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excite pity or indignation by being represented as present. The Story told to Alcinous is an example of a brief chronicle, when it is repeated to Penelope in sixty lines. Another instance is the Epic Cycle as treated by Phayllus, and the prologue to the Oeneus. The narration should depict character; to which end you must know what makes it do so. One such thing is the indication of moral purpose; the quality of purpose indicated determines the quality of character depicted and is itself determined by the end pursued. Thus it is that mathematical discourses depict no character; they have nothing to do with moral purpose, for they represent nobody as pursuing any end. On the other hand, the Socratic dialogues do depict character, being concerned with moral questions. This end will also be gained by describing the manifestations of various types of character, e.g. ‘he kept walking along as he talked’, which shows the man’s recklessness and rough manners. Do not let your words seem inspired so much by intelligence, in the manner now current, as by moral purpose: e.g. ‘I willed this; aye, it was my moral purpose; true, I gained nothing by it, still it is better thus.’ For the other way shows good sense, but this shows good character; good sense making us go after what is useful, and good character after what is noble. Where any detail may appear incredible, then add the cause of it; of this Sophocles provides an example in the Antigone, where Antigone says she had cared more for her brother than for husband or children, since if the latter perished they might be replaced, But since my father and mother in their graves Lie dead, no brother can be born to me. If you have no such cause to suggest, just say that you are aware that no one will believe your words, but the fact remains that such is our nature, however hard the world may find it to believe that a man deliberately does anything except what pays him. Again, you must make use of the emotions. Relate the familiar manifestations of them, and those that distinguish yourself and your opponent; for instance, ‘he went away scowling at me’. So Aeschines described Cratylus as ‘hissing with fury and shaking his fists’. These details carry conviction: the audience take the truth of what they know as so much evidence for the truth of what they do not. Plenty of such details may be found in Homer: Thus did she say: but the old woman buried her face in her hands: a true touch-people beginning to cry do put their hands over their eyes. 2291