It will not be amiss to hint that the success of the peroration depends much on the manner of the parties in conforming themselves to the emotions and action of their advocates.  Stupidity, rusticity, and a want of sensibility and attention, as it is said, throw cold water on a cause against which the orator can not be too well provided.  I have, indeed, often seen them act quite contrary to their advocate’s instructions.  Not the least show of concern could be observed in their countenance.  They laughed foolishly and without reason, and made others laugh by some ridiculous gesticulation or grimace, especially when the heat of a debate exhibited anything akin to theatrical action.

An orator of slender ability will acquit himself better if he allows the judges by themselves to feel the compassion with which his subject may naturally inspire them, especially since the appearance, and voice, and studied air of the advocate’s countenance are often ridiculed by such as are not affected by them.  Let the orator make an exact estimate of his powers, therefore, and be conscious of the burden he undertakes.  Here there is no middle state; he must either make his hearers weep, or expect to be laughed at.

It should not be imagined, as some have thought, that all exciting of the passions, all sentimental emotions, ought to be confined to the exordium and peroration.  In them they are most frequent, yet other parts admit them likewise, but in a shorter compass, as their greatest stress should be reserved for the end.  For here, if anywhere, the orator may be allowed to open all the streams of eloquence.  If we have executed all other parts to advantage, here we take possession of the minds of the judges, and having escaped all rocks, may expand all our sails for a favorable gale; and as amplification makes a great part of the peroration, we then may raise and embellish our style with the choicest expressions and brightest thoughts.  And, indeed, the conclusion of a speech should bear some resemblance to that of tragedy and comedy, wherein the actor courts the spectator’s applause.  In other parts the passions may be touched upon, as they naturally rise out of the subject, and no horrible or sorrowful thing should be set forth without accompanying it with a suitable sentiment.  When the debate may be on the quality of a thing, it is properly subjoined to the proofs of each thing brought out.  When we plead a cause complicated with a variety of circumstances, then it will be necessary to use many perorations, as it were; as Cicero does against Verres, lending his tears occasionally to Philodamus, to the masters of ships, to the crucified Roman citizens, and to many others.

PASSION AND PERSUASION