Reginald
Copyright© 2024 by Hector H. Munro
Reginald on Besetting Sins: The Woman Who Told the Truth
There was once (said Reginald) a woman who told the truth. Not all at once, of course, but the habit grew upon her gradually, like lichen on an apparently healthy tree. She had no children—otherwise it might have been different. It began with little things, for no particular reason except that her life was a rather empty one, and it is so easy to slip into the habit of telling the truth in little matters. And then it became difficult to draw the line at more important things, until at last she took to telling the truth about her age; she said she was forty-two and five months—by that time, you see, she was veracious even to months. It may have been pleasing to the angels, but her elder sister was not gratified. On the Woman’s birthday, instead of the opera-tickets which she had hoped for, her sister gave her a view of Jerusalem from the Mount of Olives, which is not quite the same thing. The revenge of an elder sister may be long in coming, but, like a South-Eastern express, it arrives in its own good time.
The friends of the Woman tried to dissuade her from over-indulgence in the practice, but she said she was wedded to the truth; whereupon it was remarked that it was scarcely logical to be so much together in public. (No really provident woman lunches regularly with her husband if she wishes to burst upon him as a revelation at dinner. He must have time to forget; an afternoon is not enough.) And after a while her friends began to thin out in patches. Her passion for the truth was not compatible with a large visiting-list. For instance, she told Miriam Klopstock exactly how she looked at the Ilexes’ ball. Certainly Miriam had asked for her candid opinion, but the Woman prayed in church every Sunday for peace in our time, and it was not consistent.
It was unfortunate, everyone agreed, that she had no family; with a child or two in the house, there is an unconscious check upon too free an indulgence in the truth. Children are given us to discourage our better emotions. That is why the stage, with all its efforts, can never be as artificial as life; even in an Ibsen drama one must reveal to the audience things that one would suppress before the children or servants.
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