MAKING THE AUDIENCE: EKPHRASIS AND RHETORICAL STRATEGY IN DEMOSTHENES 18 AND 191

In this paper, I intend to explore three examples of ekphrasis – narrative scene painting – in Demosthenes 18 and 19: the first is Demosthenes' depiction of the announcement in Athens of the capture of Elatea by Philip (18.169–73), while the second and third are descriptions of Aeschines' (allegedly) failed theatrical performances (18.262 and 19.337–8). Scholars have paid insufficient attention to these descriptive accounts: there have been a few limited discussions of 18.169 in commentaries but, otherwise, the use and purpose of these accounts as part of Demosthenes' rhetorical strategy have not been widely appreciated. This article aims to show that ekphrasis, when skilfully deployed as in Demosthenes 18 and 19, is a powerful weapon in the speaker's arsenal that merits thorough investigation. By instructing the audience as to what and how to think, imagine and remember, orators seek to engage the audience, elicit their verbal or non-verbal reaction in the law court, create a certain disposition in them towards the litigants, stir up and manipulate their emotions, and thus affect their verdict.