THE ART OF CROSS-EXAMINATION
and make him also speak distinctly and to your question. How can it be supposed that the court and jury will be inclined to listen, when the only struggle seems to be whether the counsel or the witness shall first go to sleep?
X. Modulate your voice as circumstances may direct, "Inspire the fearful and repress the bold."
XI. Never begin before you are ready, and always finish when you have done. In other words, do not question for question's sake, but for an answer.
Cross-examination
I. Except in indifferent matters, never take your eye from that of the witness; this is a channel of communication from mind to mind, the loss of which nothing can compensate.
"Truth, falsehood, hatred, anger, scorn, despair,
And all the passions—all the soul—is there."
II. Be not regardless, either, of the voice of the witness; next to the eye this is perhaps the best interpreter of his mind. The very design to screen conscience from crime—the mental reservation of the witness—is often manifested in the tone or accent or emphasis of the voice. For instance, it becoming important to know that the witness was at the corner of Sixth and Chestnut streets at a certain time, the question is asked, Were you at the corner of Sixth and Chestnut streets at six o'clock? A frank witness would answer, perhaps I
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