[10]
Further, the narrative should draw upon what is
emotional by the introduction of such of its accompaniments as are well known,
and of what is specially characteristic of either yourself or of the adversary:
“And he went off looking grimly at me”;
and as Aeschines1 says of Cratylus,
that he hissed violently and violently shook his fists. Such details produce
persuasion because, being known to the hearer, they become tokens of what he
does not know. Numerous examples of this may be found in Homer: “
Thus she spoke, and the aged nurse covered her face with her
hands;2
” for those who are beginning to weep lay hold on their eyes. And you
should at once introduce yourself and your adversary as being of a certain
character, that the hearers may regard you or him as such; but do not let it be
seen. That this is easy is perfectly clear3 from
the example of messengers; we do not yet know what they are going to say, but
nevertheless we have an inkling of it.
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1 Supposed to be Aeschines called Socraticus from his intimate friendship with Socrates. A philosopher and writer of speeches for the law courts, he had a great reputation as an orator.
Aristotle in 23 Volumes, Vol. 22, translated by J. H. Freese. Aristotle. Cambridge and London. Harvard University Press; William Heinemann Ltd. 1926.
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