Rhetoric

​Now, the introduction is the beginning of a speech, which in poetry is the prologue, and in flute-playing the prelude; for all these are beginnings, and as it were, a paving of the way for what is to follow. The prelude, then, is similar to the introduction of epideictic speeches; for just as flute-players, whatever they are able to play well, they first play this as a prelude and then connect it with the key-note, so also in epideictic speeches one must write in this way, stating immediately whatever one wishes to give as the key-note and then connecting it, which is what everyone does. An example of this is the introduction to Isocrates’ Helen; for there is nothing in common between the eristics and Helen. And at the same time, even if it departs from the subject, it is fitting, and it prevents the whole speech from being of one uniform character.

​The introductions of epideictic speeches are said to be derived from praise or blame (for instance, Gorgias in his Olympic Oration: “Worthy to be admired by many, O men of Greece”—for he praises those who brought together the festivals; while Isocrates blames them because they honored physical excellence with rewards, but established no prize for those who are wise); ​and from advice (for instance, that one ought to honor good men, which is why he himself praises Aristides, or such persons who are neither highly esteemed nor bad, but who, being good, are unknown, like Alexander the son of Priam; for he is giving advice);

​and further from judicial introductions; this is from those addressed to the hearer, in case the speech is about something paradoxical, or difficult, or much-talked-of by many, so as to obtain indulgence, as Choerilus says: “But now, when all has been divided.” The introductions of epideictic speeches, then, are from these things: from praise, from blame, from exhortation, from dissuasion, and from things addressed to the hearer; and the key-notes given to the speech must be either foreign or proper to it.

​But the introductions of judicial speeches must be understood as having the same power as the prologues of dramas and the introductions of epic poems; for those of dithyrambs are like the epideictic ones: “For you and your gifts, or spoils.”

​But in prologues and epic poems there is a sample of the speech, so that they may know beforehand what the speech is about, and that the mind may not be kept in suspense; for what is indefinite leads astray. Therefore, he who gives the beginning, as it were, into the hand, makes the hearer follow the speech by holding onto it. For this reason: “Sing, goddess, the wrath.” “Tell me, Muse, of the man.” “Guide me to another tale, how from the land of Asia a great war came to Europe.” And the tragic poets also make clear what the drama is about, even if not immediately like Euripides in the prologue, yet somewhere at least, as Sophocles does: “My father was Polybus.” And comedy likewise. Therefore, the most necessary function of the introduction, and its proper one, is this: to make clear what is the end for the sake of which the speech is made (wherefore, if the matter is clear and small, an introduction must not be used);