William Atkinson - The Essential Works of William Walker Atkinson - 50+ Books in One Edition

The impressions conveyed by the Direct senses are not readily recalled by the memory, while those obtained by the Indirect senses are readily recalled, and a very high degree attained by intelligent practice. For instance, one cannot easily recall the precise taste, smell, or feel of an object, although he can distinctly recall the act and time of the tasting, smelling and feeling, and all the circumstances connected with it. But the mind indelibly registers the impression of the tasting, smelling” and feeling so that it may be recognized when it again occurs. This faculty of recognition may be highly cultivated or developed, as in the cases of tea­tasters, wine experts, wool sorters, etc., in which instances the senses of Tasting, Smelling and Feeling are highly developed, and the memory of previous impressions readily recalled in its most minute details the instant the new impression reaches the brain. But it is difficult to recall the former impression of Tasting, Smelling or Feeling by an effort of the imagination so that it appears real. Exceptions are quoted by some writers who speak of certain gourmands, epicures, wine experts, etc., who can by an effort of the imagination and memory bring to their minds the distinct impression of the taste of their favorite dish or wine. Hypnotic subjects also seem to get such impressions by suggestion. But, generally speaking, it is hard to imagine a taste, smell or touch, as one does a sight or a sound.

But no difficulty of this kind is experienced in the case of impressions received through the senses of Seeing or Hearing, as one can not only recall the occurrences but can also readily picture the sight, or hear the sound, by means of the imagination aided by the memory. Some have this faculty largely developed, and can in the mind picture a sight or hear sounds almost as distinctly as in the original instance. Artists and musicians are examples of this fact.

It will readily be seen that in Memory Culture the acquiring of clear and distinct impressions is a most important feature. Unless there is something to recollect, there is no use for the memory. When you recall our illustration of the mental storehouse, with its varied and assorted stock of all sizes, shapes and colors, you will readily see the importance of having your mental packages and parcels of such size, shape and color as to to be easily seen and located when you need them.

Not only must the senses be trained to quickly and clearly record the impressions from outside so that they may he readily recalled, but the mind must be trained to direct its attention and interest to its own workings, to the end that thoughts and mental processes may be remembered when needed. Acquirement of impressions is often along two or more lines. For instance, in reading a printed page the eye records the impression of the words, sentences, paragraphs and page, while at the same time the other faculties of the mind receive the impression of the thought and meaning of the author; the impression of the thought and ideas of the reader; the conclusion arrived at by the reader after digesting and assimilating the reasoning of the author, mingling the same with the knowledge, information and opinions already stored away in his own mind. And all of these impressions may be recalled by means of the memory, according to the measure of the development of the faculty of memory in the particular individual.

Cultivation of Attention and Interest has produced almost marvelous results in many well known cases, and anyone may with a little practice acquire proficiency along these lines that will be as surprising to himself as amazing to his friends.

Robert Houdin, the celebrated French conjurer, whose best tricks depended materially upon his quick and correct observation, and, his wonderful memory, had developed his faculty of rapid observation and attention as well as his memory, by years of careful practice. It is related of him that in his earlier days he would pass rapidly by a Paris shop, giving one sharp, quick glance at the window, then turning his eyes in another direction. Walking along for a few minutes he would stop and with pencil and paper endeavor to recall and describe as many articles as possible. He found that steady practice so sharpened his faculty of attention and observation that each day he would recollect a greater number of objects displayed in the windows, the explanation being that he was steadily developing the faculties which received and stored away impressions, as well as those which recalled them. It is said that in time he was able to rush past a large store window, filled with small wares, and receive such a full, clear and sharp impression of the objects displayed that he could, hours afterward, recall and describe every article with scarcely a mistake. This development made Houdin what he was, and helped him to amass a fortune. His mind apparently became like a photographic plate, and registered everything in range, and all he had to do was to recall the impression and call off the names of the objects as he saw them with his mind’s eye.

Rudyard Kipling, in his delightful story, “Kim,” describes a similar proceeding. The old teacher Lurgan Sahib was training the boy for the Secret Service, in which the quick and clear seeing of things meant success, and perhaps even life itself. The old man took from a drawer a handful of jewels, gems, etc., and bids Kim to gaze upon them as long as he desired, and then see what he could remember of what he had seen. A native boy, who had been trained in this way for some time, is also there. Kim bent over the tray and gazed at the fifteen jewels upon it. He thought it was an easy game. The tray was then covered, and the native boy hastily scribbled his recollection on a sheet of paper. “‘There are under that paper five blue stones, one big, one smaller, and three small,’ said Kim, all in haste. ‘There are four green stones and one with a hole in it; there is one yellow stone that I can see through, and one like a pipe­stem. There are two red stones, and—and—I made the count fifteen, but two I have forgotten. No! give me time. One was of ivory, little and brownish, and—and—give me time.’” But Kim could do no better. “‘Hear my count,’ cried the native child, ‘First are two flawed sapphires, one of two ruttees and one of four, as I should judge. The four ruttee sapphire is chipped at the edge. There is one Turkestan turquoise, plain with green veins, and there are two inscribed—one with the name of God in gilt, and the other being cracked across, for it came out of an old ring, I cannot read. We have now the five blue stones; four flamed emeralds there are, but one is drilled in two places, and one is a little carven.’ ‘Their weight,’ said Lurgan Sahib, impassively. ‘Three— five—five and four ruttees, as I judge it. There is one piece of old greenish amber, and a cheap cut topaz from Europe. There is one ruby of Burma, one of two ruttees, without a flaw. And there is a ballas ruby, flawed, of two ruttees. There is a carved ivory from China, representing a rat sucking an egg; and there is last—Ah—ha!—a ball of crystal as big as a bean set in gold leaf!’ He clapped his hands at the close.” Kim feels much mortified at the superiority of the native boy. “‘But how is it done?’ asked Kim. ‘By doing it many times over till it is done perfectly—for it is worth doing.” I advise you to read this book (and it is full of good things), and see how Kim profited by the instructions of the old master. This game so graphically portrayed by that master of description, Kipling, is a favorite with the Orientals, many of whom attain a great proficiency in it as did Houdin in his form of the same game. And any of you may do the same, if you will take the time and trouble to acquire the “knack.”

It is related of a well­known artist that at a first sitting of a patron he would often sit gazing at his sitter for an hour at a time, and would then dismiss him, telling him that he need not return. He would then work at the portrait for months without another sitting, gazing from time to time at the empty chair of his late sitter, and then reproducing his features on the canvas. He said that he could actually see his model in the chair, the impression having apparently been indelibly impressed upon his memory. This, of course, is an extreme example, but other artists have developed the same faculty to a scarcely less wonderful degree.