18
When the time comes for you to perform, and the audience have proposed subjects and invented cases for discussion, you should get rid of the difficult ones by calling them trivial, and complain that there is nothing in this selection that can really test a man’s powers. When they have chosen, do not hesitate a moment, but Start; the tongue ts an unruly member; do not attempt to rule it 3 never care whether your firstly is logic’s firstly, or your secondly and thirdly in the right order; just say what comes; you may greave your head and helmet your legs, but whatever you do, move, keep going, never pause. If your subject is assault or adultery in Athens, cite the Indians and Medes. Always have your Marathon and your Cynaegirus handy; they are indispensable. Hardly less so are a fleet crossing Mount Athos, an army treading the Hellespont, a sun eclipsed by Persian arrows, a flying Xerxes, an admired Leonidas, an inscriptive Othryades. Salamis, Artemistum, and Plataea, should also be in constant use. All this dressed as usual with our seasoning-garnish aforesaid—that persuasive flavour of sundry and methinks; do not watt till these seem to be called for they are pretty words, quite apart from their relevancy.
19
If a fancy for impassioned recitative comes over you, indulge it as long as you will, and air your falsetto. If your matter is not of the right poetic sort, you may consider yourself to have met the requirements if you run over the names of the jury in a rhythmic manner. Appeal constantly to the pathetic instinct, smite your thigh, mouth your words well, punctuate with loud sighs, and let your very back be eloquent as you pace to and fro. If the audience fatls to applaud, take offence, and give your offence words; if they get up and prepare to go out in disgust, tell them to sit down again; discipline must be maintained.
