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