Джером К. Джером
Clocks
"For instance," he would say, "when it strikes fifteen, and the hands point to twenty minutes past eleven, I know it is a quarter to eight."
His acquaintanceship with that clock must certainly have given him an advantage over the cursory observer!
But the great charm about my clock is its reliable uncertainty. It works on no method whatever; it is a pure emotionalist. One day it will be quite frolicsome, and gain three hours in the course of the morning, and think nothing of it; and the next day it will wish it were dead, and be hardly able to drag itself along, and lose two hours out of every four, and stop altogether in the afternoon, too miserable to do anything; and then, getting cheerful once more toward evening, will start off again of its own accord.
I do not care to talk much about this clock; because when I tell the simple truth concerning it, people think I am exaggerating.
It is very discouraging to find, when you are straining every nerve to tell the truth, that people do not believe you, and fancy that you are exaggerating. It makes you feel inclined to go and exaggerate on purpose, just to show them the difference. I know I often feel tempted to do so myself – it is my early training that saves me.
We should always be very careful never to give way to exaggeration; it is a habit that grows upon one.
And it is such a vulgar habit, too. In the old times, when poets and dry-goods salesmen were the only people who exaggerated, there was something clever and distingue about a reputation for "a tendency to over, rather than to under-estimate the mere bald facts." But everybody exaggerates nowadays. The art of exaggeration is no longer regarded as an "extra" in the modern bill of education; it is an essential requirement, held to be most needful for the battle of life.
The whole world exaggerates. It exaggerates everything, from the yearly number of bicycles sold to the yearly number of heathens converted – into the hope of salvation and more whiskey. Exaggeration is the basis of our trade, the fallow-field of our art and literature, the groundwork of our social life, the foundation of our political existence. As schoolboys, we exaggerate our fights and our marks and our fathers' debts. As men, we exaggerate our wares, we exaggerate our feelings, we exaggerate our incomes – except to the tax-collector, and to him we exaggerate our "outgoings"; we exaggerate our virtues; we even exaggerate our vices, and, being in reality the mildest of men, pretend we are dare-devil scamps.
We have sunk so low now that we try to act our exaggerations, and to live up to our lies. We call it "keeping up appearances;" and no more bitter phrase could, perhaps, have been invented to describe our childish folly.
If we possess a hundred pounds a year, do we not call it two? Our larder may be low and our grates be chill, but we are happy if the "world" (six acquaintances and a prying neighbor) gives us credit for one hundred and fifty. And, when we have five hundred, we talk of a thousand, and the all-important and beloved "world" (sixteen friends now, and two of them carriage-folks!) agree that we really must be spending seven hundred, or at all events, running into debt up to that figure; but the butcher and baker, who have gone into the matter with the housemaid, know better.
After awhile, having learned the trick, we launch out boldly and spend like Indian Princes – or rather seem to spend; for we know, by this time, how to purchase the seeming with the seeming, how to buy the appearance of wealth with the appearance of cash. And the dear old world – Beelzebub bless it! for it is his own child, sure enough; there is no mistaking the likeness, it has all his funny little ways – gathers round, applauding and laughing at the lie, and sharing in the cheat, and gloating over the thought of the blow that it knows must sooner or later fall on us from the Thor-like hammer of Truth.
