Bers, Victor. 2009. Genos Dikanikon: Amateur and Professional Speech in the Courtrooms of Classical Athens. Hellenic Studies Series 33. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Bers.Genos_Dikanikon.2009.
Chapter 5: Performance as Evidence
In the second (Lysias 19.14–23), Dionysius is frank in acknowledging that Lysias uses language to compensate for his clients’ shortcomings; moreover, the appearance of emotional control is among Lysias’ strategies:
Dionysius is, I believe, correct in identifying the effect Lysias strives to achieve, a self-presentation “spun” to make the client seem to be the sort of man who deals with his fellow citizens in a calm and fair-minded way. But I think Dionysius failed to understand the range of linguistic means by which the logographos helped his clients project that image.  The first passage continues as follows:
In speaking only of the advantages of adhering to familiar language, Dionysius (Lysias 8.21–34) elides the differences between even the simplest forms of literary prose and colloquial speech; or rather, he claims that the simplicity of Lysianic prose is in fact a deception of extraordinary skill:
And yet Dionysius does not often show just how Lysias executed his masterpieces of covert artfulness. Modern scholars, perhaps because they learned classical Greek as a dead language, solely by the artificial means available to anyone born long after the death of its last native speakers, have managed to discover at least a few of the tricks Dionysius could only intuit in what was for him already a classical text. 
He soon plays on the very prejudice exemplified by that claim to his own advantage (16.11):
This view of young men is adduced as early as Antiphon Tetralogy 3.3.2  and continues to be expressed, sometimes quite luridly, through the fourth century.