It is the essence of truth that it is never excessive. Why should it exaggerate? There is that which should be destroyed and that which should be simply illuminated and studied. How great is the force of benevolent and searching examination! We must not resort to the flame where only light is required.
Hugo, Victor

Danger lies in the writer becoming the victim of his own exaggeration, losing the exact notion of sincerity, and in the end coming to despise truth itself as something too cold, too blunt for his purpose -- as, in fact, not good enough for his insistent emotion. From laughter and tears the descent is easy to sniveling and giggles.
Conrad, Joseph

I never exaggerate. I just remember big.
Rodriguez, Chi Chi

Miller's Article

In his article, Miller discussed a coincidence between the limits of one-dimensional absolute judgment and the limits of short-term memory. In a one-dimensional absolute-judgment task, a person is presented with a number of stimuli that vary on one dimension (e.g., 10 different tones varying only in pitch) and responds to each stimulus with a corresponding response (learned before). Performance is nearly perfect up to 5 or 6 different stimuli but declines as the number of different stimuli is increased. The task can be described as one of information transmission: The input consists of one out of n possible stimuli, and the output consists of one out of n responses. The information contained in the input can be determined by the number of binary decisions that need to be made to arrive at the selected stimulus, and the same holds for the response. Therefore, people's maximum performance on one-dimensional absolute judgement can be characterized as an information channel capacity with approximately 2 to 3 bits of information, which corresponds to the ability to distinguish between 4 and 8 alternatives.

The second cognitive limitation Miller discusses is memory span. Memory span refers to the longest list of items (e.g., digits, letters, words) that a person can repeat back immediately after presentation in correct order on 50% of trials. Miller observed that memory span of young adults is approximately 7 items. He noticed that memory span is approximately the same for stimuli with vastly different amount of information - for instance, binary digits have 1 bit each; decimal digits have 2.3 bits each; words have about 10 bits each. Miller concluded that memory span is not limited in terms of bits but rather in terms of chunks. A chunk is the largest meaningful unit in the presented material that the person recognizes - thus, it depends on the knowledge of the person what counts as a chunk. For instance, a word is a single chunk for a speaker of the language but breaks down into as many chunks as the word has letters for someone who is totally unfamiliar with the language.

Miller recognized that the correspondence between the limits of one-dimensional absolute judgment and of short-term memory span was only a coincidence, because only the first limit, not the second, can be characterized in information-theoretic terms (i.e., as a roughly constant number of bits). Therefore, there is nothing "magical" about the number 7, and Miller used the expression only ironically. Nevertheless, the idea of a "magical number 7" inspired much theorizing, rigorous and less rigorous, about the capacity limits of human cognition.

***

"All the world's a stage" is the phrase that begins a monologue from William Shakespeare's As You Like It, spoken by the melancholy Jaques. The speech compares the world to a stage and life to a play, and catalogues the seven stages of a man's life, sometimes referred to as the seven ages of man: infant, schoolboy, lover, soldier, justice, pantaloon, and second childhood, "sans teeth, sans eyes, sans taste, sans everything". It is one of Shakespeare's most frequently-quoted passages.

"All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse's arms;
And then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths, and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with good capon lin'd,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slipper'd pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well sav'd, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion;
Sans teeth, sans eyes, sans taste, sans everything."

— Jaques (Act II, Scene VII, lines 139-166)

Man is inclined to exaggerate almost everything - except his own mistakes.

~Author Unknown