of the accusation.  The accuser does not merely say, “You have committed that murder,” but shows reasons to evince its credibility; as, in tragedies, when Teucer imputes the death of Ajax to Ulysses, he says that “He was found in a lonely place, near the dead body of his enemy, with his sword all bloody.”  Ulysses, in answer, not only denies the crime, but protests there was no enmity between him and Ajax, and that they never contended but for glory.  Then he relates how he came into that solitary place, how he found Ajax dead, and that it was Ajax’s own sword he drew out of his wound.  To these are subjoined proofs, but the proofs, too, are not without narration, the plaintiff alleging, “You were in the place where your enemy was found killed.”  “I was not,” says the defendant, and he tells where he was.

HOW TO MAKE THE CONCLUSION

The end of the narration is rather more for persuading than informing.  When, therefore, the judges might not require information, yet, if we consider it advisable to draw them over to our way of thinking, we may relate the matter with certain precautions, as, that tho they have knowledge of the affair in general, still would it not be amiss if they chose to examine into every particular fact as it happened.  Sometimes we may diversify the exposition with a variety of figures and turns; as, “You remember”; “Perhaps it would be unnecessary to insist any longer on this point”; “But why should I speak further when you are so well acquainted with the matter.”

A subject of frequent discussion is to know whether the narration ought immediately to follow the exordium.  They who think it should, seem to have some reason on their side, for as the design of the exordium is to dispose the judges to hear us with all the good will, docility, and attention, we wish, and as arguments can have no effect without previous knowledge of the cause, it follows naturally that they should have this knowledge as soon as it can conveniently be given to them.

PURPOSES OF THE NARRATION

If the narration be entirely for us, we may content ourselves with those three parts, whereby the judge is made the more easily to understand, remember, and believe.  But let none think of finding fault if I require the narration which is entirely for us, to be probable tho true, for many things are true but scarcely credible, as, on the contrary, many things are false tho frequently probable.  We ought, therefore, to be careful that the judge should believe as much what we pretend as the truth we say, by preserving in both a probability to be credited.

Those three qualities of the narration belong in like manner to all other parts of the discourse, for obscurity must be avoided throughout, and we must everywhere keep within certain bounds, and all that is said must be probable; but a strict observance of these particulars ought to be kept more especially in that part wherein the judge receives his first information, for if there it should happen that he either does not understand, remember, or believe, our labor in all other parts will be to no purpose.