assassin dealing the deadly blow, and the defenseless wretch falling
dead at his feet? Shall I not picture vividly in my mind the blood
gushing from his wounds, his ghastly face, his groans, and the last gasp
he fetches?

When there is occasion for moving to compassion, we should believe and,
indeed, be persuaded that the distress and misfortunes of which we speak
have happened to ourselves. Let us place ourselves in the very position
of those for whom we feel sorrow on account of their having suffered
such grievous and unmerited treatment. Let us plead their cause, not as
if it were another's, but taking to ourselves, for a short time, their
whole grief. In this way we shall speak as if the case were our own. I
have seen comedians who, when they have just appeared in a mournful
character, often make their exit with tears in their eyes. If, then, the
expression given to imaginary passions can affect so powerfully, what
should not orators do, whose inner feelings ought to sympathize with
their manner of speaking, which can not happen unless they are truly
affected by the danger to which their clients are exposed.


RULES FOR PRACTISE

In the declamatory exercises of schools it would be expedient, likewise,
to move the passions and imagine the scene as a real one in life, and
it is the more important as there the part is performed rather of a
pleader against some person, than an advocate for some person. We
represent a person who has lost his children, or has been shipwrecked,
or is in danger of losing his life, but of what significance is it to
personate such characters, unless we also assume their real sentiments.
This nature, and these properties of the passions, I thought it