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[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;
1417b
1
and as Aeschines
1
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:
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 clear
3
from the example of messengers; we do not yet know what they are going to say, but nevertheless we have an inkling of it.
Thus she spoke, and the aged nurse covered her face with her hands;
2
Rhetoric. Aristotle. John Henry Freese (Translator). London. 1926.
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