First Aids to Memory; Impression : Part 3

How to Use Your Mind
by Harry D. Kitson, Ph.D.

(Page 9 of 19)

This persistence of ideas in the mind means "that the process of learning does not cease with the actual work of learning, but that, if not disturbed, this process runs on of itself for a time, and adds a little to the result of our labors. It also means that, if it is to our advantage to stand in readiness with some word or thought, we shall be able to do so, if only this word or thought recur to us but once, some time before the critical moment. So we remember to keep a promise to pay a call, to make a remark at the proper time, even though we turn our mind to other work or talk for some hours between. We can do this because, if not vigorously prevented, ideas and words keep on reappearing in the mind." You may utilize this principle in theme-writing to good advantage. As soon as the instructor announces the subject for a theme, begin to think about it. Gather together all the ideas you have about the subject and start your mind to work upon it. Suppose you take as a theme-subject The Value of Training in Public Speaking for a Business Man. The first time this is suggested to you, a few thoughts, at least, will come to you. Write them down, even though they are disconnected and heterogeneous. Then as you go about your other work you will find a number of occasions that will arouse ideas bearing upon this subject.

You may read in a newspaper of a brilliant speech made before the Chamber of Commerce by a leading business man, which will serve as an illustration to support your affirmative position; or you may attend a banquet where a prominent business man disappoints his audience with a wretched speech. Such experiences, and many others, bearing more or less directly upon the subject, will come to you, and will call up the theme-subject, with which they will unite themselves. Write down these ideas as they occur, and you will find that when you start to compose the theme formally, it almost writes itself, requiring for the most part only expansion and arrangement of ideas. While thus organizing the theme you will reap even more benefits from your early start, for, as you are composing it, you will find new ideas crowding in upon you which you did not know you possessed, but which had been associating themselves in your mind with this topic even when you were unaware of the fact.

In writing themes, the principle of distribution of time may also be profitably employed. After you have once written a theme, lay it aside for a while - perhaps a week. Then when you take it up, read it in a detached manner and you will note many places where it may be improved. These benefits are to be enjoyed only when a theme is planned a long time ahead. Hence the rule to start as early as possible.

Before leaving the subject of theme-writing, which was called up by the discussion of unconscious memory, another suggestion will be given that may be of service to you. When correcting a theme, employ more than one sense avenue. Do not simply glance over it with your eye. Read it aloud, either to yourself or, better still, to someone else. When you do this you will be amazed to discover how different it sounds and what a new view you secure of it. When you thus change your method of composition, you will find a new group of ideas thronging into your mind. In the auditory rendition of a theme you will discover faults of syntax which escaped you in silent reading. You will note duplication of words, split infinitives, mixed tenses, poorly balanced sentences. Moreover, if your mind has certain peculiarities, you may find even more advantages accruing from such a practice.

The author, for example, has a slightly different set of ideas at his disposal according to the medium of expression employed. When writing with a pencil, one set of ideas comes to mind; with a typewriter slightly different ideas arise; when talking to an audience, still different ideas. Three sets of ideas and three vocabularies are thus available for use on any subject. In adopting this device of composing through several mediums, you should combine with it the principle of distributing time already discussed in connection with repetition of impressions. Write a theme one day, then lay it aside for a few days and go back to it with a fresh mind. The rests will be found very beneficial in helping you to get a new viewpoint of the subject.

Reverting to our discussion of memory, we come upon another question: In memorizing material like the poem of our example, should one impress the entire poem at once, or break it up into parts, impressing a stanza each day? Most people would respond, without thought, the latter, and, as a matter of fact, most memorizing takes place in this way. Experimental psychology, however, has discovered that this is uneconomical. The selection, if of moderate length, should be impressed as a whole. If too long for this, it should be broken up as little as possible. In order to see the necessity for this let us examine your experiences with the memorization of poems in your early school days. You probably proceeded as follows: After school one day, you learned the first stanza, then went out to play.

The next day you learned the second one, and so on. You thought at the end of a week that you had memorized it because, at the end of each day's sitting, you were able to recite perfectly the stanza learned that day. On "speaking day" you started out bravely and recited the first stanza without mishap. When you started to think of the second one, however, it would not come. The memory balked. Now what was the matter? How can we explain this distressing blank? In psychological terms, we ascribe the difficulty to the failure to make proper associations between stanzas.

Indiana University, 1921