 Sykes, Little Nell — and that grandest character of all, 
 Sydney Carton! 
 
 From the earliest times men have lived who pos- 
 sessed a phenomenal memory for proper names. Aris- 
 
PROPER NAMES. 38T 
 
 totle is reputed to have been familiar with all the names 
 in Natural History known in his day. Socrates is said 
 to have remembered the names as well as faces of all 
 who attended his discourses; and Xenophon could call 
 by name every one of the soldiers who were with him 
 during the famous Eetreat of the Ten Thousand. 
 
 Pericles, the greatest of all Athenian rulers, could 
 greet every citizen of Athens by name, and much of his 
 wonderful popularity was due to that fact. Trajan, it 
 is said, knew by name all the Praetorian Guards — about. 
 10,000 in number. 
 
 Cineas, the noted consul, who was sent to Eome on 
 an important mission by Pj^rrhus, King of Epirus, per- 
 formed the feat of memorizing in one day the names of 
 all the men of importance in the city. Themistocles, 
 the victor of Salamis, could call by name every one of 
 the twenty thousand citizens of Athens; and it is re- 
 lated by Plutarch that Lucius Scipio knew the name of 
 every Roman citizen. 
 
 Coming down to modern times, we learn that Wash- 
 ington could always call by name a man who had once 
 been introduced to him. Napoleon, it is said, never for- 
 got a face or a name. He would often greet private sol- 
 diers byname, sometimes alluding to the circumstances 
 under which he had last met them. John Wesley, 
 when addressed by any person whom he had met be- 
 fore, was rarely at fault in promptly calling him by 
 name. Henry Clay could call by name thousands of 
 his constituents — which was the great secret of his 
 remarkable popularity; James G. Blaine also possessed 
 
SS8 THE ART OF MEMORY. 
 
 this power in a wonderful degree and seldom forgot the 
 name of a person whom he had once met. It is safe 
 to say, however, that with the exception of those whose 
 peculiar vocation necessitates their culture of the fac- 
 ulty, there is not one pei*son in a hundred who has a 
 g'ood memory for proper names, however excellent may 
 be his memorv for faces. 
 
 But whv is it that we can more easilv recoii'nize a 
 person's features than recall his name? and why is it 
 more difficult to retain in the memory a proper noun 
 than a common noun? The answer to the first ques- 
 tion is that Sight impressions, being in their nature far 
 more vivid and enduring than are those of Sound, pro- 
 duce the more powerful and lasting effect on us of the 
 two; what we .s'((^ affects us more deeply and perma- 
 nently than what we hear. 
 
 The other question may be answered by the state- 
 ment that a proper noun, or name, when considered 
 independently of accidental features of coincidence 
 with something that is familiar, doesuH mean aiu/thiug; 
 for this reason a mental picture of it is not easily 
 formed, which accounts for the fact that the primitive, 
 tedious way of rote, or repetition, is that ordinarily em- 
 ployed to impress a proper noun on the memory, while 
 a common noun, being represented by some object hav- 
 ing shape, or appearance, in the physical or mental 
 perception, can thus be seen, or huagiiied: in other 
 words a mental image of it can be formed and the name 
 identified aftei'wards, through associating it with this 
 mental image. 
 
PROPER NAMES. 389 
 
 The ease or the difficulty which we experience in 
 recollecting names seems not to be governed by their 
 length nor peculiarity of spelling or pronunciation, 
 nor by the frequency with which we have read, heard, 
 or uttered them; a name which one person finds most 
 difficult to recall, another may find comi)aratively easy. 
 Then, too, it is often more difficult for us to recall a 
 person's name at one time than at another, by reason 
 of the different condition of our mind at each time. 
 On one occasion our mind may be so favorably dis- 
 posed that on sight of the person his name springs to 
 our lips without our scarce knowing it, while at an- 
 other time some other subject may so engross our 
 thoughts that we cannot divert them therefrom suffi- 
 ciently to recall the name, in spite of our best endeavor. 
 A proper name which is not familiar through frequent 
 repetition is of very uncertain vitality in the memory 
 at the best, unless we can discern and employ some 
 form of association to preserve it. 
 
 It is worth while to note the origin of many of our 
 familiar proper names. Thus White, Black, Brown, Gray, 
 etc., represent colors; King, Prince, Lord, Knight, Pope, 
 Bishop, etc., titles of distinction; vocations are indi- 
 cated by such names as Miller, Baker, Cook, Smith, 
 Carpenter, Mason, Cooper, Sawyer, Weaver, Hunter, 
 Fisher, Fowler, Miner, Turner, Porter, Carver, Taylor, 
 Barber, Tanner, Draper, Brewer, Shepherd, Waterman, 
 Sadler, Carter, Wagner, Gardner, etc.; personal qual- 
 ities or characteristics are suggested by such names as 
 Strong, Hardy, Noble, Bright, Gay, Savage, Swift, 
 
390 THE ART OF MEMORY. 
 
 Long, Doolittle, etc.; the auimal kingdom is repre- 
 sented b}' such names as Fox, Hare, Wolfe, Lyon, Hart, 
 Buck, Bird, Finch, Partridge, Drake, Heron, Crane, 
 etc.; botanical terms by Wood, Boot, Branch, Weed, 
 Beed, Bush, Flower, Bose, Birch, Pine, etc.; and cer- 
 tain features of the earth's surface by Hill, Dale, Field, 
 Marsh, Lane, Brooks, etc. — and many other examx^les 
 of a similar character might also be given. 
 
 We will now pass on to the more important subject 
 of the practical memorizing of proper names, and how 
 to accomplish the same with the least labor and in the 
 most intelligent manner consistent with permanent re- 
 sults. As the names of many places are derived from 
 persons, it will hardly be necessary in the pages which 
 are to follow to distinguish between them; therefore 
 for the sake of convenience all rules, suggestions and 
 illustrations will have reference to the latter, the 
 method which is proposed including all that is requisite 
 to assist the student in the memorizing of geographical 
 names. It is well to fulh' apprehend that of all classes 
 of words which it may be found necessary or desirable 
 to memorize, a proper name is by far the most difficult, 
 and therefore even the best system which it is possible 
 to devise cannot change a rough path into a smooth 
 one; the most that it can accomplish in such case is to 
 reduce the difficulties to a minimum — the rest must be 
 done through concentration of attention, and repetition. 
 
 Kames which are possible of ready association will 
 first be considered. Thev mav be associated in the fol- 
 lowing ways: 
 
PROPER NAMES. 391 
 
 First: With identical names belonging to persons 
 who are well known, either in person or bj reputation. 
 
 Second: With words similarly spelled or pro- 
 nounced, which have a well known signification. 
 
 Third : With words the first portion of which, only, 
 is similarly spelled or pronounced, and which has a 
 well known meaning. 
 
 Fourth: With significant words having a pronun- 
 ciation of general similarity, but not identical. 
 
 For convenience the second and third classes of 
 names may be subdivided into the following parts of 
 speech : 
 
 1: Common nouns. 
 
 2: Adjectives. 
 
 3: Verbs and adverbs. 
 
 Perhaps no better illustration can be given of the 
 remarkable extent to which this form of association 
 can be used, than to select from among the familiar 
 names of history such ones as can be readily associated 
 \)j the foregoing method. In conformity with this 
 proposition, lists of historical personages as above in- 
 dicated have been selected and are here given. It will 
 be remembered that the words with which the proper 
 names or their first syllables are to be associated need 
 not be identical in hoth spelling and pronunciation, 
 but only in one or the other; thus Bede would be as- 
 sociated with Bead: Hale with Hail; Harte with Heart: 
 Kane with Cane: the first syllable of Burdett would 
 be associated with Bird: that of Bancroft with BanTc: 
 of Coleridge with Coal: of Egbert with Egg: Ledyard 
 
392 THE ART OF MEMORY. 
 
 with Lead, and Wycliffle with Wick: Camel would suggest 
 Camillus : Palace, Palissy, and so on. In the case, how- 
 ever, of a word consisting of two or more syllables, each 
 one of which, if taken separately, would constitute an 
 intelligible word, care should be taken to memorize the 
 syllables in their proper order, otherwise an experience 
 might sometimes be met with as interesting as the fol- 
 lowing: A young lady received a social call from a 
 gentleman named Cow^dry, whom, in the course of the 
 evening, she introduced to her mother, who was un- 
 fortunately sadly deficient in the memory of proper 
 names. After her visitor had departed the young lady 
 began to drill her mother in the memorizing of his. 
 name, using the syllables separately, as each of them 
 represented a distinct word, and was thus the more 
 easily memorized. In due time the mother expressed 
 herself as being positive that she would not forget the 
 name, and when the next call was made by the gentle- 
 man the mother advanced with a smile as he entered 
 the room and said in the most confident manner: "How 
 do you do, Mr. Dry CowP^ 
 
 The lists of historical personages are as follows. 
 
 COMMON NOUNS. 
 
 Aci(?alius Arc/iimedes 
 
 Alabaster ArJcwrigM 
 
 Angelo Arm in i us 
 
 Antony AsJi hiir ton 
 

 PROPER NAMES. 
 
 Babev 
 
 Bossnet 
 
 Bacon 
 
 Bowles 
 
 Bag ration 
 
 Bow ring 
 
 Baker- 
 
 Boyle 
 
 Bales 
 
 Brasidsis 
 
 Bancroft 
 
 BaysiTd 
 
 BarhsLTOBSSi 
 
 Beaconsfield 
 
 BarneYeldt 
 
 Beaumont 
 
 Baronm^ 
 
 Bede 
 
 Barri 
 
 Beechev 
 
 Barrow 
 
 Beethoven 
 
 Bellini 
 
 Buckle 
 
 Benedict 
 
 Bulwer 
 
 Bier^tadt 
 
 Burdett 
 
 Bonnet 
 
 Burv 
 
 Boone 
 
 Bur ton 
 
 Booth 
 
 Butler 
 
 Cahot 
 
 Clay 
 
 CamilluB 
 
 Coh den 
 
 Camp hell 
 
 Coke 
 
 Canning 
 
 Cole ridge 
 
 Cap grave 
 
 Colonnsi 
 
 Card an 
 
 Colt 
 
 Carljle 
 
 Cook 
 
 Castlevesigh 
 
 Cooper 
 
 Catullus 
 
 Cordsij 
 
 Cavalier 
 
 ConieiWe 
 
 Cellini 
 
 Cousin 
 
 Chap man 
 
 Cover dale 
 
 Chartier 
 
 Coicyer 
 
 39a 
 
394 
 
 THE ART OF MEMORY. 
 
 Chateaiibvisiiid 
 
 Crabhe 
 
 CJieruhini 
 
 Cruik shank 
 
 Church ill 
 
 Cud worth 
 
 Den ham 
 
 Dyce 
 
 Drake 
 
 Dyer 
 
 East lake 
 
 Elphin stone 
 
 Edge worth 
 
 Epictetus 
 
 Egbert 
 
 EpicuruB 
 
 Elmacin 
 
 Erinnsi 
 
 Ealconer 
 
 Foote 
 
 Fielding 
 
 Ford 
 
 Fin lay 
 
 Forrest 
 
 Firdou^i 
 
 Fortesque 
 
 Fisch art 
 
 Fortimsitus 
 
 Flax man 
 
 Fourier 
 
 Fontenelle 
 
 Fox 
 
 Galen 
 
 Germanicn^ 
 
 Gardiner 
 
 Gill ray 
 
 Garrison 
 
 Glen doiver 
 
 Gas^endi 
 
 Goldsmith 
 
 Hale 
 
 Herder 
 
 Hallev 
 
 Hogg 
 
 HamiMon 
 
 Homer 
 
 Harte 
 
 Hood 
 
 Haicthorne 
 
 Hook 
 
 Haydn 
 
 Hunter 
 
 Helmholtz 
 
 Hut ton 
 
 Kane 
 
 Key 
 
PROPER 
 
 NAMES. 
 
 Kant 
 
 KingBlej 
 
 Ken 
 
 Knellev 
 
 Lanil) 
 
 Leopardi 
 
 Land seer 
 
 Lever 
 
 Lap lace 
 
 Lilye 
 
 Lardner 
 
 /vipsius 
 
 Lassen 
 
 Liver pool 
 
 Law 
 
 Locke 
 
 Led yard 
 
 Lover 
 
 Legendre 
 
 Lucretins 
 
 Lemonnier 
 
 Lullj 
 
 Macau lay 
 
 Men age 
 
 Male hranche 
 
 MetJiodius 
 
 Mansfield 
 
 Middle ton 
 
 Martyr 
 
 Millet 
 
 Matsjs 
 
 Monk 
 
 Napoleon 
 
 Nestor 
 
 Necker 
 
 North cote 
 
 Odoric 
 
 Origen 
 
 Paganini 
 
 Pitt 
 
 Paine 
 
 Plato 
 
 Palissj 
 
 Polo 
 
 Palmerston 
 
 Pompej 
 
 Park 
 
 Pope 
 
 Part on 
 
 Porter 
 
 Patti 
 
 Powers 
 
 Penn 
 
 Pres cott 
 
 395 
 
 29 
 
396 
 
 THE ART OF MEMORY. 
 
 Pestalozzi 
 
 Priestlj 
 
 Pindar 
 
 Puffendorf 
 
 Quarles 
 
 Quintilian 
 
 Ravennsi 
 
 Rooke 
 
 Robespierre 
 
 Rymer 
 
 Salad in 
 
 Soc rates 
 
 Sandesiu 
 
 Sodomsi 
 
 Savage 
 
 Son tag 
 
 Schilling 
 
 Southej 
 
 Shafteshury 
 
 SpartsLcns 
 
 Shellej 
 
 Steele 
 
 Smiles 
 
 Story 
 
 Turner 
 
 Tyn dale 
 
 yiei^a?temps 
 
 Villani 
 
 Wall ace 
 
 West 
 
 War wick 
 
 Wolfe 
 
 Web ster 
 
 Wordsworth 
 
 Wedg wood 
 
 Wren 
 
 Wellingtoji 
 
 Wyclifle 
 
 • 
 
 ADJECTIVES. 
 
 Better ton 
 
 Bright 
 
 Black stone 
 
 Browning 
 
 Constantine 
 
 Cruden 
 
 Fair fax 
 
 Ful ton 
 
PR( 
 
 DPER NAMES. 
 
 Gay 
 
 Gray 
 
 Glad stone 
 
 Grimm. 
 
 Hard wicke 
 
 Hot man 
 
 Little ton 
 
 Long fellow 
 
 Martially 
 
 Moore 
 
 Moody 
 
 Motley 
 
 Palej 
 
 Prior 
 
 Pius 
 
 Proudhon 
 
 Richelieu 
 
 Rohusti 
 
 Sterne 
 
 Swift 
 
 Tauler 
 
 Tacit us 
 
 White field 
 
 Young 
 
 397 
 
 VEEBS AND ADVEKBS. 
 
 Addison , 
 
 Anglesey 
 
 Beat on 
 
 Borroto 
 
 Boling broke 
 
 Burns 
 
 Chantrej 
 
 Chat ham 
 
 Charron 
 
 Chatter ton 
 
 Flo tow 
 
 Foster 
 
 Grant 
 
 Gringoive 
 
 HastingB 
 
 Hum holdt 
 
 Helps 
 
 Hunt 
 
398 
 
 THE ART OF MEMORY. 
 
 Liszt 
 
 Living stone 
 
 Marry aft 
 
 Marvell 
 
 Parry 
 
 Rey7io\ds 
 
 Reade 
 
 Peel 
 
 Sever ns 
 
 Stowe 
 
 Shake spcare 
 
 Spinolsi 
 
 SpeJiC 
 
 Sue 
 
 Tooke 
 
 Tanna liill 
 
 Waitz 
 
 Wasliing ton 
 
 Amou<^- the names in the fourth class, to be asso- 
 elated with siguificant words of similar sound, ma^^ be 
 mentioned the following': 
 
 Akenside 
 
 Ballon 
 
 Barbour 
 
 Becket 
 
 Brougham 
 
 Buffon 
 
 Bunyan 
 
 Calderon 
 
 Child eric 
 
 Chaucer 
 
 Confucius 
 
 Curran 
 
 Cushing 
 
 (Aching side) 
 
 (Balloon) 
 
 (Barber) 
 
 (Bucket) 
 
 (Broom) 
 
 (Buffoon) 
 
 (Bunion) 
 
 (Cauldron) 
 
 (Children) 
 
 (Saucer) 
 
 (Confusion) 
 
 (Currant) 
 
 (Cushion) 
 
PROPER 
 
 NAMES. 
 
 Da guerre 
 
 (Dagger) 
 
 Dampier 
 
 (Damp air) 
 
 Dominic {^t.) 
 
 (Domino) 
 
 Ernst 
 
 (Earnest) 
 
 Fawkes 
 
 (Folks) 
 
 Forster 
 
 (Forester) 
 
 Garrick 
 
 (Garret) 
 
 Gough 
 
 (Cough) 
 
 Handel 
 
 (Handle) 
 
 Hannibal 
 
 (Hand-bell) 
 
 Herrick 
 
 (Herring) 
 
 Lecky 
 
 (Lucky) 
 
 Libanius 
 
 (Libation) 
 
 Livy 
 
 (Livid) 
 
 Lowell 
 
 (Low well) 
 
 Loyola 
 
 (Loyalty) 
 
 Massinger 
 
 (Messenger) 
 
 Mather 
 
 (Mother) 
 
 Mazarin 
 
 (Magazine) 
 
 Medici 
 
 (Medicine) 
 
 Mencius 
 
 (Mention) 
 
 Moliere 
 
 (Molar) 
 
 Montaigne 
 
 (Mountain) 
 
 Morland 
 
 (More land) 
 
 Offenbach 
 
 (Off and back) 
 
 Palladis 
 
 (Paradise) 
 
 399 
 
400 
 
 THE ART OF MEMORY. 
 
 Pasteur 
 
 (Pasture) 
 
 Pepys 
 
 (Pepsin) 
 
 Petrarch 
 
 (Patriarch) 
 
 Pliilopoemen 
 
 (Philopoena) 
 
 Plutarch 
 
 (Plutocrat) 
 
 Politian 
 
 (Politician) 
 
 Prentice 
 
 (Apprentice) 
 
 Propertius 
 
 (Property) 
 
 Reaumur 
 
 (Roamer) 
 
 Rossetti 
 
 (Rosette) 
 
 Sappho 
 
 (Sapphire) 
 
 Scarlatti 
 
 (Scarlet tie) 
 
 Silliman 
 
 (Silly man) 
 
 Skelton 
 
 (Skeleton) 
 
 Sothern 
 
 (Southern) 
 
 Spurgeon 
 
 (Sturgeon) 
 
 Stedman 
 
 (Steady man) 
 
 Stilicho 
 
 (Stiletto) 
 
 Sulla 
 
 (Sully) 
 
 Sumner 
 
 (Summer) 
 
 Tennyson 
 
 (Tennis) 
 
 Tromp 
 
 (Tramp) 
 
 Valla 
 
 (Valley) 
 
 Yirgil 
 
 (Virgin) 
 
 Wagner 
 
 (Wagoner) 
 
 Wessel 
 
 (Vessel) 
 
 Whittier 
 
 (Wittier) 
 
 Zeno 
 
 (Zero) 
 
PROPER NAMES. 401 
 
 It will thus be seen from the foregoing lists that 
 
 • hundreds of the distinguished men of history possess 
 
 names which are comparatively easy of association. * 
 
 Some of the above illustrations may seem far- 
 fetched, but it must be borne in mind that, by reason 
 of proper names being the most difficult of all to mem- 
 orize, any association whatever, absurd though it may 
 appear, is far better than none, and thus the most lib- 
 eral latitude may properly be used in the forming of 
 associations. 
 
 And now as to the actual practice of memorizing 
 proper names. 
 
 The first thing is to ascertain if the name to be mem- 
 orized is identical with that of any other person with 
 whom the student is on familiar terms. If it is, the 
 two should be associated in the mind until the recol- 
 lection of the more familiar name of the two will cause 
 the other name to be revived in the memory also; this 
 will be found the easiest way of all in which to mem- 
 orize a proper name; if the student be unable to recall 
 to mind a name identical in spelling or pronunciation 
 with the one which it is desired to memorize, let him 
 try to think of a familiar name whose first syllable cor- 
 responds with that of the name to be memorized; if 
 this can be done it will be found that the whole name 
 can be recalled with only a slight effort of the memory, 
 the first syllable being really the key. Should no name 
 be thought of which can be thus associated, let the 
 student next see if the name to be memorized is spelled 
 or pronounced the same as some well known word or 
 
402 THE ART OF MEMORY. 
 
 words with a meaning; if the whole name has no suck 
 counterpart let it be ascertained if the first syllable has, 
 and if so what part of speech it represents; the balance 
 of the name will be recalled with but slight effort, as 
 in the case just mentioned — the first syllable being of 
 all-importance; or let the student endeavor to think of 
 some familiar word that sounds nearly the same as the 
 name to be memorized — as Gough (Cough): Spurgeon 
 (Sturgeon): Moliere (Molar): Confucius (Confusion). 
 
 If all these attempts to find an associating s^^llable 
 or word prove fruitless, there is no other wa}^ but to 
 fi^ the name in the memory by purely Sight or Sound 
 impressions, or both — in other words, by frequently re- 
 peating the name until it is fairly pounded into the 
 memory; and where this last plan is resorted to, ex- 
 perience will demonstrate that the practice already had 
 of searching for a word or syllable of similar spelling 
 or sound will in itself prove of great assistance in im- 
 printing the name on the memory. Although the last- 
 mentioned means of memorizing proper names is seem- 
 ingly primitive in its character and devoid of system, 
 yet even in that case method can be employed to a con- 
 siderable extent; for instance, the student can notice 
 how many syllables are in a name and how many let- 
 ters in the first syllable; whether the first letter is a 
 vowel or a consonant; whether the second letter is of 
 the same character, or its opposite — and so on. 
 
 A student of a mathematical turn of mind can 
 evolve method out of that which would ordinarily seem 
 not to furnish the slightest foundation therefor. Sup- 
 
PROPER NAMES. 403 
 
 pose the alphabet be divided into five parts, the vowels 
 forming the points of division, it will be noticed that 
 between a and c there are three consonants; between 
 e and i the same number; between i and o there are five; 
 between o and n, five; and after u, five also — the vowels 
 also numbering five: so that the number of vowels, the 
 number of divisions, and the number of consonants in 
 each division are represented by the figures 3 and 5, 
 which are both odd. Let it then be noted whether the 
 name to be memorized begins with a vowel or a con- 
 sonant (the chances being about five to one that it will 
 be the latter), and whether the second letter is of the 
 same character, or its opposite. If the name begins 
 with a vowel the student will find less difficulty in rec- 
 ollecting which one it is, as there are only five vow- 
 els, and comparatively few names begin with either I 
 or U, the proportion of proper names beginning with 
 the various vowels being about as follows: A 20, E 15, 
 I 3, O 8, U 2 — so that nine times out of ten a name 
 beginning with a vowel will not commence with either 
 I or U, and when it does the very exception will tend 
 to impress the memory; the vowel can also be desig- 
 nated numerically — 1, 2, 3, 4, and 5 indicating a, e, i, o, 
 and u, respectively. If the name begins with a con- 
 sonant there will be little difficulty in recalling the 
 particular division in which the consonant is situated 
 — whether the 1st, 2d, 3d, 4th or 5th — also the number 
 of the letter in such division; if the second letter in the 
 name be a consonant also, it can be located by the same 
 method. With the vowels there will be less difficulty; 
 
404 THE ART OF MEMORY. 
 
 the most important thing is to learn the consonants — 
 the vowels will be comparatively easy to recollect. It 
 will seldom be necessary to memorize more than the 
 first syllable of a name — the rest will usually be re- 
 tained in the memory almost unconsciously; and should 
 the first syllable consist of more than three letters it 
 will rarely be necessary to memorize more than the 
 first three. The first letter of a name is the most essen- 
 tial of all to recollect, each succeeding letter being 
 usually less difficult to recall than the preceding one; 
 therefore especial care should be taken to thoroughly 
 imprint the first letter on the memory, as it is the key 
 to that which follows. After a name has been mem- 
 orized in this way and afterwards reproduced two or 
 three times, it is likely to be retained permanently in 
 the memory through Sight impressions alone, when it 
 will no longer be necessary to rely upon anything else; 
 the main idea in memorizing a name is to force the 
 mind to dwell intently on the most important letters 
 until a thorough impression is effected. Names which 
 are memorized by this method are more than likely to 
 cling to the memory with great tenacity. 
 
 For example: Take the name ^^Atherton." A, be- 
 ing the first letter in the alphabet, would be repre- 
 sented by 1. T is in the fourth division and is the fifth 
 letter. H is in the second division and is the third let- 
 ter. The figures 1; 4, 5; 2, 3 would therefore represent 
 the first syllable of the name, Atli., a single figure indi- 
 cating a vowel, and a pair of figures a consonant. The 
 name Bascome would be indicated thus: 1, 1; 1; 4, 4 
 
PROPER NAMES. 405 
 
 for the first syllable; and 4, 4; 4, 5; 2 would represent 
 the first syllable of the name Stevens. It will be no- 
 ticed that in each of the above eases the vowel occupies 
 a different position. It may be urged that it ought to 
 be less difficult to memorize the letters themselves than 
 the figures, as the former contain the lesser number of 
 characters, but one who is of a mathematical cast of 
 mind might reply that the relation between figures, the 
 highest of which does not exceed the numeral 5, is 
 retained in the memory with less difficulty than a par- 
 ticular combination of letters selected from among 26! 
 
 For a person who is defective in "figure memory'' 
 the following plan may be more practical: Write the 
 name down on a slip of paper or in a book, and look at 
 it attentively now and then, as well as pronounce it 
 audibly, and perhaps rewrite it one or more times, as 
 each act of writing tends to impress the name still more 
 strongly on the memory. Louis Napoleon, who had a 
 remarkable memory for names, used to write on a slip 
 of paper a person's name that he wished to retain, look 
 at the slip carefully and then throw it away; it is said 
 that he never forgot a name memorized in this way. 
 
 After a person's name has been memorized, by what- 
 ever method, it can be still further intrenched in the 
 memory in two ways: 
 
 First: by linking together in the mind the person's 
 name and the place where he was met, and the circum- 
 stances surrounding the meeting. 
 
 Second: by linking together the person's name and 
 any striking peculi.arities of his appearance or dress. 
 
406 THE ART OF MEMORY. 
 
 One of the severest tests to which a person's mem- 
 ory of proper names can be subjected is when he is 
 introduced to a number of persons in quick succession, 
 as at a social gathering. The closest attention must 
 be paid as each name is uttered, and the association 
 must be prompt, or it will be of little value; in most 
 cases it must be with some peculiarity of feature, form, 
 or dress, the association being adopted w^hich seems the 
 most applicable, and an early opportunity sought to 
 impress it still more strongly on the mind; for in each 
 case sufficient time must be taken to form a clearly- 
 defined association. The names should be written down 
 in as many cases as possible, that the memory impres- 
 sions may be preserved before any of the essential ones 
 have fled. Opportunities to write down names do not 
 occur in every case however, and where^ they do not, 
 reliance must be placed on the means previously indi- 
 cated, which will usually suffice. 
 
 Thus far the methods suggested have had reference 
 to surnames only — they being of chief imj)ortance. It 
 is often necessary or desirable to memorize a person's 
 initials also. To accomplish this the student should, 
 if possible, first recall to memory some well known per- 
 son having initials identical with the former person's, 
 and then mentally associate the two persons, the recol- 
 lection of either one aiding to recall the other. It 
 usually happens that some name can be thought of with 
 identical initials, but if both initials in their proper 
 order cannot be found accompanying any name thus 
 thought of, then the initials should be reversed and a 
 
PROPER NAMES. 407 
 
 name sought for to correspond therewith, and if a name 
 is found, a mental note should be made of the fact that 
 the initials are reversed ; but if a name cannot be found 
 in either case, then the same method should be em- 
 ployed as in memorizing the first portion of a surname 
 which cannot be twisted into a meaning. 
 
 Another way to memorize initials is to see if they 
 correspond with any well known abbreviations, as for 
 instance: B. C, A. D., A. M., P. M., N. E., N. W., S. E., 
 S. W., M. C, M. P., D. D., M. D., B. A., M. A., U. S., P. 
 O., N. B., O. K., etc. Besides the surname and the ini- 
 tials, it is sometimes necessary or desirable to mem- 
 orize a person's gwen name, which latter may not be 
 identical with that of the person whose initials may 
 correspond. The cases however when it would be nec- 
 essary to memorize that portion of the name at the same 
 time as the i^est of the name are extremely rare, as it 
 must be a familiar acquaintance indeed whom one 
 would greet or mention by other than his or her sur- 
 name. The cases in which given names are used are 
 mostly where relatives or personal friends are ad- 
 dressed, or else where children are spoken to, and he 
 who w^ould be popular with the little ones would do 
 well to cultivate a memory for given names. Children 
 love to be noticed and called by name; it is regarded 
 by them as a compliment to their intelligence and con- 
 sequence which they are only too ready to appreciate ; 
 and the failure of a person whom a child knows, to 
 promptly call it by its given name is not soon forgotten. 
 
 Some years ago a clergyman was called to the pas- 
 
408 THE ART OF MEMORY. 
 
 torate of a church, and a few months after he had en- 
 tered upon his duties one of the little girls in the con- 
 gregation was asked how she liked the new minister. 
 "Oh! I don't like him very well," was the reply. "And 
 why not?'' "Oh! because he never knows my name!'^ 
 An important feature of that minister's education had 
 evidently been neglected; yet there is no good reason 
 why he should not have produced a very different im- 
 pression on the child, as the memorizing of given names 
 is quite easy compared with that of surnames, the num- 
 ber of the former in common use being limited — not 
 exceeding a hundred in the case of men and seventy- 
 five in that of women — while in surnames the variety 
 is unlimited. 
 
 Given names which are in common use need not be 
 memorized by any special method; the very frequency 
 with which they are uttered will sufficiently impress 
 them on the memory without mnemonical aid; the 
 main idea to bear in mind is that the name must in 
 some way be associated with the person to whom it 
 belongs. The most simple and practical plan is to 
 think of some well know^n person whose given name is 
 the same as that which is to be memorized, and then 
 associate the two; if such a person cannot be thought 
 of, then the name must be memorized simply by fre- 
 quent repetition — the necessity for which is, however, 
 not likely to often occur. 
 
 Among proper names those pertaining to geography 
 will be generally found the most difficult to memorize, 
 owing to the fact that they contain less possibilities of 
 
PROPER NAMES. 409 
 
 comparison than surnames. It is indeed true that 
 many geographical localities are either named after or 
 derived from surnames, but a large XJroportion of such 
 names are foreign and not modern, and do not corre- 
 spond with surnames of the present day; besides, it is 
 not so easy for the mind to associate a person with a 
 place as with another person; it is more natural to 
 associate like with like. The memorizing of geograph- 
 ical names should be accomplished, in the main, in the 
 same manner as that of surnames, the suggestions 
 which are applicable in the one case being equally so 
 in the other. 
 
 To these suggesti/^ns which have been offered but 
 little need be added; attention and practice on the part 
 of the student must do the rest. With practice will 
 come the capacity to seize intuitively upon the most 
 available form of association and fix a name in the 
 memory with promptness and permanency; and the 
 possessor of a well-developed memory for proper names 
 may well hope and expect to acquire through the years 
 of his life an extended circle of friends, and to attain 
 an enviable familiarity with the chief names that adorn 
 the pages of history and legend and fiction. And with 
 a prospect such as this to stimulate his energies, w^ho 
 shall say that the time and labor devoted to the culti- 
 vation of a memory for proper names could well be 
 spent in vain? 
 
CHAPTER XVII. 
 
 MUSIC. 
 
 "The man that hath no music in himself, 
 Nor is not moved with concord of sweet sounds, 
 Is tit for treasons, stratagems and spoils." 
 
 Shakespeare. 
 
 "Who is there that, in logical words, can express the effect 
 music has on us? A kind of inarticulate, unfathomable speech, 
 which leads us to the edge of the infinite, and lets us for moments 
 gaze into that! * * * Music is well said to be the speech of 
 angels." Carlyle. 
 
 "Of all the liberal arts, music has the greatest intluence over the 
 passions. * * * a well composed song strikes and softens the 
 mind and produces a greater effect than a moral work, which con- 
 vinces our reason, but does not warm our feelings, nor effect the 
 slightest alteration in our habits." Napoleon. 
 
 "Music wakes a glad remembrance of our youth, calls back past 
 joys, and warms us into transport." Rowe. 
 
 "Music, which gentler on the spirit lies 
 Than tired eyelids upon tired eyes." 
 
 Tennyson. 
 
 "And the night shall be filled with music, 
 And the cares that infest the day 
 Shall fold their tents, like the Arabs, 
 And as silently steal away." 
 
 Longfellow. 
 
 (410) 
 
MUSIC. 411 
 
 Of all the pure delights which it is possible for the 
 human soul to absorb through the medium of the sensi- 
 bilities, Music can furnish the sweetest, the most in- 
 spiring, and the most enduring. How often have inci- 
 dents which seemed to elude all other attempts at recol- 
 lection, been revived in the memory through the echo 
 of some tender strain last heard, it may be, in the hal- 
 cyon days of childhood! Often have stony hearts been 
 softened, often have noble deeds been inspired through 
 the pathos, the eloquence and the majesty of Music. It 
 has the power to portray every possible emotion of the 
 human soul; in this realm it holds undispu-ted sway, 
 and in this realm alone can its power be exerted. A 
 noted writer, in an essay on music, says: "Prose is the 
 language of social life; Poetry that of fancy and imag- 
 ination; Painting and Architecture of color and form; 
 and Music of emotion." 
 
 To define music in as few words as possible, no more 
 concise statement can perhaps be made than that it is 
 a succession or combination of euphonious sounds ar- 
 ranged in conformity with the law^s of harmony. This 
 is simply the formal definition of the term — but surely 
 mere words are inadequate to express the full signif- 
 icance of that one word — Music! From the distant 
 twilight of Time through all the intervening ages have 
 the magic strains of music proved their wondrous po- 
 tency to sway the hearts and minds of men; its gentle 
 cadences may move the heart to tender sentiment, or 
 lull the senses into sweet oblivion; its measures of 
 majestic harmonies can stir to their inmost recesses the 
 
 30 
 
412 THE ART OF MEMORY. 
 
 might}' passions of the soul. The surpassing eloquence 
 of a Chatham, a Webster, or a Mirabeau may indeed 
 fill the soul with patriotic impulse, but the thrilling 
 accents of '^Hail Columbia,'^ the ^'Marseillaise,''^ or 
 ''^yacllt am Rhein,^^ can rouse men to intrepid action. 
 Its mission is for good, not evil; it harmonizes with 
 the better impulses of human nature; it cannot exert 
 a malignant nor debasing influence, but sheds luster on 
 the noble efforts and heroic acts of man. 
 
 Coleridge said of music: "I feel physically re- 
 freshed and strengthened by music, as Milton says he 
 did.'' 
 
 Thomas Moore said: ^'Music is the true interpreter 
 of the religions." And Charles Kingsley expressed 
 this sentiment: "Music is necessary to the rounding 
 and finishing of the perfect character.'' 
 
 While Music may be not improperly termed one of 
 the exact sciences, yet its illustrative features occupy 
 a field whose vastness is inconceivable. The world of 
 Music is a treasure-world, but its treasures are not 
 measurable by earthly standards; it is a, world so vast 
 that neither head nor heart has ever fathomed its pro- 
 foundest depths nor soared to its sublimest heights. 
 New Beethovens, and Wagners, and Mozart s will rise, 
 flourish, and pass away; others will take their places, 
 and in turn live and labor and leave to generations yet 
 to come the imperishable fruits of their genius — and so 
 it will continue through the ages, even to the end of 
 time — and beyond, and yet beyond, exhaustless treas- 
 ures still will be, in wondrous Music-land ! 
 
MUSIC. 413 
 
 Most memory systems which have hitherto appeared 
 have either been silent regarding- the subject of mu- 
 sical-memory, or else have disposed of it in compara- 
 tively few words; they have either considered the sub- 
 ject of memory-culture in a too general way, or, while 
 claiming to cover the whole subject, have really treated 
 only certain branches of it. Music not being among the 
 number — possibly for the reason that the culture of 
 musical-memory was deemed of too little importance 
 to require special mention. The fact is, however, that 
 in musical-culture the demands upon the attention and 
 the recollection are often very great; accurate sight- 
 reading and skillful execution require as close a con- 
 centration of attention as almost any other kind of task 
 imposed upon the human mind; in orchestral work and 
 in accompanying on the piano or* organ, the demands 
 upon the attention are often very great, and to thor- 
 oughly memorize a classical musical composition re- 
 quires uncommon patience and perseverance. The 
 conductor of a symphonic concert or of a grand opera 
 or oratorio needs to be not only a thorough musician 
 and to keep his senses alert during the whole perform- 
 ance, watching every detail with scrupulous care, but 
 he must also be familiar with the composition. A 
 Thomas, a Nikisch, or a Damrosch deserves the homage 
 due the possessor of talent or genius no less than does 
 an accomplished orator or a famed writer; the distinc- 
 tion is in kind rather than power. 
 
 The ability to retain musical sounds in the memory 
 is largely intuitive; the love of music is inborn, and 
 
414 THE ART OF MEMORY. 
 
 within certain limits the "strains of melodious meas- 
 ure'' which greet the ear are received and retained 
 spontaneously; but when these limits are passed — 
 when we would advance from mere melody into the vast 
 world of musical science; when we would progress from 
 the passive power of retaining in the memory a simple 
 su(?cession of musical sounds, to the ability to interpret 
 the works of the great masters, reliance on the spon- 
 taneous action of uneducated musical memory is cer- 
 tain to prove delusive — for only by diligent and intelli- 
 gent effort, and by a method very different from that 
 employed in any other branch of memory-culture, can 
 excellence be attained in the memory of music. 
 
 History gives us many instances of remarkable pow- 
 ers in the memorizing of music, of which the following 
 may be cited: 
 
 Carolan, the greatest of Irish bards, once met a 
 noted musician and challenged him to a test of their 
 respective musical abilities. The defi was accepted 
 and Carolan's rival played on his violin one of Vivaldi's 
 most difficult concertos. On the conclusion of the per- 
 formance, Carolan, who had never heard the piece be- 
 fore, took his harp and played the concerto through 
 from beginning to end without making a single error. 
 His rival thereupon yielded the palm, thoroughly satis- 
 fied of Carolan's superiority, as well he might be. 
 
 Beethoven could retain in his memory any musical 
 composition, however complex, that he had listened 
 to, and could reproduce most of it. He could play from 
 memory every one of the compositions in Bach's "Well 
 
MUSIC. 415 
 
 Tempered Clavichord," there being forty-eight preludes 
 and the same number of fugues, which in intricacy of 
 movement and difficulty of execution are almost unex- 
 ampled, as each of those compositions is written in the 
 most abstruse style of counterpoint. 
 
 Mozart, at four years of age, could remember, note 
 for note, elaborate solos in concertos which he had 
 heard; he could learn a minuet in half-an-hour, and 
 even composed short pieces at that early age. At six 
 he was able to compose without the aid of an instru- 
 ment, and continued to advance rapidly in musical 
 memory and knowledge. When fourteen years old he 
 went to Eome in Holy Week. At the Sistine Chapel 
 was performed each day Allegri's ''Miserere," the score 
 of which Mozart wished to obtain, but learned that no 
 copies were allowed to be made. He listened atten- 
 tively to the performance, at the conclusion of which 
 he wrote the whole score from memory without an 
 error. Another time Mozart was engaged to contrib- 
 ute an original composition to be performed by a noted 
 violinist and himself at Vienna before the Emperor 
 Joseph. On arriving at the appointed place Mozart 
 discovered that he had forgotten to bring his part. 
 Nothing dismayed, he placed a blank sheet of paper 
 before him and played his part through from memory 
 without a mistake. When the opera of "Don Giovanni'^ 
 was first performed there was no time to copy the score 
 for the harpsichord, but Mozart was equal to the occa- 
 sion; he conducted the entire opera and played the 
 
416 THE ART OF MEMORY. 
 
 harpsichord accompaniment to the songs and choruses 
 without a note before him. 
 
 There are many Avell-attested instances of Mendels- 
 sohn's remarkable musical memor3^ He once gave a 
 grand concert in London at which his Overture to "Mid- 
 summer Night's Dreafn'' was produced. There was 
 only one copy of the full score, which was taken charge 
 of by the organist of St. Paul's Cathedral, who unfortu- 
 nately left it in a hackney coach — whereupon Mendels- 
 sohn wrote out another score from memory without 
 an error. At another time, when about to direct a 
 public performance of Bach's "Passion Music," he 
 found on mounting the conductor's platform that in- 
 stead of the score of the work to be performed, that of 
 another composition had been brought by mistake. 
 Without hesitation Mendelssohn successfully con- 
 ducted this complicated work of the great contrapun- 
 talist, from memory, automatically turning over leaf 
 after leaf of the score before him as the performance 
 progressed, so that no feeling of uneasiness might en- 
 ter the minds of the orchestra and singers. 
 
 Gottschalk, it is said, could play from memory sev- 
 eral thousand compositions, including many of the 
 works of Bach. The noted conductor Vianesi rarely 
 has the score before him in conducting an opera, know- 
 ing every note of many operas by memory. It is said 
 that Blind Tom, the negro prodigy, knew several thou- 
 sand piano compositions by heart; all his faculties 
 seemed concentrated into the sense of hearing; he lived 
 
MUSIC. 417 
 
 and moved in the world of sound, but had little or no 
 artistic perception. 
 
 While it is true that no one who does not possess 
 true musical instincts can ever hope to attain pro- 
 ficiency in the ''Divine Art," it is equally true that, 
 however rich may be one's native musical endowments, 
 yet without the possession of a retentive memory he 
 will never be able to hold his own among artists. The 
 piano or violin soloist who cannot play the most dif- 
 ficult numbers in his repertoire from memory with 
 ease and accuracy, can never hope to ascend above the 
 plane of mediocrity as an artist; however excellent 
 may be his ability as a reader of music and however 
 faultless his technique, these are not sufficient — he must 
 play with expression; and this cannot be done with 
 fidelity unless the piece is memorized. 
 
 Expression is the aroma of musical performance; 
 if this be lacking, if there be not a soulful interpreta- 
 tion of the composition, its rendition will not be satis- 
 factory to either performer or audience. True expres- 
 sion cannot be attained without undivided attention; 
 by dint of faithful and intelligent study and practice 
 the technical elements of a composition may be so thor- 
 oughly memorized that the attention can be devoted 
 chiefly to expression, which latter feature is the one 
 in which is essentially manifested the superiority of 
 the true artist. There is a vast chasm between the 
 mere melody-lover and the musician; one moves only 
 within restricted bounds; the other, master of the art 
 
418 THE ART OF MEMORY. 
 
 which he loves, is ever exploring new realms and at- 
 taining nobler heights. 
 
 As well ma}' Ave compare the petty politician with 
 a Pitt or a Webster; the flippant rhymester with a 
 Shakespeare or a Milton; or the dime-novel writer with 
 a Dickens or a Scott — as to compare the average person 
 who "likes music'' with a trained musician; the former 
 only hovers about the outskirts of a world which offers 
 to the latter an infinite expanse of wonder and delight 
 — a world which might be explored by thousands who, 
 through lack of properly directed effort, may never ad- 
 vance beyond the outer circle of musical understanding. 
 
 Among those who can perform on a musical instru- 
 ment, a vast majority are virtually helpless without 
 their notes; and as a result their plajing, how^ever cor- 
 rect it may be in a technical sense, is lacking in the 
 vital essence — soul; with the attention divided among 
 several elements there cannot be a faithful interpreta- 
 tion of the composer's conception; thus the rendition of 
 the composition is, in a sense, meaningless; it may 
 express the letter^ but the spirit it cannot; unless the 
 attention be given chiefly to expression, a truly artistic 
 performance cannot result. For the adequate render- 
 ing of good music it is therefore necessary that it be 
 thoroughly memorized — and to attain this end is 
 worthy the most intelligent and persevering effort. 
 
 As the piano is the musical instrument which is in 
 the most general use, the suggestions which are to fol- 
 low will be directed to the memorizing of piano-music. 
 
 We will assume that the student proposes not only 
 
MUSIC. 419' 
 
 to become proficient technically; in piano playing, but 
 also to be able to perfectly memorize a composition in 
 the easiest way, and ultimatelj^ to attain a high degree 
 of perfection as a musician. 
 
 To begin with, each advance step in the theory and 
 practice of music should be taken only after the route 
 already travel sed shall have become entirely familiar; 
 the rudiments must be fully mastered, every detail be- 
 ing drilled into the memory until it cannot be forgot- 
 ten — and thus little by little, step by step, will the 
 student advance in musical knowledge. 
 
 Thoroughness is the main road that leads to suc- 
 cess in any art. Who has not heard the story about 
 Michael Angelo, who was putting the finishing touches 
 to a magnificent painting — w^hen a friend who had 
 been watching the artist putting dainty strokes of the 
 brush here and there, that were scarcely perceptible, 
 said to him: "Why do you spend so much time on your 
 picture? all these little touches are but the merest 
 trifles!" "Ah!" said Angelo: "But trifles make per- 
 fection, and perfection is no trifle!" 
 
 None of the great virtuosos in music become so ex- 
 cept through thoroughness and hard work. Paganini, 
 who wrote music of such technical difficulty that no 
 one could pla^^ it but himself, used to practice single 
 passages for ten hours at a time. 
 
 The keys of Handel's harpsichord became so worn 
 by practice that they were hollowed like the bowl of a 
 spoon. 
 
420 THE ART OF MEMORY. 
 
 Wieniawski, the famous Polish violinist, said that 
 in order to retain his technique he was obliged to prac- 
 tice fully three hours each day, and that if he missed 
 a single day he felt the difference in his power of ex- 
 ecution very perceptibly. 
 
 To the intelligent student it would seem superflu- 
 ous to advise that all studies should be pursued under 
 the guidance of a competent teacher, that wrong habits 
 be not allowed to obtain a foot-hold — for Dr. Johnson's 
 words: ''The chains of habit are generally too small 
 to be felt till they are too strong to be broken," are as 
 applicable to the practice of music as to anything else, 
 and too much care cannot be exercised in the choice of 
 an instructor. 
 
 In memorizing a musical composition the following 
 order of procedure is advised: 
 
 First: Memorize the score. 
 
 Second: Memorize the technical part. 
 
 Third : Interpret the composition. A musical score 
 furnishes in itself a great many landmarks, or guide- 
 posts, by means of which the student can impress the 
 various details of the composition on his visual mem- 
 ory. No two lines of a piece of music look exactly 
 alike, and by this contrast in appearance is the student 
 enabled to more easily fix in his visual memory the vari- 
 ous features of the composition; and with properly di- 
 rected study, in a short time the visualizing faculty 
 can be so well cultivated that a score of moderate 
 length can be carried in the visual memory .for a con- 
 
MUSIC. 421 
 
 siderable period with ease and certainty. The student 
 should observe — 
 
 First: The Key. 
 
 Second: The Time. 
 
 Third: The Movement, or Tempo. 
 
 Fourth: The Marks of Expression. 
 
 Fifth: The position of the Notes. 
 
 While the main body of the composition is presum- 
 ably written in the key indicated by the signature, yet 
 changes of key may occur, which are indicated either 
 by a change of signature in each case, or by the sharp- 
 ing or flatting of such notes as are necessary to accom- 
 plish the same purpose. The student should so famil- 
 iarize himself with the notes representing the keys that 
 he can readily tell what key any part of the composi- 
 tion is in; and he should make a mental record of the 
 places in the score where the changes of key occur; 
 the points where passages are repeated should also be 
 carefully observed, if there be any. 
 
 Next should be noted the time, and w^hether the orig- 
 inal time is maintained throughout the piece, or, if 
 there are changes of time, what they are and where 
 they occur. 
 
 The student should next notice whether the Move- 
 ment, or Tempo, is Presto or Largo, or any of the inter- 
 mediate degrees; if there are any changes of move- 
 ment a mental note should be taken of what they are, 
 and of the places where such changes occur. 
 
 The various marks of expression and w^here they are 
 placed, should next be carefully studied — for by these 
 
422 THE ART OF MEMORY. 
 
 signs is the phrasing indicated, with all its rich possi- 
 bilities of variety — which may properly be termed the 
 arcJiUccture of music. By these means does the com- 
 poser indicate his ideas — signify the inner meaning of 
 what he has written, that the performer may under- 
 stand for himself and interpret to others the composer's 
 own conception of how the composition should be ex- 
 ecuted to faithfully represent its motive; its fidelity of 
 interpretation will depend on the performer's sympathy 
 with the sentiment of the composer — which must be a 
 matter of inner consciousness and cannot be expressed 
 in positive terms any more than can the magnetic effect 
 of a great oration, or the noble strains of a patriotic air 
 played by a grand orchestra; the key, the time and the 
 movement are the mechanics of music ; expression is its 
 soul. 
 
 Last of all, and supremely essential from a technical 
 standpoint, the position of the notes should be carefully 
 observed. By this is meant, not that the situation of 
 each particular note should be memorized, but that the 
 location of the most important ones should be mentally 
 noted, especially those notes which carry the theme. 
 It is more important to have the first note of a measure 
 impressed on the visual memory than any of the others, 
 as, being the only accented note where there are three 
 or less beats to the measure, and having the primary ac- 
 cent where there is a greater number, it gives at least 
 a hint of the notes which immediately follow. The 
 highest and the lowest notes, and the particular notes 
 which begin and end each page, serve as musical land- 
 
MUSIC. 423 
 
 marks of which excellent use can be made; and it is 
 also well to note the difference in the rhythmic struc- 
 ture of various measures. 
 
 An association of dynamic signs and marks of ex- 
 pression with contiguous notes is an important means 
 of fixing the position of both in the memory — such as 
 noticing where piano and forte passages begin and end ; 
 w^here staccato or sostenuto notes are introduced; at 
 what places accelerando and ritenuto passages occur, 
 etc. 
 
 In memorizing the position of notes on a musical 
 score it is best to study the treble staff first, and the 
 bass last, as the theme or melody is usually carried by 
 the former — familiarity with which will enable the stu- 
 dent to more easily memorize the latter, w hich, while it 
 may be said to constitute the foundation of the struc- 
 ture, yet is subsidiary to the treble; the bass is always 
 written last, never first. 
 
 If the foregoing suggestions are faithfully followed 
 for a reasonable time, the student will find that he can 
 accomplish the visual memorizing of a musical score 
 of moderate length with comparatively little effort, and 
 that the practice will be not only profitable, but inter- 
 esting. He is advised to familiarize himself with the 
 various details in the order indicated, gaining a mastery 
 of each before the next is taken up. 
 
 Having memorized the score, the next step is to 
 learn to plaj^ the notes with mechanical correctness 
 without looking at the music. Experience has demon- 
 strated that in order to best accomplish this the two 
 
424 THE ART OF MEMORY. 
 
 parts should be practiced separately, the proper finger- 
 ing being first carefully studied for each case, that the 
 technical difficulties may be reduced to a minimum. 
 Except when it is desired to cultivate the faculty of 
 sight-reading, the rapidity of practice should be limited 
 to the ability of the student to play the notes with me- 
 chanical correctness, even though at first it may be 
 much slower than the proper tempo, which latter is often 
 so rapid as to tax the skill of a practiced player. The 
 speed may be gradually increased as the piece grows 
 familiar, until the player can execute each part sepa- 
 rately in tempo; then both parts should be practiced 
 together in the same manner, those passages w^hich are 
 the most difficult being played over and over until they 
 can be executed with the same smoothness and cer- 
 tainty as the simpler ones, until all parts are equally 
 familiar. 
 
 As practice progresses the student will learn to 
 form easy and natural associations of the various parts 
 with each other and with the score, and in these asso- 
 ciations rliijtlim will form an important feature — for 
 rhj^thm is the very life of every artistic performance, 
 and corresponds to inflection in reading or speaking; 
 every now^ and then syncopated passages are likely to 
 occur, which may be compared to quotations, whose 
 very infrequency tends to impress them on the memory 
 with especial significance. 
 
 In the preliminary stages of technical study, an ex- 
 cellent way to impress the sounds of the various notes 
 on the memory, as well as hasten the acquirement of 
 
MUSIC. 425 
 
 technical perfection, is to emphasize the rhythm by ex- 
 aggerating the accent. When such object shall have 
 been attained the excess of accent may be dispensed 
 with, and practice continued on the lines of a faithful 
 rendering of the piece, from a mechanical standpoint. 
 
 But after all, technique, essential as it is, serves as 
 but a means to an end — the interpretation; without that 
 the composition cannot be intelligently performed; 
 technique is an invaluable servant but a very undesir- 
 able master — therefore its attainment ought not to be 
 sought at the expense of that culture which transcends 
 all technical acquisition — the power of expression. 
 
 Having now progressed so far as to be able to play 
 the notes with technical correctness without having 
 recourse to the score, the student is prepared for the 
 final step' — the interpretation of the composition. 
 
 If this step be not taken, what has already been 
 learned is as the formless block of marble before a 
 Pilon has chiseled out of it his matchless ^'Three 
 Graces,'' or the naked canvas before it has received the 
 magic touch of a Leonardo, or a Kaphael; it is like a 
 majestic landscape, whose resplendent beauty might 
 thrill the soul of poet, or peasant, but lies hidden in the 
 sable garb of night — before the beaming orb of day has 
 risen above the eastern hills to unfold the scene to 
 mortal view. It is like the fiery w^ords of an Othello or 
 the impassioned phrases of an Antony uttered by a 
 drawling dullard, rather than by a Garrick or a Kean. 
 Put the words of an oration in the mouth of him who 
 has it not in his nature to appreciate their true sig- 
 
426 THE ART OF MEMORY. 
 
 nificance, and they are commonplace and. lifeless — but 
 put these same words upon the lips of a Calhoun, a 
 Choate, a Pitt, or a Fox, and they become instinct with 
 life and thrill the hearts of listening thousands. 
 
 And so with Music; the beauty and grandeur of a 
 "Beethoven" Sonata, the fire and passion of a "Liszt" 
 Rhapsody, or the grace and tenderness of a "Chopin" 
 'Nocturne, is but faintly conveyed if played by an aver- 
 age amateur; but under the inspiring touch of a Pad- 
 erewski or a Joseffy it becomes a revelation! the one 
 is but a combination of harmonious sounds — the other 
 reveals the idea of the composer; the one is a shadow 
 — the other is the substance, in all its true sublimity. 
 
 How are we to give expression to the composition? 
 — to breathe life into it, and give it color and form? 
 
 Let it be remembered that in music, as in literature, 
 there are phrases, sentences, and paragraphs; some 
 are hon mots, drawn from a seemingly inexhaustible 
 treasure of wit and humor; others are graceful and 
 flowing; others brilliant and picturesque; some are 
 tender and pathetic, and some profound and majestic — 
 each distinct and recognizable by him who possesses 
 true artistic perception. The ability of the player to 
 execute a composition with fidelity to the score and 
 yet have another subject engross his mind at the same 
 time may, it is true, constitute technical perfection — but 
 to insure an artistic performance, the mind, instead of 
 drifting about at haphazard, must be concentrated on 
 expression ; to do this the player must have within him 
 the germs of true musical feeling; if he be thus en- 
 
MUSIC. 427 
 
 dowed he can by proper training become a cultured 
 musician; if there be expression in his soul, it can be 
 imparted to his finger-tips, and with proper application 
 he can learn to interpret the works of the great masters 
 of music; but natural musical instincts he must have 
 to begin with; and he must study the right kind of 
 music, in the proper manner. More than this there can 
 be but little said; no definite rules can be laid down 
 for giving true expression to a musical composition; 
 the letter can be indicated, but the spirH must exist 
 within the player himself; the garb in which expres- 
 sion should be clothed may be described down to the 
 finest detail, but there must be a soul within the rai- 
 ment — the heart, no less than the head and the hands, 
 should be trained; its finer sentiments, its higher im- 
 pulses, should be developed by proper exercise; then, 
 and not until then, can a worthy musical composition 
 be truly interpreted. 
 
 The selection of compositions for memorizing is a 
 matter whose importance cannot be overestimated. 
 The musical as well as the moral nature may, by being 
 fed with improper food, lapse into a stagnant and un- 
 healthy state, or it may, under auspicious conditions, 
 expand into most noble proportions gathering new life 
 and symmetry through ever recurring communion with 
 the "choice and master spirits'' of the Divine Art. In 
 the early stages of study, while the musical taste is yet 
 in embryo, it is best to leave the selection of composi- 
 tions for practice to a competent teacher, whose judg- 
 ment will be far superior to the student's as to the 
 
 31 
 
428 THE ART OF MEMORY. 
 
 character of composition ayMcIi is best suited to his 
 abilities. In no case should an inferior class of music 
 be tolerated in the student's repertoire; the trashy com- 
 positions which infest many of our music stores should 
 be shunned, as they demoralize the taste, and operate 
 as a barrier to progress in musical culture. Especially 
 should works of the great masters constitute the warp 
 and woof of his study, until their sentiment is wrought 
 into the very fibre of his being. The student need feel 
 no apprehension that he may become too classical in his 
 tastes; the "classical,'' in music, means its highest de- 
 velopment, and he who attains to a true understanding 
 of music may dwell in a world of serene exaltation 
 whose beauties and wonders are ever expanding; he 
 may revel in a perennial feast of sublime sentiment; of 
 that inspiration which belongs only to genius, to which 
 the peerless creations of such masters as Beethoven, 
 Mendelssohn, Mozart, or Wagner, bear abundant testi- 
 mony — creations which cannot but be the "applause^ 
 delight, the wonder" of mankind through all time. 
 
 In committing to memory a musical composition, 
 as in other kinds of memorizing, the student should be- 
 gin with small tasks, to be gradually increased as the 
 capacity for learning them develops, and with consci- 
 entious, intelligent study, the student will in time be 
 able to accomplish with ease that which he would at 
 first have deemed quite impossible: 
 
 "One xh'mg at a time, 
 And that done well," 
 
MUSIC. 429 
 
 is as useful a maxim to be followed in memorizinir a 
 musical composition as in any other line of effort; each 
 detail should be fully mastered before the next is com- 
 menced — and thus, little by little, will proficiency be 
 acquired. 
 
 Besides patience, determination and assiduity, an- 
 other important requisite is self-confidence — and in no 
 way can this be so quickly attained as by playing be- 
 fore an audience. At first the player will no doubt 
 feel more or less embarrassed; many a person has thor- 
 oughly memorized a composition, only to find himself 
 all at sea on attempting to play it before an audience, 
 and perhaps forced to the humiliation of a complete 
 break-down — which might have been avoided had he 
 acquired self-possession by frequently playing in the 
 presence of others, and attained such a power of ab- 
 sorption as to become oblivious, for the time, to all his 
 surroundings — for the possession of this faculty is in- 
 dispensable to the artistic interpretation of a musical 
 composition. 
 
 VOCAL MUSIC. 
 
 "Let me write a nation's songs, and I care not who writes its 
 
 laws." VOLTAIBE. 
 
 "Then read from the treasured volume 
 The poem of thy choice; 
 And lend to the rhyme of the poet 
 The beauty of thy voice." 
 
 Longfellow. 
 
430 THE ART OF MEMORY. 
 
 "My soul is an encbaKted boat, 
 Tliat like a sleeping swan doth float 
 Upon the silver waves of thy sweet singing; 
 And thine doth like an angel sit 
 Beside the helm conducting it; 
 Whilst all the woods with melody are ringing." 
 
 Shelley. 
 
 As Poetry is more easily memorized than Prose, so 
 Music is a most powerful aid in the memorizing of 
 poetr^^ The melody of a song is frequently the key 
 by whose help the words are recollected, and it often 
 happens that the melody will cling to the memory after 
 the words have vanished from remembrance. 
 
 Through the power of Association the words and 
 the air may be so linked together in memory that the 
 revival of either recalls the other, the recollection of 
 the melody being usually the least difficult. 
 
 There is no influence in life which surpasses that of 
 song, on the human emotions. The singing of a simple 
 song has brought back many a tender memory; it has 
 softened many a pitiless heart; it has been the inspira- 
 tion of many a noble action. In the sanctuary, on the 
 battle-field, at the fireside — everywhere — song wields 
 an influence beyond the power of tongue to describe or 
 pen to portray. The vital reason of this is that in a 
 well written song the musical ideas and the words are 
 wedded, the sentiment of the latter being accentuated 
 through the medium of melody and rhythm, and pro- 
 ducing an effect on the emotions not possible by means 
 of the words alone — even in the case of hearers with 
 
MUSIC. 431 
 
 little or no musical knowledge — while in instrumental 
 music a high order of artistic taste is necessary in order 
 that the composer's ideas may be interpreted with 
 fidelity. In (spoken) language but few shades of emo- 
 tion or sentiment can be exemplified; in Music the pos- 
 sibilities of expression are beyond computation. As 
 the highest significance of Love cannot be indicated in 
 set terms, neither can the fullness of musical expres- 
 sion — whose signification words are impotent to convey. 
 
 One of the most notable instances of the wonderful 
 power of song over human passion is told of Stradella, 
 a celebrated Italian composer and singer of the seven- 
 teenth century. On account of a love affair he had 
 incurred the enmity of a nobleman, who hired two 
 bravos to take the composer's life on the first good op- 
 portunity that presented itself. Stradella had just left 
 for Rome, whither the assassins followed him. Learn- 
 ing that on the next day he w^as to sing the leading part 
 in an oratorio which he had just composed, they ob- 
 tained entrance to the theatre and concealed them- 
 selves behind the scenes, intending to stab him to death 
 when he was off his guard; but they were so deeply 
 affected by the music that when the critical moment 
 came their hearts failed them, and on Stradella's retir- 
 ing from the stage they confessed their mission and 
 begged him to leave liome at once and thus save his 
 life. 
 
 The marvelous results achieved by the most noted 
 evangelists are due in no small degree to the power of 
 music — pathetic songs or hymns being introduced at 
 
432 THE ART OF MEMORY. 
 
 favorable intervals during their services. The wonder- 
 ful success of Moody and Sankey, Whittle and Bliss, 
 and other revivalists, is a well-known illustration. 
 
 Who that ever heard Titiens sing "Kathleen Ma- 
 vourneen," or Adelaide Phillips sing "The Rosebush,^' 
 or Patti, "Home, Sweet Home,'' can ever forget the 
 effect produced by those pathetic strains? Such songs 
 as Schubert's "Erl King," "Wanderer," and "Serenade;" 
 Beethoven's "Adelaide," and Gounod's ''Salve di Mora^^ 
 must ever stand out among the noblest gems that ever 
 emanated from the soul of genius. The heroic meas- 
 ures of the Marseillaise and the "Star Spangled Ban- 
 ner," the gently flowing phrases of "Sweet Afton" and 
 Kucken's "Slumber Song," and the plaintive strains of 
 "Auld Robin Gray," "Land o' the Leal," and "Robin 
 Adair," will issue from human lips when the temples 
 and palaces and monuments which are the wonder and 
 pride of our age shall have crumbled into dust; songs 
 like these can never die — and yet they are all simple in 
 sentiment, devoid of embellishment. 
 
 Yes, it is the simple songs that live; the songs that 
 appeal to the great heart of humanity; that express 
 the sentiments and emotions of all mankind. The 
 secret of it is that there is in them the harmonious 
 union of sentiment in words and melody — which there 
 must be for the hearts of men to be swayed by the 
 power of a song. A poem of lofty conception set to 
 waltz music, or one of humorous nature clothed in 
 sombre garb would be the height of incongruity; the 
 songs that live are written as by inspiration; how it is 
 
 \^ 
 
MUSIC. 433 
 
 done and why they live cannot be expressed in formal 
 terms — it is so — that is all; there is a true unity of 
 words and music which one possessed of musical in- 
 stincts can appreciate, but not explain. 
 
 Then, too, there is the way in which a song is sung; 
 the interpretation must be faithful; the singer must 
 feel what he is singing; if he does not neither will 
 those who hear him be affe(^ted; as Cicero says: "Let 
 him who wishes to move the feelings of others show 
 that he himself is affected.'^ 
 
 But there is no reason why any person with musical 
 instincts and possessed of even a moderately good voice 
 cannot become a true artist. Other things being equal, 
 a person thus endowed by nature who can sit down at 
 the piano and sing with expression a few well-chosen 
 songs from memory, playing his own accompaniments, 
 is certain to not only derive therefrom a world of en- 
 joyment, but also to confer real pleasure to all who 
 hear him, and he will be a welcome guest at many a 
 hearthstone to which he would otherwise have ever 
 remained a stranger; and why such a large proportion 
 of singers are, when invited to sing, obliged to depend 
 on their notes, or an accompanist, or both, is due more 
 to their lack of diligent, intelligent practice, than want 
 of musical ability. 
 
 This need not be; a person having a voice of pass- 
 able quality to start with, and who is endowed by 
 nature with even ordinary musical ability, with fairly 
 good opportunities for its development, should possess 
 a goodly repertoire of songs which he can sing from 
 
434 THE ART OF MEMORY. 
 
 memory with expression and to his own accompani- 
 ment; and this can be done by properly directed effort. 
 
 Most singers are poetical in their nature — they can- 
 not be otherwise, for Music and Poetry are twins; the 
 love of either commonly carries with it the love for 
 the other, and therewith a natural facility for memo- 
 rizing it; simple songs seldom have other than simple 
 accompaniments, and thus it rarely happens that seri- 
 ous technical difficulties have to be overcome to attain 
 the desired object. 
 
 It cannot be impressed on the student with too 
 much emphasis that, aside from the gratification which 
 the singer himself may derive through the exercise of 
 his accomplishment, the main purpose of it is to im- 
 press others; to cause the sentiment of the song to 
 affect them as it does him; to lift their souls, as his, in 
 sublimity, or move their hearts with tenderness or 
 pathos, or fill their spirits with gayety — whatever may 
 be the meaning of that which he is interpreting. This 
 can be done when the singer is filled with the senti- 
 ment of the song and is oblivious for the time to all 
 external influences; and in proportion to his own faith- 
 fulness of interpretation will his hearers be affected; 
 he himself must feel the true spirit of his song if he 
 would have them feel it. 
 
 Suppose that two attorneys of equal powers are to 
 address a jury in a case which is likely to be decided 
 by sentiment rather than the sober judgment of the 
 jurors. One of the lawyers reads his argument from a 
 carefully worded manuscript; the other, ignoring ex- 
 
MUSIC. 435 
 
 ternal aids, talks straight from the heart; is there any 
 question what the verdict is to be? Imagine an Ers- 
 kine, a Choate, or an Ingersoll, addressing a jury from 
 manuscript! 
 
 Compare the preacher who reads his sermons with 
 one who talks to his congregation — which one makes 
 the deeper impression? What "manuscript^' preachers 
 can compare, in influence over a congregation, with 
 such sublime pulpit orators as were Whitefield, Chalm- 
 ers, and Spurgeon? Who ever heard of Chatham, Burke, 
 or Fox reading a speech to the House of Commons? or 
 Webster, Calhoun, or Conkling speaking to the United 
 States Senate from manuscript! So is it in song; the 
 impulses of men cannot be stirred, their hearts can- 
 not be touched, except the speaker or singer abandon 
 himself to the sentiment of his theme; that he cannot 
 do if there be aught to distract his attention; in other 
 words, he must memorize his theme; the speaker must 
 memorize its spirit and the singer its letter as well as 
 its spirit. 
 
 The ability of a singer to carry in his memory a 
 goodly number of songs which he can sing with taste 
 and feeling, playing his own accompaniments, is worth 
 all the study, however arduous, which may be devoted 
 to it, for the satisfaction both of feeling independent 
 of mechanical aids, and of being able to "wreak the 
 thoughts upon expression/' Mechanical singing soon 
 grows tiresome, however fine the voice and correct the 
 phrasing, for the vital principle is lacking — there is 
 no soul behind it all; if the singer does not possess in- 
 
436 THE ART OF MEMORY. 
 
 spiration he cannot impart it; he is a mere machine; 
 the letter he may translate — but not the spirit. 
 
 In memorizing a song so that it may be rendered 
 with fidelity of expression, the melody will naturally 
 be learned before the words, and it will be done with 
 less effort; and perhaps no better advice can be given 
 for memorizing a melody than to suggest the strictest 
 attention and the avoidance of unnecessary repetition, 
 that the student may not tire of the song before all its 
 details shall have been fully mastered. 
 
 The melody having been learned, the words should 
 be memorized and associated with the melody, careful 
 note being taken of any rhythmic differences in the 
 stanzas. The melody of a song is usually written to 
 correspond with the rhythm of the first stanza; there 
 may be other places, however, where the singer needs 
 to adapt melodic rhythm to the rhythm of the text — 
 which is of importance to insure a proper interpreta- 
 tion of the song. 
 
 Attention should next be given to the punctuation 
 of each stanza, the "breathing spots'' — care being taken 
 to place them at natural intervals in the text, never 
 between syllables, nor too far apart. 
 
 It is necessary to then study the marks of expres- 
 sion, and when he shall have familiarized himself with 
 them the student should try to sing the song through, 
 independently of both the notes and the piano. This 
 is a very essential feature of the practice, that the 
 student may the more readilj^ detect any errors of in- 
 tonation, phrasing, or of any other character, which, 
 
MUSIC. 437 
 
 being stripped of all disguise, are thus made to stand 
 out with uncommon prominence. When the student 
 can sing the song through correctly without the aid of 
 the piano, the accompaniment should be learned, inde- 
 pendently of both the melody and words, the fingering 
 and phrasing being as carefully studied as in that of an 
 instrumental solo. Upon this being accomplished the 
 whole should be practiced together until it can be ren- 
 dered with absolute correctness, the accompaniment 
 being executed almost unconsciously, and the vocal 
 tones produced with like facility, and yet with sym- 
 pathetic expression. By this time it may be assumed 
 that the student has, through familiarity with the song, 
 become more or less imbued with its spirit and is able 
 to express its general sentiment with reasonable fidel- 
 ity. He should then study the expression with the ut- 
 most care, giving the closest attention to every detail 
 which will tend to bring out the meaning of the song; 
 this should be continued until, while singing, he can 
 put himself in complete sympathy with the very soul 
 of the song. Mrs. Siddons, while acting some of her 
 most impressive parts, actually believed herself for 
 the time to be the very character she was representing, 
 so did Talma, the greatest of French actors — also Kean, 
 Salvini and others. 
 
 Tills complete absorption into the spirit of that 
 which is being interpreted evinces a true artist; and 
 the vocalist w^ho when singing a song can the most 
 thoroughly divest himself of self-consciousness and put 
 himself into the most complete sympathy with the soul 
 
438 THE ART OF MEMORY. 
 
 of his song, has advanced the farthest in artistic ex- 
 cellence. 
 
 It by no means follows that proficiency in the mem- 
 orizing of vocal music and its faithful rendering, in- 
 cludes the learning by heart of the accompaniments 
 also, which is advised onl}^ in the case of simple songs 
 where the accompaniments are within the technical 
 ability of the singer to perform, without the sacrifice 
 of expression in singing. Many of the noblest songs 
 that ever issued from the soul of genius have accom- 
 paniments too elaborate for the singer to perform him- 
 self, with justice to the vocal interpretation; in such 
 cases the singer should not try to memorize them, but 
 secure the services of a skilled accompanist when sing- 
 ing to an audience. 
 
 The habit of now and then reviewing one's acquire- 
 ments in vocal or instrumental music is one whose cul- 
 tivation is of the highest importance. If a piece of 
 music is worth learning at all it is worth retaining in 
 the memory, and having once been memorized it should 
 be preserved at whatever cost of time and labor — and 
 the only sacrifice necessary is to sing or play it over 
 now and then, to be sure that it can be produced on 
 demand. While the memory should be trusted, it 
 should not be imposed upon; it is not divinel^^ insti- 
 tuted to be infallible at all times, and the student who 
 imagines that whatever he once puts away in his mem- 
 ory is certain to remain there indefinitely without the 
 slightest attention being paid to it, is certain to be 
 grievously disappointed. 
 
MUSIC. 439 
 
 And now we come to a feature of musical culture 
 different from any which have yet been discussed; from 
 a tru'e musical standpoint it may be considered the 
 crowning acquirement of them all. It is the ability 
 to appreciate a first-class musical performance of what- 
 soever character — and this may be accomplished by 
 simply being a good listener, even though the theoret- 
 ical and technical musical knowledge be slight. 
 
 While there is an adage that "he cannot appreciate 
 a musical composition who cannot appreciate its diffi- 
 culties/' yet that is only partly true, for it by no means 
 follows that elaborate compositions containing uncom- 
 mon technical difficulties are superior in true musical 
 worth to pieces which are simple in construction but 
 more melodious than the others. It is true that an 
 intimate knowledge of the theory and practice of music 
 is essential to the highest appreciation of a musical 
 performance — but it is also true that a person who 
 possesses an instinctive love of the "Divine Art" may, 
 even though lacking in musical education, so train his 
 faculties that he can listen to a symphony, or other 
 classical musical performance, and retain in his memory 
 its essential details. Excellent musical critics there 
 are who have become so not through profound knowl- 
 edge of the laws of harmony, but by listening frequent- 
 ly and attentively to only the best class of music. By 
 these means they have cultivated their memory of 
 musical sounds to a high degree of perfection — from 
 the simple notes of a ballad to the interwoven strains 
 of a "Beethoven'^ symphonj-, or a "Wagner'^ overture, 
 
440 THE ART OF MEMORY. 
 
 whose majestic measures represent the most consum- 
 mate touches of the composer's art. 
 
 That is a very different thing from memorizing the 
 melody, words, and accompaniment, of a song, or the 
 score and instrumentation of a composition written for 
 any musical instrument. In the case last mentioned, 
 what the student has memorized may be enjoyed by 
 others as well as himself; but the rapture imparted 
 by the thrilling strains of a grand orchestral perform- 
 ance cannot be transmitted by the listener to others — 
 it can survive only in his own memory. 
 
 It being possible, if he be within a favorable en- 
 vironment, for a person of native musical instincts not 
 versed in the theory and practice of music, to attain 
 excellent powers of musical criticism, the following 
 suggestions are given for his guidance: The student 
 who wishes to attain this end need not expect to ad- 
 vance rapidly — he must be content to begin at the bot- 
 tom of the ladder and climb slowly — to proceed from 
 the simple to the complex — not by bounds, but step 
 by step; he must groiv in musical understanding, and 
 the growth must be natural, not artificial. 
 
 The ordinary listener to an artistic orchestral per- 
 formance does not, and cannot, gain more than the 
 faintest idea of its merit; he hears, but not with un- 
 derstanding — and thus there appears a vagueness about 
 it all which he cannot fathom; and yet in a great 
 orchestral work there is not a note that does not rep- 
 resent a musical idea; nothing is written at haphaz- 
 ard, just for the sake of "filling in" — every note is set 
 
MUSIC. 441 
 
 down with a definite purpose in view; but if the lis- 
 tener has no conception of that purpose, many of the 
 most delightful harmonic effects and exquisite touches 
 of phrasing are, in a sense, lost on him, and he goes 
 away w^th only the most superficial idea of what he 
 has listened to; and yet it is within his power to so 
 train his ear, his taste, and his memory, that a grand 
 symphonic concert will be to him a veritable feast of 
 delight — not only while he is listening to it, but in all 
 after-time; its euphonious echoes will often reverbe- 
 rate in the chambers of his memory, filling many an 
 otherwise dull moment with gladness and inspiration. 
 A musical feast does not terminate with the ringing 
 down of the curtain: it may be partaken of again and 
 again in happy memory by him who rightly hears it; 
 that which once seemed intricate and obscure becom- 
 ing simple and coherent. 
 
 If that master-mind of music — Beethoven — could 
 evolve from the depths of his imagination such a tow- 
 ering monument to his surpassing genius as his won- 
 derful Ninth Symphony, when unable to hear a sound — 
 why should it not be possible for him who can hear a 
 fine musical performance to so hear it that he can carry 
 its essence, at least, in his memory for many a day? 
 
 It is possible, and the secret lies in possessing the 
 power to concentrate the attention upon any single in- 
 strument, however great or little its prominence. 
 
 In a great central telegraph office the click of many 
 instruments may be heard at the same time, there 
 seeming to the bystander to be an interminable chaos 
 
442 THE ART OF MEMORY. 
 
 of sounds; but the skilled operator has so trained his 
 ear and his attention that he can exclude tlierefrom 
 the sounds of all but one instrument — whichever one 
 he wishes. So may he who listens with understand- 
 ing to a great orchestral performance hear only the 
 instrument tliat he chooses, and follow the theme from 
 one instrument to another as each takes it up, and 
 trace the echoes and responses, the lights and shades, 
 the sweet melodies and ^rand harmonies, as thev crowd 
 upon the enraptured ear. All this may the music 
 lover achieve if he wills so to do; let him study intel- 
 ligently and school himself to be patient and persever- 
 ing, beginning at the simple and advancing by degrees 
 towards the complex, and as each step is taken new 
 interest will be awakened and ultimate proficiency the 
 more assured. 
 
 To begin with, let the student listen attentively to 
 a simple melody — one that he has not heard before — 
 a hymn or a ballad — and then try to reproduce it from 
 memory. If not entirely successful at first let him try 
 again and again, and ere many trials he will find him- 
 self able to recall almost any simple melody of rea- 
 sonable length after a single hearing. 
 
 Let him next take up the various parts in a vocal 
 quartette, listening to only one part at a time; it is 
 not necessary that he should commit each part entirely 
 to memory — the chief purpose being to cultivate the 
 ability to Vxsten to it, excluding all other sounds from 
 the ear and endeavoring to retain only such portions 
 as contain a melody, however short. An easy way of 
 
MUSIC. 443 
 
 securing this practice is to attend regularly some 
 church where there is a good quartette choir, with 
 w^ell-balgnced voices — the singing of the hymns and 
 anthems affording excellent opportunities for the stu- 
 dent to practice concentrating his attention on any one 
 part. Having mastered this task, let the student lis- 
 ten to the soprano and bass together until both parts 
 can be heard separately and yet together; then let him 
 associate with the soprano, the alto and tenor, each in 
 turn, until he can heai' the two parts as before. When 
 that is accomplished the student will have advanced 
 to a point where his study will possess a far greater 
 relish than at first; the singing of an anthem will con- 
 vey to him a different meaning from ever before, and 
 he will find rare enjoyment in listening to all the four 
 parts at once and thus further cultivating his powers 
 of concentration. This practice should be continued 
 from week to week, as long as is necessary to secure 
 satisfactory results. The student should also attend 
 first-class vocal and instrumental concerts as often as 
 possible, which will greatly assist his advancement. 
 
 But the grand opera and the symphony furnish the 
 crowning opportunities for cultivating to the highest 
 possible degree the musical taste and powers of criti- 
 cism. The peculiarities of tone possessed by each of 
 the different orchestral instruments afford the com- 
 poser the most ample scope for the exercise of his gen- 
 ius and therefore render possible the greatest depth 
 and variety of ideas for interpretation. To make sat- 
 isfactory progress in the study of this most advanced 
 
 32 
 
444 THE ART OF MEMORY. 
 
 form of musical production, it is not enougti to attend 
 the public performances of the operas, symphonies, or 
 other orchestral compositions; the student should try 
 to be present at all the rehearsals also, and thus by 
 hearing the compositions many times over, he may 
 grow, as it were, into a knowledge of their qualities of 
 excellence — an appreciation of which cannot possibly 
 be gained at a single hearing, however attentive and 
 cultivated the listener. If the student would acquire 
 an intelligent conception of a great orchestral compo- 
 sition he must hear it performed over and over again, 
 that its strains of gladness and of pathos, of tenderness 
 and of passion, of hope and despair — ^the varied lights 
 and shadows of musical expression — may be imprinted 
 on his memory in colors that can never fade. 
 
 These suggestions are offered to students to whom 
 a musical education has been denied, but who are de- 
 sirous of so cultivating their musical faculties that 
 they can appreciate and can carry in memory the es- 
 sential details of a classical musical performance. For 
 the educated musician the road will be easier to travel 
 and greater heights can be attained; through his 
 knowledge of the laws of harmony, and the consequent 
 ability to prosecute his studies on a scientific basis, he 
 has a decided advantage over the one without musical 
 knowledge — but the same general plan should be fol- 
 lowed in his case also. 
 
 In the cultivation of the musical memory there is 
 this to be truly said which cannot be done in the case 
 of any other branch of memory culture^ — it is the most 
 
MUSIC. 
 
 445 
 
 thankful of them all; it pays the highest interest on the 
 capital invested; its delights are lasting — not merely 
 ephemeral. Music affects the emotions only, not the 
 intellect; it has a most wonderful power to soothe, to 
 cheer, to exalt; it is a perennial well-spring of glad- 
 ness; its supply is unfailing. 
 
 And as music is, so is its memory: We can tliinlc 
 the strains of a familiar song, and it seems as if we 
 once more heard them in all their native beauty, and 
 they linger in the memory and continue to delight us 
 with their tender accents and to remind us of the cir- 
 cumstances under which they first were heard. 
 
 "The music in my heart I bore, 
 Long after it was lieard no more." 
 
 The world of music is a world by itself, and they 
 who enter it leave behind all cares, all sorrows, all 
 resentments — and in the melodies and harmonies 
 which there swell forth in measures of grandeur and 
 delight, find sweet tranquillity and joy untold. 
 
 But he who would enter this world can do so by 
 no royal road: it must be by patient, persistent, intel- 
 ligent effort; it must be by the right cultivation of 
 those faculties which have the most direct bearing on 
 the object to be achieved. 
 
 And not the least important is Memory. 
 
CHAPTER XVIII. 
 
 VAGAEIES OF MEMORY. 
 
 "But this mysterious power tihat binds our life together has its 
 own vagaries and inteiTuptions." Emerson. 
 
 "Ideas * * * often vanish quite out of the understanding, 
 leaving no more footsteps of remaining characters of ihemselves 
 than shadows do flying over a field of com." Locke. 
 
 While it is true that the degree to which the mem- 
 ory is possible of development through proper training 
 surpasses all conception of the ordinary mind, yet it is 
 no less true that in spite of all the culture which may 
 be bestowed upon this faculty — with all its remarkable 
 power of reproducing impressions of the past, and its 
 wonderful fidelity to detail — still it will now and then 
 play its possessor very strange tricks. 
 
 For instance, it may give us only a portion of what 
 we are in want of, and stubbornly refuse to yield up the 
 rest, however persistently we coax, and even goad it. 
 Perhaps we wish to recollect a person's name, and for 
 our very life we can recall only the first letter or two; 
 
 (446) 
 
VAGARIES OF MEMORY. 447 
 
 or perchance we start in with all the confidence im- 
 aginable to quote a well known proverb or a passage 
 from some familiar poem — when to our discomfiture we 
 find a impossible to proceed beyond a certain point; 
 we try again and again to no effect, and then regret 
 most keenly that w^e made the attempt! As likely as 
 not the missing letters or words will turn up in our 
 memory soon afterw^ards, but the meet occasion for 
 their use is past, and our embarrassment fully accom- 
 plished — so there is nothing left for us but whatever 
 consolation w^e can derive from the reflection that our 
 memory was not really defective, but only happened 
 to be a little tardy in responding on that exceptional 
 occasion! The fact is that even the best memories are 
 not to be trusted at all times and under all conditions; 
 w^hat may be recalled with ease at one time, perhaps 
 cannot be revived in the memory at another by our 
 most strenuous exertions. 
 
 How^ever we may felicitate ourselves on the power 
 and reliability of our memory, yet experience forces us 
 to the conclusion that it has an element of treachery 
 about it after all; we intrust something to its custody, 
 relying implicitly on its fidelity — but at some critical 
 moment, w^hen we make a demand for temporary use 
 only, of that which we placed in the safe-keeping of 
 memory, we find it to be most provokingly recreant to 
 its trust — our self-pride at the same time receiving a 
 shock of no slight severity! And not only is our mem- 
 ory liable to be extremely unfaithful when we have 
 especial need for its loyalty, but sometimes it assumes 
 
448 THE ART OF MEMORY. 
 
 to furnish us with what we are seeking, assuring us in 
 the most emphatic terms that its information comes 
 from an infallible source, when it is really in the wrong! 
 The most notable instances of the latter shortcoming 
 are those in which mental pictures are most easily 
 formed of what is sought to be recollected — as is es- 
 pecially the case with words and figures; thus remarks 
 are inaccurately quoted; prose or poetical passages are 
 inexactly cited, and statistics and other information in 
 which numbers are involved are incorrectly repeated. 
 Mistakes as to the lapse of time are also common. 
 
 And to whom has not the experience occurred of 
 complete failure of the memory to properly respond at 
 a critical time? A name that we deemed to be thor- 
 oughly intrenched in the memory may fail to come 
 forth at our command — through which cause we may 
 be placed in an embarrassing, and even ridiculous, po- 
 sition; or perchance some familiar phrase may refuse 
 to issue from our lips when we have a pressing use for 
 it; or it may be that we find ourselves unable to 
 promptly recall some familiar fact. 
 
 When abnormal conditions exist, affecting the brain 
 or body, or both, the disease may so peculiarly act upon 
 the memory as to cause a partial or total lapse thereof, 
 often producing the most inexplicable results; indeed, 
 next to the marvelous degree to which the memor}^ can 
 be developed, the most curious and remarkable fact is 
 its lapse; through sickness or some shock to the senses 
 the impressions of years may be completely obliterated 
 — to be recovered either quickly, or only gradually, or 
 
VAGARIES OF MEMORY. 449 
 
 perhaps not at all; instances are known in which all 
 the knowledge acquired previously was entirely effaced, 
 the faculty of gaining and retaining new information 
 not being impaired. Sometimes a language is com- 
 pletely erased from the recollection, the memory of 
 other languages not being affected. One person may 
 lose his memory of words, and another of things, al 
 though the former is more common; and in this con- 
 nection the curious fact may be stated that when the 
 memory of words is gradually lost, the retrogression is 
 invariably in the following order in the principal parts 
 of speech: First, proper nouns; next, adjectives; then 
 verbs; and last, common nouns. 
 
 A remarkable instance of total loss of memory is 
 the following: At Brighton, England, some years ago, 
 a woman whose appearance betokened education and 
 refinement, was sitting on the sea shore one day, ap- 
 parently taking enjoyment in viewing her charming 
 surroundings, when, without the slightest warning, she 
 felt a shock in her head — no doubt caused by the burst- 
 ing of some blood-vessel. From that moment her mem- 
 ory was a complete blank ; she could not recollect any- 
 thing whatever of her past life — not even her name nor 
 that of any of her friends, and there were no letters or 
 other evidence about her by which she could be identi- 
 fied. Every possible attempt was made to discover 
 some clue to her identity, but in vain; she was placed 
 in the workhouse, and a great portion of her time was 
 spent in bemoaning the loss of her memory, not a spark 
 of which has since returned to her. 
 
450 THE ART OF MEMORY. 
 
 In 1895 a young man named William E. Higgins, 
 living in Sanduskj^, Ohio, left his home to seek employ- 
 ment, which he soon secured with an electric company 
 in Elyria, only a few miles distant. He had remained 
 there but sl short time when all at once he disappeared, 
 and for months his family could not find the slightest 
 clue to his whereabouts, although hundreds of dollai^s 
 were expended in the search. Finally his father traced 
 him to St. Louis, where he was in the employment of a 
 prominent electric company. The son utterly failed to 
 recognize his father, did not remember his mother nor 
 any of his brothers or sisters, and did not even know 
 his own name. To him life began in a hospital at 
 Elyria in the preceding December — he could remember 
 nothing which had happened before, not even that he 
 had ever gazed upon a human face- — ^the whole world 
 w^as an unlearned book. Higgins' father prevailed on 
 his son to return with him to Sandusky, hoping that the 
 sight of faces and scenes that he had known since child- 
 hood, and the sound of once familiar voices, would help 
 to restore his lost memory — but to no effect; to him all 
 were strangers. He remained at home several weeks, 
 struggling to recollect something that would serve as 
 a nucleus for gathering together the threads of his 
 memory, but he was finally compelled to give up the 
 attempt in despair, and returned to his work at St. 
 Louis. 
 
 An Eno'lish gentleman fell from his horse and re- 
 ceived a severe contusion on the head. He recovered 
 from the injury in a short time, but his memory was a 
 
VAGARIES OF MEMORY. 451 
 
 complete blank and lie was compelled to bej;in a second 
 education — even to the extent of learning the alphabet 
 over again! 
 
 Dr. Shields, a noted physician of ^lelbourne, Aus- 
 tralia, tells the following lemai'kable ex])erience: 
 
 One day in 1893 a man about thirty j^ears of age 
 called on him in his office in the police barracks, re- 
 questing to be informed who he was, saying that his 
 memory had failed him. At first the man was believed 
 to be crazy, but it soon became evident that his state- 
 ment was true, and that he couhl recollect nothing 
 whatever of his past life. Strangely, his memory was 
 eventually restored through the power of music. Some 
 months afterward he was noticed listening intently to 
 the singing of the Sunday jail service, and he remarked 
 that it seemed as if he had heard those sounds before. 
 When told that what he had listened to was music lie 
 did not seem to undc^rstand, but after the service Dr. 
 Shields took him to the organ and showed him how the 
 sounds were produced, by striking the keys with his 
 fingers. The man thereupon seated himself at the in- 
 strument, touched several notes at random and tluMi 
 happened to strike a chord in harmony. Instantly his 
 face brightened up and he began to play a selection 
 from the "Creation," performing it with surprising cor- 
 rectness; he used the pedals and stops, evincing famil- 
 iarity with the instrument, and from this beginning he 
 gradually recovered his memory. 
 
 In Beck's "Medical Jurisprudence" is related a jia- 
 thetic story of a young clergyman who was about to 
 
452 THE ART OF MEMORY. 
 
 be maiTied, but was accidentally shot in the head bj a 
 friend two days before the happy event was to take 
 place. He was prostrated for a long time, but ulti- 
 mately recovered from the injury, when it appeared 
 that he could recollect nothing but the idea of the 
 supposed approaching marriage. He was completely 
 absorbed in that one thought and could never talk on 
 any other subject. His wedding was always two days 
 ahead. He lived until he reached his eightieth year, 
 with that one idea dominating his whole life. 
 
 A similar story is told in Nevins' "Disorders of the 
 Brain." A young lady who lived in a rural district of 
 England about a mile from the stage-road, went one 
 day to meet her affianced, who was to pay her a visit. 
 The coach duly arrived, but instead of her intended 
 husband a friend alighted, who conveyed the sad news 
 that her lover had suddenly died only a day or two 
 before. She was completely prostrated by the shock, 
 and on recovering it was found that she had lost all 
 consciousness of her calamity. She lived to be an old 
 woman, and scarcely a day passed during the rest of 
 her life that she did not visit the spot which had been 
 the scene of her misfortune, in the expectation of see- 
 ing her lover alight from the coach. This idea had 
 supplanted all else in her mind. A more pathetic illus- 
 tration of lost memory can hardly be conceived. 
 
 A curious case of the lapse of memory is that of Lin- 
 naeus, the great naturalist, who in his old age listened 
 with delight to the reading of his own works without 
 recognizing their authorship. 
 
VAGARIES OF MEMORY. 453 
 
 It is a well established bit of history that Sir Wal- 
 ter Scott dictated the "Bride of Laraniermoor'' from a 
 sick bed; it was published before he recovered from his 
 illness, and when the book was placed in his hands for 
 perusal he did not remember a single scene or character 
 that he had created; he could recollect only the general 
 nature of the plot, which he had outlined in his mind 
 before his illness. 
 
 The following are instances of a partial lapse of 
 memory : 
 
 In August, 1894, a young man named Herbert Spen- 
 cer, a medical student at Lawrence, Kansas, suddenly 
 disappeared and was not heard from for two years, 
 when he was seen and recognized by an old schoolmate, 
 in the Philadelphia city hosx>itaL The time that had 
 elapsed was a complete blank to him; he remembered 
 nothing which had happened during that period, and 
 failed to recognize anybody that he had ever known, 
 although he had not forgotten his knowledge of lan- 
 guage nor what he had learned at school. lie remem- 
 bered only one member of his family, a younger brother. 
 The scenes and associations of former years had van- 
 ished completely from his memory; life to him seemed 
 to have just begun. He was able to resume his studies 
 where he had left off two years before, but could recol- 
 lect none of his teachers or classmates nor any of his 
 surroundings. 
 
 A writer in the "Popular Science Monthly'^ tells of 
 a business man with whom he was well acquainted, 
 w^ho suddenly lost a part of his power to read and make 
 
454 THE ART OF MEMORY. 
 
 mathematical calculations. He had forgotten the let- 
 ters d, g, q, X, and j, but remembered all the others. 
 He had to spell out words like a child, and was unable 
 to read words containing three letters without consid- 
 erable hesitation. He could not add together two 
 numbers of which 6, 7, or 8 formed a part — ^those figures 
 had ftone entirely out of his memory. He was able to 
 understand and talk, his mind was clear and his gen- 
 eral memory good, but the letters and figures aboye 
 mentioned had yanished from his recollection as com- 
 pletely as dew from before the sun. 
 
 Sir Henry Holland tells of once descending on the 
 same day two deep mines in the Hartz mountains. 
 While in the second mine, oyercome with fatigue, he 
 suddenly became unable to converse in German with 
 his gTiide, although familiar with the language; eyery 
 German word and phrase had deserted his memory, and 
 it was several hours before he recovered them suffi 
 ciently to talk. 
 
 The poet Beattie tells of a gentleman who on recov- 
 ering from a fall, found that he could recollect nothing 
 that had happened during the preceding four years, 
 and was obliged to have recourse to the public journals 
 for information thereof. 
 
 Another gentleman received a blow on the head and 
 at once lost his memory of Greek, of which he had been 
 a master, although his native language he remembered 
 perfectly. 
 
 Many instances are recorded of persons while de- 
 lirious repeating words and phrases which they had 
 
VAGARIES OF MEMORY. 455 
 
 long since forgotten, and even of speaking in a tongue 
 which had long ago faded from their memory — the lan- 
 guage of early childhood. 
 
 A doctor tells of being called in to see an old man 
 on his death-bed, who was muttering words which the 
 nurse did not understand, but which the doctor recog- 
 nized as part of a Koman litany and so informed the 
 nurse, saying that the man must be a Roman Catholic. 
 ^^That is impossible," replied the nurse: "as I have 
 known him for more than thirty years, and know that 
 he has been a free-thinker during all of that time at 
 least." On investigation it was found that during the 
 first five years of his life the patient had been trained 
 in the Catholic faith, but soon afterwards became sur- 
 rounded by adverse influences which had continiied 
 during the remainder of his life. 
 
 Coleridge tells of an illiterate woman who was seized 
 with a fever, and during her delirium uttered passages 
 in Latin, Greek, and Hebrew. This excited much won- 
 der at the time, but on tracing back the woman's his- 
 tory it was ascertained that when nine years old she 
 had been adopted by a clergyman who was in the habit 
 of reading aloud to himself from the classics, repeating 
 over and over passages which impressed him. His 
 books were found and examined, and in them were the 
 identical passages repeated by the sick woman. 
 
 Goethe was acquainted with an old man who in his 
 last sickness began to repeat in his delirium beautiful 
 sentences from the Greek classics, which he had been 
 required to commit to memory when a boy, since which 
 
456 THE ART OF MEMORY. 
 
 time (a period of over fifty years) they had never passed 
 his lips; they were implanted in his memory all the 
 time, but would ever have remained dormant except 
 for some unaccountable cerebral action that again gave 
 them expression. 
 
 A case is related by Sir Astley Cooper of a soldier 
 who w^as wounded in the head and remained in a state 
 of semi-consciousness until, through a surgical opera- 
 tion by the hospital surgeon, his power of speech was 
 restored. When he spoke, however, it was in a lan- 
 guage that no one about him could comprehend. After 
 a time a Welsh woman came to the hospital, and on 
 hearing the soldier speak, at once recognized the lan- 
 guage as that of her native country. The man had not 
 been in Wales for thirty years, and not having con- 
 versed in the tongue at all during that period, had well 
 nigh forgotten it, yet now he spoke it not only intelli- 
 gibly, but fluently, and could recollect no other. More 
 curious still, when the soldier recovered from his wound 
 his English came back to him and Welsh w^as again for- 
 gotten! 
 
 Some years ago Dr. Scandella, an Italian physician 
 of New York City, while on a trip in the South was 
 seized bv vellow fever and was delirious durino- the 
 whole course of the malady. In the first stage of the 
 disease he spoke only English; when the fever was at 
 its height, only French; and only Italian just before 
 his death. 
 
 A remarkable case was that of Franz Schonzen- 
 wurtz, a merchant of Worms, Germany. In 1896 he 
 
VAGARIES OF MEMORY. 457 
 
 went to Antwerp on a business trip, expecting to return 
 in three days. While there he was seized with the 
 first symptoms of a mental malady, imagining that he 
 could hear voices, which kept continually telling him 
 to move on. In obedience to these imaginary voices he 
 embarked for England on the first steamer. H.is mal- 
 ady kept increasing, and on his arrival in England the 
 voices told him to go on to America. He did so, and 
 by the time of his arrival in New York he had forgotten 
 his name and all his past life, the only thing he re- 
 membered being the fact of leaving Antwerp. From 
 New York he went to Philadelphia and was admitted 
 to Blockley Almshouse, where he was put in the insane 
 department. On the next day he suddenly got out of 
 bed, rushed to a window and sprang out, falling about 
 twenty-five feet and meeting with severe injuries. For 
 two weeks he hovered between life and death, all the 
 while out of his mind, and often muttering unintelligi- 
 ble sentences. When the crisis had passed he opened 
 his eyes, intelligence began to return to him, and in a 
 short time he was able to recall not only his past life, 
 but all that had elapsed since his leaving home several 
 months before. 
 
 Among the most curious mental phenomena is dual 
 personality — two distinct and alternating states of con- 
 sciousness in the same person. 
 
 In a hospital at Paris some years ago was a patient 
 who lived a model life while in one state of conscious- 
 ness, but every now and then would pass into another 
 state in which he was vicious, violent, and addicted to 
 
458 THE ART OF MEMORY. 
 
 profanity. Those wjiom he knew in either state were 
 strangers to him in the other; in either one of his char- 
 acters he could recall nothing of what he had said or 
 done in the other, but did remember what had happened 
 when he was previously in the same state of conscious- 
 ness. 
 
 Another case is recorded of a man living in Brooklyn 
 who was arrested some years ago for bigamy. He had 
 been married for several years and seemed devoted to 
 his wife and children, but every now and then would 
 disappear and remain away for weeks, and when he 
 returned insisted that he knew nothing of where he had 
 been or what he had done. Finally it was ascertained 
 that he had married another woman, whom he would 
 at intervals leave as unceremoniously as he did the first 
 wife. When he was confronted by the second woman 
 he had no recollection of her. On discovering the truth 
 he was appalled, and learned for the first time that he 
 was an epileptic. 
 
 Somnambulists possess double consciousness, the 
 chief points in which their oases differ from the ones 
 just mentioned being that their secondary state of con- 
 sciousness is usually during the night, the normal state 
 being resumed in the day-time, the intervals thus being 
 short instead of reaching into days and weeks. A phy- 
 sician of Aberdeen relates a remarkable case of a young 
 lady who, while in this state, was able to converse in- 
 telligently with those around her, asking and answer- 
 ing such questions as would naturally arise in the 
 course of conversation. On awakening she remem- 
 
VAGARIES OF MEiMORY. 459 
 
 bered nothing of what had happened, but on falling 
 into the somnambulic state again she could repeat 
 everything which had been said when she was in that 
 state before. On one occasion she repeated the whole 
 Episcopal baptismal service. At anothcT time, while 
 in a state of somnambulism, she was taken to early 
 church, where she seemed to join in the service with 
 deep devotion. When the spell was over she had not 
 the faintest recollection of what had happened, but in 
 a similar state the next time gave a faithful account 
 of what had taken place on the former occasion. She 
 possessed two distinct memories, one for each state of 
 consciousness. 
 
 A peculiar case of double consciousness is that of 
 Blind Tom, the negro pianist prodigy; and not the least 
 remarkable feature of it is that he was frequently in 
 two states of consciousness at one and the same time. 
 While executing some musical composition lie would re- 
 peat expressions that he had heard during the day, 
 which indicates that one portion of his brain worked 
 independently of the other part at the same time. 
 
 As a concluding illustration of double consciousness 
 may be told the story of the man who mislaid a package 
 while drunk, forgot where he had put it when he be- 
 came sober, and had to ^et drunk again to find it! 
 
 But of all the vagaries of memory the most uni- 
 versal is "Absent-mindedness." Almost every person 
 of strong mental powers is more or less subject to the 
 habit, and indeed it may be said that there are few who 
 are not now and then under its spell, from the savant 
 
 33 
 
460 THE ART OF MEMORY. 
 
 who went to boil an egg for breakfast and put his 
 watch into the boiling water, holding the egg in his 
 hand to note the time of boiling — to the Irishman who 
 was hunting in every imaginable place but the right 
 one for his pipe, which all the time was in his mouth! 
 
 A conspicuous case of absent-mindedness is that of 
 Sir Isaac Newton. It is related that his friend Dr. 
 Stukely once called to see, him, and on the name being 
 announced Newton sent word to his friend to be seated 
 and he would join him shortly. The Doctor sat in the 
 dining-room for some time, when it became evident 
 that Newton had grown so absorbed in his studies as 
 to forget entirely about his friend's visit. Dinner was 
 served, which the Doctor proceeded to demolish. Fi- 
 nally Sir Isaac entered the room and seeing the rem- 
 nants of the meal, apologized and said: "Believe me, 
 my dear friend, I quite forgot that I had dined!" 
 
 The following anecdote is told of Dr. Duncan, a dis- 
 tinguished Scottish theologian. Having to preach one 
 Sunday in a church near Aberdeen, he concluded to 
 walk, as the church was only a few miles distant and 
 the morning a fine one. He walked slowly and on the 
 way his mind became absorbed by some theme that had 
 entered his thoughts, and time and space were as 
 nought to him. On arriving at the church and seeing 
 people entering, he thought it would be a very proper 
 thing to join in the worship also. Addressing one of 
 the elders, he inquired who was to preach. "Why, Dr. 
 Duncan, of Aberdeen.'' It was only then that he 
 "came to himself!" 
 
VAGARIES OF MEMORY. 461 
 
 It is told of the late Dr. Spring., of New York, that 
 one of his parishioners saw him standing in front of 
 the Post-office, staring vacantly about him. "Good 
 morning, Dr. Spring," the parishioner said : "I am glad 
 to see you.'' The Doctor replied, "Ah! thank you for 
 telling me who I am: I expect a letter in the post-office, 
 but was unable to get it because I couldn't recollect 
 my name!" 
 
 It is told that Joseph Jefferson was one day intro- 
 duced to General Grant, an event which would nat- 
 urally have impressed him very strongly. A few hours 
 later he got into the elevator of the hotel at which they 
 were both stopping. A short, heavy-set man also en- 
 tered, bowed to Jefferson and made some off-hand re- 
 mark. "I beg your pardon," said the actor: "your face 
 is familiar, but I can't recall your name." "Grant," 
 said the stranger, laconically. In telling the story, 
 Jefferson said: "I got off at the next floor, for fear I 
 should ask him if he had ever been in the war!" 
 
 Jefferson also tells the following story on himself: 
 He once went to a post-office in a small town where he 
 was unknown, and asked if there was any mail for him. 
 "What name, sir," asked the clerk. "My name? Oh! 
 yes, of course: Why, I play ^Kip Van Winkle,' you 
 know!" "Joe Jefferson!" said the astonished clerk. 
 "Yes, Jefferson; many thanks," the actor answered as 
 he received his mail and bowed himself out. 
 
 A young lady met an old acquaintance whose name 
 for some unaccountable reason she could not recollect. 
 
462 THE ART OF MEMORY. 
 
 and after conversing a few moments said, "By the way, 
 how do you spell your name? I am in doubt whether 
 I have gotten it just right in my mind." "S-m-i-t-h," 
 was the reply, to the lady's confusion! 
 
 The distinguished French author La Fontaine called 
 one day to see a friend whose funeral he had attended 
 only a short time before. On being informed that his 
 friend was dead and buried he evinced much surprise, 
 but soon recovering himself said, "It is indeed true, 
 for I was at the funeral!" 
 
 Lessing was subject to extraordinary spells of ab- 
 sent-mindedness. One evening after having been out 
 unusually late he returned and knocked at his own 
 door for admission. His servant looked out of the win- 
 dow, and not recognizing him informed him that the 
 professor was not at home. "Very well," said Lessing, 
 "I will call another time," and thereupon left his own 
 door! 
 
 Dr. Thomas, Bishop of Salisbury, was so subject to 
 fits of abstraction that he entirely forgot the day on 
 which he was to be married, and was very much sur- 
 prised on his servant bringing him a new dress suit. 
 "What is this for?" he asked. "Why, it is your wed- 
 ding suit, my lord." "Oh! this is the day, is it? I had 
 forgotten all about it!" 
 
 On another occasion a gnat stung him on the leg, 
 whereupon he stooped down and scratched the leg of 
 another gentleman instead of his own! 
 
 Perhaps one of the most ludicrous instances of ab- 
 
VAGARIES OF MEMORY. 463 
 
 sent-mindedness on record is that told at the expense 
 of a distinguished western lawyer and United States 
 Senator who was on his way to court in a great hurry, 
 and chancing to overtake a friend, remarked, "I dressed 
 in such haste this morning that I forgot my watch." 
 A few moments later, he continued: "I wonder if I 
 have time to go back and get it?'' — and as he spoke he 
 pulled his watch out of his pocket. ^^No, I haven't 
 time," he concluded, after consulting the time-piece, 
 and walked on. Upon arriving at the Court-house he 
 hired a messenger to go after the watch, paying him 
 a dollar for the service. In due time the messenger 
 returned with the information that the time-piece could 
 not be found, whereupon the lawyer exclaimed, looking 
 up from his books and papers: "That is very strange! 
 I wonder what can have become of it?" Then he took 
 a quick glance at his watch and continued: "Well, it 
 makes no difference anyhow, I can get along without 
 it; the judge is late and there is plenty of time." And 
 he put his hand into his pocket and handed the mes- 
 senger another dollar! 
 
 As a concluding illustration may be told the story 
 of the absent-minded college professor who was trudg- 
 ing along one dark night in deep abstraction, when he 
 collided with a cow. Taking his hat off he bowed con- 
 fusedly and said, "I beg your pardon, madam." Re- 
 suming his w^alk he shortly afterwards stumbled 
 against one of the lady teachers, nearly knocking her 
 over. Remembering his former experience he shouted 
 angrily, "Is that you again, you brute!" 
 
464 THE ART OF MEMORY. 
 
 These illustrations of absent-mindedness are but a 
 counterpart in some degree of the* experiences com- 
 monly occurring in eYery-day life — and especially those 
 which frequently befall persons of strong mental con- 
 stitution. 
 
 The mind being profoundly occupied in some sub- 
 ject of contemplation, and finding itself suddenly con- 
 fronted by conditions not in harmony with the subject 
 of thought, becomes confused and unable to promptly 
 adapt itself to the changed situation; until a sufficient 
 time has elapsed for such adjustment the brain remains 
 more or less oblivious to present surroundings, with 
 the result that embarrassing and often ludicrous pre- 
 dicaments are produced. 
 
 There are people who scarcely ever walk along the 
 street that they are not so deeply engrossed in some 
 subject or other as to be oblivious to all or nearly all 
 that is going on about them; their surroundings are 
 scarcely impressed on their minds; they pass acquaint- 
 ances without recognizing them, their eyes all the 
 while fixed straight ahead, and yet not seeing anything 
 — in short, they haven't their wits about them, and they 
 keep on and on in the same way, year in and year out, 
 until what at first was perhaps a chance fit of mental 
 abstraction has grown at last into a fixed habit; and 
 all this time what thev mav have rained in one way 
 has been far more than offset in other respects. 
 
 As a general proposition it may be said that all 
 vagaries of the memory, excepting what may be termed 
 
VAGARIES OF MEMORY. 465 
 
 a 
 
 absent-mindedness/^ are caused by disease or by some 
 shock to the nervous system. Just how and why the 
 brain works as it does in such cases may be considered 
 as among unsolvable problems; it often happens that 
 no remedy is possible ; nature may work out a cure and 
 may not; to do so it must bring about a return of nor- 
 mal conditions, for upon a continuance of those condi- 
 tions must depend an unimpaired memory. 
 
 Absent-mindedness not being a disease, but a habit, 
 can to a great extent be overcome by self-discipline. 
 However engrossing a subject may be, yet it can usu- 
 ally be dispelled by a proper effort of the will. And 
 if not at first, it can be after suflflcient practice. 
 
 That the energies of the mind may not be dissipated 
 the mind should not be allowed to busy itself with more 
 than one thing at a time, and should occupy itself with 
 each thing only at the proper time. When a subject 
 shall have been reflected upon for as long a time as 
 there is desire or opportunity, it should be banished 
 by an effort of the will, that the mind may be left free 
 to contemplate whatever may be presented to it after- 
 wards. Thus may be obviated many an awkward sit- 
 uation which the absent-minded person is apt to en- 
 counter. Let the mind be first divested of that with 
 which it is occupied — then it is in proper condition to 
 receive new ideas. 
 
 In striking contrast with absent-mindedness, which 
 vagary of the memory is of such universal distribution 
 and often causes the most embarrassing situations, is 
 
466 THE ART OF MEMORY. 
 
 that something' which influences — yea, compels — our 
 memory to keep something that we w^ould far rather 
 get rid of! and the more vigorously we struggle to 
 banish it, the more obstinately does it refuse to depart! 
 La Bruyere has said most truly : "To endeavor to for- 
 get any one is the certain wa^^ to think of nothing else!'* 
 
 It is indeed a curious fact that while the power to 
 revive in our consciousness experiences and impres- 
 sions of the past is partially under control of the will, 
 jet the ability to eradicate them from the memory we 
 do not possess. There are experiences in our lives 
 which we would gladly blot out forever from remem- 
 brance, but the more we strive to do this, the more they 
 will insist on keeping in the very foreground of mem- 
 ory, in spite of the fact that one of the fortunate mis- 
 sions of Time is to mitigate the memories of life's un- 
 happy experiences, gradually softening their asperi- 
 ties and engirding them with an ever-growling glamour 
 of sentimental disguise, until, transmuted by the magic 
 alchemy of Time, that which once caused only disap- 
 pointment and distress becomes attired in the garb of 
 romantic association, embellished by the glowing hues 
 of Fancy; in the place of former vexations and regrets 
 there being ineffable serenity, and even delightful con- 
 templation. 
 
 But time is not always so generous with its bene- 
 factions; there are sometimes wounds that will not 
 heal; sorrows whose shadows seem to never grow less; 
 sombre memories over which the soothing touch of 
 
VAGARIES OF MEMORY 467 
 
 Time seems to exert but little influence. Then there 
 are trivialities of life — events of no real significance — 
 idle fancies — "stale, flat and unprofitable'' conceits 
 merged into expression, that deserve not even the most 
 obscure corner in memory's repository; how many of 
 them do somehow manage to find an asylum in our 
 remembrance! Like Banquo's ghost, they will not 
 "down;" like Sinbad's "Old Man of the Sea," we cannot 
 shake them off! Fate seems to have ordained that we 
 must tolerate them, so there is apparently no alterna- 
 tive but to be philosophical and accept the inevitable; 
 as it is in the order of nature that weeds must grow in 
 every garden, so too does nature seem to insist that 
 weeds must spring up in the garden of Memory. Like 
 certain insects they may become full-grown all at once, 
 but like the tortoise they are only too likely to be as 
 long-lived as we ourselves, and we should therefore 
 take no especial pains to cultivate them — in the hope 
 that by the kindness of fate more or less of them may 
 soon go into a hopeless decline! 
 
 Priceless though the art of recollecting may be, 
 yet that of forgetting is by no means of slight insig- 
 nificance. The poet Landon has well said: 
 
 "Were it not better to forget, 
 Than but remember and regret?" 
 
 And Ninon de L'Enclos, the great French society leader 
 of the seventeenth century, once said: "Memory is 
 ever active, ever true; alas! if it were only easy to for- 
 get!" Whether the famous Frenchwoman ever discov- 
 
468 THE ART OF MEMORY. 
 
 ered the secret or not, history has failed to record — 
 but it is highly improbable that her desire was attained; 
 for had it been, how could she, in the exuberance of 
 her joT, have negle<^ted to leave the prescription to 
 posterity! 
 
 The truth is that the art of forgetting does not re- 
 quire a Tolume for its elucidation — which is simplicity 
 itself; just like the Scriptural injunction to "Love 
 your enemies'' — the real problem is, how to practice 
 it! There is only one way to free ourselves from pain- 
 ful memories, and that is, on their appearance to force 
 ourselves to contemplate other subjects, no matter 
 what, so that they are worthy and not depressing; to 
 say more than this is unnecessary, except that the fa- 
 cility to banish unhappy memories may be greatly in- 
 creased through practice, even though such memories 
 may not be totally destroyed. 
 
 And what shall we say of that w^hich, for want of 
 a better name, has been termed "Pseudo- '-memory? 
 It is a memory that is wholly instinctive in its char- 
 acter — a caprice of nature for which there seems to be 
 no way of accounting except on the theory of heredity. 
 Of this kind of memory many remarkable cases are re- 
 lated, among which are the following: 
 
 A young man' born in India, who was visiting 
 England for the first time, accepted an invitation to 
 spend a few days at the house of a relative in London. 
 He had scarcely entered the door when it seemed to 
 him that the place had a familiar aspect, although he 
 
VAGARIES OF MEMORY. 469 
 
 could not at first trace the association to any definite 
 source, and could not identify any particular object 
 about the premises that he had seen before. As the 
 moments passed on this sense of familiarity with his 
 surroundings kept grov/ing within him, until he ex- 
 claimed: "The impression forces itself upon me that 
 I have been in this house before, and yet I know that 
 to be impossible, as I have never been in England 
 until now — much less this particular house in London; 
 and yet this impression is so strong that I am bewil- 
 dered. But a sudden thought strikes me! If this 
 house be the one which seems so familiar to me, there 
 is a name cut with a diamond in one of the lower panes 
 of the right-hand window in the front part of the at- 
 tic." The parties at once proceeded to the room men- 
 tioned, and in the very place indicated was a name so 
 scrawled on one of the window-panes! On investiga- 
 tion it was learned that one of the young man's an- 
 cestors, long since deceased, had cut with a diamond 
 in that very window the name of his sweetheart! 
 
 Another case is that of a noted artist, who tells 
 that once, as by inspiration, he drew a picture of a 
 young lady's face whose lineaments seemed perfectly 
 familiar to him. Years afterwards, while on a visit 
 for the first time to a relative who lived in the country, 
 he discovered the identical face among the portraits 
 of his ancestors. He was so struck with the coinci- 
 dence that he made inquiries regarding the identity of 
 the person, and learned that his grandfather had once 
 
470 THE ART OF MEMORY. 
 
 been engaged to the lady, but through the strenuous 
 opposition of relatives had been obliged to give her up. 
 
 Here is another remarkable case. Some years ago 
 a gentleman who was a native of one of the New Eng- 
 land States, took a trip to England, and while there 
 paid a visit to the place where his ancestors had lived 
 for several generations. Some of the features in the 
 locality seemed strangely familiar to him, among them 
 being the old family mansion and the village church, 
 as well as certain details of the landscape. One day 
 while wandering through the churchyard, a name on 
 one of the tombstones especially attracted his notice, 
 as it seemed as if he had seen it before. On making 
 inquiry he learned that the young lady who was buried 
 there had been a fiance of his oTeat-grandfather, who 
 used to make frequent visits to his loved one's tomb. 
 
 Members of the faculty in the Medical College 
 where the eminent surgeon Dr. Butcher of Dublin, 
 studied, say that when he first began to experiment 
 with the dissecting-knife, he appeared to handle it and 
 to go about his work as if by instinct, in the same pe- 
 culiar manner as one of his ancestors. 
 
 How, indeed, can we account for such cases as the 
 above except on the theory of hereditary memory? 
 Wordsworth has finely said: 
 
 "Our birth is but a sleep and a forgetting; 
 The soul that rises with us, our life's star, . 
 Hath had elsewhere its setting 
 And cometh from afar." 
 
VAGARIES OF MEMORY. 471 
 
 Is it not in ^consonance with strict reasoning that 
 such a thing as hereditary memory is possible? May 
 not the memory of something that powerfully affects 
 us be transmitted to a descendant? What is instinct 
 in the animal kingdom but hereditary memory in a 
 restricted sense? In the human being it is the mem- 
 ory of a specific event or impression, and in the animal 
 of a characteristic or an acquirement. That the latter 
 may be transmitted to offspring has been abundantly 
 demonstrated, especially in the case of dogs. Darwin 
 gives an instance of some dogs that were taken to Cen- 
 tral America and trained to hunt deer in a particular 
 way. Afterwards when their progeny were taken out 
 for the same purpose, they at once adopted the newl}'- 
 acquired methods of their parents without the slightest 
 training. 
 
 When a person who has "declined into the vale of 
 years" takes now and then a retrospect of the past, it 
 is curious to note how much of his life he remembers 
 little or nothing about — he finds that it really consists 
 of many series of recollections separated by a corre- 
 sponding number of intervals, many of them extend- 
 ing over a long period and leaving scarce an imprint 
 on his memory; in fact, he finds the greater part of his 
 life to be a comparative blank; there are only the land- 
 marks, scattered along here and there, and most of 
 them keep growing less and less distinct as time speeds 
 on; but ever and anon, as by strange fortuity, there 
 will be touched by an unseen hand some secret spring 
 
472 th'e art of memory. 
 
 of Memory's treasure-house, and, as the oasis amid the 
 desert sands burst forth in all its beauty on the long- 
 ing vision of the weary traveler, to cheer and to in- 
 vigorate his spirits, so too, bright images of scenes 
 long past, and tender thoughts, and glowing fancies, 
 that have long lain dormant, awaiting but the proper 
 summons, will leap forth from the dim recesses of the 
 recollection as by magic, imbued with all their former 
 loveliness and freshness, each one, forsooth, ordained 
 to add one more bright beauty spot to the enchanting 
 landscape of Memory. 
 
INDEX. 
 
 A 
 
 Abseut-mindedness, instances of, . . . . . . 459-46S 
 
 how to overcome, . 465 
 
 Almansor, linguistic powers of, 28 
 
 Alpha Crucis, location of, 157 
 
 Anecdotes, often useful, 318 
 
 bow usually recollected, . . . . . . • 318, 319 
 
 may be indefinitely retained in memory, . . • ' . 319 
 
 best way to memorize, . 320, 321 
 
 Angelo, anecdote of, 169 
 
 Aristotle, great memory of for proper names, . . . 387 
 
 Association next to Attention in memoiy development, . 109 
 
 anecdote regarding power of, Ill 
 
 Incidental Association, definition of, and illustrations, 113-115 
 
 (Natural Association, definition of, and illustrations, . 116-122 
 
 Artificial Association, definition of, and illustrations, . 125-130 
 
 Associations should be in pairs, 132 
 
 Attention the foundation of Memory, 98 
 
 lack of, mainly cause of defective memory, . . . 104 
 
 ' cultivated, merges into Concentration, . . , . 101 
 
 becomes habit, 104 
 
 may be secured by Will, . 106 
 
 illustrations of, 101 
 
 Avicenna, wonderful verbal memory of, . , . . 37 
 
 Azimuths of sun at sunset, . . . . . . . 160 
 
 B 
 
 Baratiere, precocity of, ....... . 47 
 
 Bassie, memory feats of, . . . . . . i 181 
 
 (473) 
 
474 INDEX. 
 
 Beethoven, great musical memory of, 414 
 
 Bidder, mathematical feats of, 184 
 
 Biography, best memorized through mental images, . . 301 
 
 Blaine, wonderful memory of for proper names, . . 387 
 
 great feat of in verbal memorizing 356 
 
 Blank Verse, how to memorize, 379, 380 
 
 Blind Tom, wonderful musical memory of, . . . .28 
 
 Bolingbroke, great memory of, 41 
 
 Book, instructive, how to memorize, 305 
 
 Books, what kind to read, 309 
 
 Bossuet, wonderful verbal memory of, .... 41 
 
 Brahe, wonderful memoy of for figures 181 
 
 Brodie, Steve, sensations of while jumping from Brooklyn 
 
 Bridge, . 24 
 
 Buffon, great verbal memory of, 39 
 
 Bulwer, remarkable verbal memory of, 38 
 
 Burritt, linguistic powers of, 40 
 
 Buxton, mathematical feats of, 184 
 
 Byron, great verbal memory cf, 39 
 
 'Ca:isar, great memory of, 35 
 
 Carlisle, John G., wonderful memory feat of, . . . 357 
 
 Carolan, feat of in musical-memory, 414 
 
 Charlemagne, linguistic powers of, 37 
 
 Cineas, memory feat of, 387 
 
 Clarke, Adam, great verbal memory of 352 
 
 •Clarkson, how he became interested in abolition of slavery, 2D0 
 
 Clay, anecdote of, 173 
 
 remarkable memory of for proper names, . . . 387 
 
 Cleopatra, linguistic powei*s of, 35 
 
 Col burn, mathematical feats of, 185-187 
 
 •Coleridge, Rev. E., strong verbal memory of, . . . 353 
 
 •Color, Memorj'^ of, how to cultivate, 170 
 
 Colors which' harmonize, 178 
 
 •Consciousness— double, 457-459 
 
INDEX. 475 
 
 Contiguity, Association by, 124 
 
 Contrariety, Association by, with illustrations, . . . 122-124 
 
 "Correlation" theory impracticable, ..... 95 
 
 "Correlations," how used, 92 
 
 Crassus, linguistic powers of, 35 
 
 "Cross, Southern," 15(J 
 
 Custer, anecdote of, 14G 
 
 Cuvier, great memory of, 40 
 
 D 
 
 Dase, wonderful memory of for figures, .... 182 
 
 Dates in history easily desert the memory, .... 201. 
 
 Diction, Memory of, what it is, 349 
 
 memory of possessed by ancients, . . . . . 352 
 
 inherent in some persons, 351 
 
 can be cultivated to a remarkable degree. . . . 351 
 
 Discourse, how to listen to, 314 
 
 Dorr, great memory of for figures, 183 
 
 Downs, memorj'^-system of, . 77 
 
 Drama, how to witness, 313 
 
 E 
 
 Edison, power of engrossment of 102 
 
 Esdras, strong verbal memory of, 57 
 
 Euler, remarkable memory of for figures, .... 181 
 
 Events, three general classes of, 289 
 
 how to classify, 297 
 
 P 
 
 Facts more difficult to recollect than Events, . . . 295 
 
 best memorized through classification, . . . 296 
 
 to be classified according to individual needs, . . . 299 
 
 how to memorize, 298 
 
 Features, Memory of, how to cultivate, 175 
 
 Feinaigle, mnemonical system of, 70 
 
 Fellows, Col., strong verbal memory of, .... 357 
 
 34 
 
476 
 
 INDEX. 
 
 Fiction, instructive as well as entertaining, . . . 303 
 
 best memorizecl tJirough mental images, . , . 301 
 
 "Figure" alphabet, modern, 83 
 
 impracticable for memorizing dates, .... 87 
 
 basis of most mnemonical systems, . . . . 189 
 
 Figures, as important in memory culture as words, . . 180 
 
 best way to memorize, 190 
 
 Fomalliaut, location of, 159 
 
 Form, Memory of— definition of, 168 
 
 good memory of necessary to great painter or sculptor, 169 
 
 how to cultivate, 170 
 
 Fuller, great memory of, 43, 352 
 
 G 
 
 Gabelentz, linguistic powers of, 
 
 Gassendi, remarkable verbal memory of, ... . 
 
 Genius prolonged attention, . 
 
 Gibbon, great memory of, 
 
 method pursued by in reading a book, .... 
 Gottschalk, remarkable musical memory of, .... 
 
 Gouraud, mnemonical sj^stem of, 
 
 Gray, Dr. Asa, great memory of, 
 
 Grey, "Figure" alphabet of, . . . _j 
 
 H 
 
 Heinecken, unexampled precocity of, 
 
 Henrotin, remarkable feat of in memory of figures, . 
 Ilerschel, remarkable memory of for figures, 
 Hicks, W. C, remarkable familiarity of Avith Bible, 
 Historical Events less enduring in memory than Personal 
 
 or Impersonal, . . . . 
 
 Hortensius, remarkable memory of, 
 
 Houdin, wonderful eye-memory of, 
 
 Howell, Evan S„ wonderful faculty of for recalling per- 
 
 .sonal events, 
 
 Hugo, extraordinary vocabulary of, 
 
 43 
 
 355 
 
 103 
 
 39 
 
 304 
 
 416 
 
 72 
 
 40 
 
 69 
 
 48 
 183 
 180 
 358 
 
 291 
 35 
 29 
 
 292 
 40 
 
INDEX. 477 
 
 I 
 
 Ideas, isolated, caunot remain in memory, .... 112 
 
 "Impersonal" Events, definition of, 2S9 
 
 "Incidental" Association, definition of, and illustrations, . 113-115 
 
 Initials, how to memorize, 407 
 
 J 
 
 Jewell, Eisliop, strong verbal memory of, . . . . 852 
 
 Johnson, Dr., illustration of his powers of verbal memory, 35-1 
 
 Jones, Sir William, linguistic powers of, ... . 43 
 
 Jonson, Ben., remarkable verbal memory of, ... . 38 
 
 K 
 
 Knowledge consists of what we can recollect, ... 17 
 
 Kothe, mnemonical system of, 73 
 
 L 
 
 Lacepede, wonderful memory of, 44 
 
 La Motte, powerful verbal memorj^ of, .... 41 
 
 Landor, remarkable memory of, 39 
 
 Lawson, Prof., great verbal memorj' of, .... 44 
 
 Leonardo da Vinci, method of for identifying faces, . . 174 
 
 Literature, entertaining, how to memorize, . . . 301 
 
 instructive, how to memorize, 305-7 
 
 what kind to read, 309 
 
 "Locality" Memory, definition of, 144 
 
 may be developed to a remarkable degree, . . . 147 
 
 how to cultivate, 154, 1(35 
 
 universal in animal kingdom, ..... 144 
 
 Loisette, mnemonical system, of, 75 
 
 M 
 
 McCartney, Daniel, remarkable faculty of for recollecting 
 
 personal events, 291 
 
 Macaulay, strong verbal memory of , . . . . . 353 
 
 Magliabechi, great memory of, 40 
 
 Magnetic needle, variation of at various points, . . 153 
 
478 
 
 INDEX. 
 
 Magnetic poles, where situated, . . 
 Mangiamele, remarkable memory of for figures, 
 Memories, unpleasant, how to lessen, . . . 
 Memory the basis of understanding, 
 
 essential to intellectual power, .... 
 
 possessed by all living tibings, 
 
 improved by exercise, 
 
 possible because ideas suggest ideas, 
 
 grasps what it has the greatest affinity for, 
 
 greatest possessed by greatest men, 
 
 only best and greatest thoughts deserve a place in, 
 
 may acquire deleterious habits, 
 
 defective, mainly due to lack of attention, 
 
 general divisions of, . . . 
 
 sometimes treacherous, 
 
 instances of partial lapse of, . . 
 
 instances of loss of. 
 
 curious recovery of, 
 
 "Pseudo," instances of, 
 
 *'Memoi'y Corner" Thompson, feat performed by, 
 
 Mendelssohn, feats of in musical memory,. 
 
 Mezzofanti, linguistic powers of, 
 
 Middleton, mnemonical system of, . 
 
 Miles, mnemonical system of, .... 
 
 Mill, John Stuart, great precocity of, . 
 
 Milton, extraordiuary vocabulary of, . 
 
 Mithi'idates, great verbal memory of, . . . * . 
 
 Mnemonics, recognized as a necessity from earliest times, 
 
 originated with Simonides, 
 
 "Topical" system 
 
 Molino, wonderful verbal memory of, 
 
 Mozart, feats of in musical memory, . . . . . 
 
 Miiller, linguistic powers of, 
 
 Music, definition of, . . 
 
 demands of upon memory often great, .... 
 
 memory of largely intuitive, 
 
 152 
 
 182 
 
 407 
 
 16 
 
 2t> 
 
 19 
 
 18 
 
 112 
 
 19 
 
 32 
 
 350 
 
 107 
 
 104 
 
 142 
 
 447 
 
 453-457 
 
 449-453 
 
 25 
 
 468-470 
 
 163 
 
 416 
 
 27, 39 
 
 74 
 
 72 
 
 47 
 
 41 
 
 35 
 
 58 
 
 62 
 
 03 
 
 355 
 
 415 
 
 40 
 
 411 
 
 413 
 
 413 
 
INDEX. 
 
 479 
 
 Music, influence of on the emotions, 
 
 aids memorizing of Poetry, .... 
 
 what kind to select, . . . , » 
 
 how to memorize, . . . . . . 
 
 liow to listen to, 
 
 necessity of reviewing one's acquirements in, 
 
 Musical memory necessary to become great artist. 
 
 430 
 
 430 
 
 . 427. 428 
 
 420-427, 436, 437 
 
 . 439-444 
 
 438 
 
 417 
 
 N 
 
 Names more difficult to recollect than faces, . . . . 383 
 good memory for advantageous in business, social aiid 
 
 literary life, ' . 385 
 
 few persons liave good memory of, ... . 388 
 
 origin of manj. 389 
 
 how to memorize, 391, 401-106 
 
 Napoleon, remarkable memory of for figures, . . . 180 
 
 also for proper names, 387 
 
 Narrative, best memorized through mental images, . 301 
 "Natural" Association, definition of, and illustrations, . 116-122 
 
 Newspaper reading, effect of on memory, . . . 309 
 
 Niebuhr, precocity of, 41 
 
 Numbers, best way to memorize, 190 
 
 a 
 
 Observation the key to good "Locality" memory, . . 148 
 
 Palmer, Edward Henry, linguistic powers of, . . . 43 
 
 Paris, Aime, mnemonical system of, .... . 71 
 
 Pascal, great verbal memory of, 38 
 
 Pericles, remarkable memory of, for proper names, . . 387 
 "Personal" Events more enduring in memory than "Im- 
 personal" or "Historical," 290 
 
 Piano compositions, how to memorize, 420-427 
 
 Pick, mnemonical system of, 73 
 
 Poem, ability to readily dissect of assistance in memorising, 370 
 
480 INDEX. 
 
 Poetry less difficult to memorize tlian Prose, . . . 358 
 
 liO'W to memorize, 371-377, 379, 380 
 
 Polaris, how to tied, 154 
 
 Poles, magnetic, where situated, 152 
 
 Porson, wonderful verbal memory of, . . . . . 45 
 
 Poule, great verbal memory of, 39 
 
 Prescott, extraordinary memory of, .... 44 
 
 Prose more difficult to memorize than Poetry, . . . 358 
 
 liow to memorize, 381 
 
 "Pseudo"-memory. instances of, 4(38-470 
 
 R 
 
 Raleigh, anecdote of, 22 
 
 Ravenna, mnemonical feats of, 65 
 
 Rossi, wonderful verbal memory of, 45 
 
 S 
 
 Sambrook, mnemonical system of, 74 
 
 Saunderson, great verbal memory of, . . . , . 39 
 
 Scaliger, remarkable verbal memory of, ... . 38 
 
 Schenkel, mnemoaiical feats of, 66 
 
 Scott, great verbal memory of, . . . . . . 38 
 
 "Selecting" memory, . . . . ^. . . . 311 
 
 Seneca, strong verbal memory of, 36 
 
 Shakespeare, unequaled vocabulary of, ... . 41 
 
 Shedd, mnemonical system of, 76 
 
 "Sight" impressions passive in their nature, . • . . 134 
 
 most enduring of all, 135 
 
 Simonides, originator of mnemonics, 62 
 
 Socrates, wonderful power of engrossment, .... 102 
 
 Song, influence of on the emotions, . . . . . 430 
 
 Songs, interpretation of should be faithful, .... 433 
 
 how to memorize, . . 436, 437 
 
 "Sound" impressions passive in their nature, . . . 134 
 
 next to "Sight" impressions in vividness, . . . 135 
 
 Star, North, how to find, 154 
 
INDEX. 
 
 481 
 
 Stokes, mnemonical system of, 
 Stradella, musical composer— anecdote of, 
 Suarez, woDderful verbal memory of, 
 Sunset Azimuths, 
 
 73 
 431 
 35o 
 160 
 
 Taylor, Jeremy, great memory of, 
 
 Thirlwall, Bishop, great precocity of, 
 
 Thompson, "Memory Corner," feat performed by, 
 "Thought" impressions either passive or active, 
 
 least enduring of all, 
 
 Tom (Blind), wonderful musical memory of, ... 
 "Topical" system, mnemonics, 
 
 not now feasible, 
 
 "Twain, Mark," experience of in learning vocation of pilot, 
 
 V 
 
 "Verbal" memory, definition of, 
 
 inherent in some persons, 
 
 great power of possessed by ancients, .... 
 
 can be cultivated to a remarkable degree, . 
 
 "Verse, how to memorize, 
 
 Vianesi, remarkable musical memory of, . 
 
 Vidocq, anecdote of, 
 
 W 
 
 Wakefield, Gilbert, powerful verbal memory of, 
 
 Wallis, wonderful memory of for figures, .... 
 
 Watson, George, wonderful faculty of recalling personal 
 
 events, 
 
 Weed, Thurlow, plan adopted by for memorizing personal 
 
 events, 
 
 Wesley, memory of for proper names, .... 
 Will, attention secured by, ...... 
 
 Willis, mnemonical system of, 
 
 Winckelmann, "figure" alphabet of, 
 
 Woodfall, great verbal memory of, 
 
 Wotton, precocity of, 
 
 44 
 
 47 
 
 1G3 
 
 134 
 
 138 
 
 28, 416 
 
 63 
 
 80 
 
 20 
 
 349 
 351 
 352 
 351 
 371-377 
 416 
 173 
 
 353 
 
 181 
 
 291 
 
 2<J3 
 
 387 
 
 106 
 
 67 
 
 68, 189 
 
 27 
 
 46 
 
"^m 
 
 n 
 
 l-lVM. 
 
 ^M^ 
 
 
 4v/f. 
 
 Hi,- 
 
 
 
 
 1 
 
 H*^^ 
 
 i^ 
 
 ^ 
 
 f^-^ 
 
 ^j::V 
 
 ■•??r^" I 
 
 \,;.'*'-^ 
 
 i#*< 
 
 v" 
 
 kii 
 
 ^K 
 
 ">>r-^K^ .^^^?^^^*^iU/ 
 
 f 
 
 ^: 
 
 1^