well as I am able: but the general merit of an Orator must and will be decided by the effects which his eloquence produces. For (in my opinion at least) there are three things which an Orator should be able to effect; _viz_. to _inform_ his hearers, to _please_ them, and to _move their passions_. By what qualities in the Speaker each of these, effects may be produced, or by what deficiencies they are either lost, or but imperfectly performed, is an enquiry which none but an artist can resolve: but whether an audience is really so affected by an Orator as shall best answer his purpose, must be left to their own feelings, and the decision of the Public. The learned, therefore, and the people at large, have never disagreed about who was a good Orator, and who was otherwise. For do you suppose, that while the Speakers above-mentioned were in being, they had not the same degree of reputation among the learned as among the populace? If you had enquired of one of the latter, _who was the most eloquent man in the city_, he might have hesitated whether to say _Antonius_ or _Crassus_; or this man, perhaps, would have mentioned the one, and that the other. But would any one have given the preference to _Philippus_, though otherwise a smooth, a sensible, and a facetious Speaker?--that _Philippus_ whom we, who form our judgment upon these matters by rules of art, have decided to have been the next in merit? Nobody would, I am certain. For it is the invariable, property of an accomplished Orator, to be reckoned such in the opinion of the people. Though Antigenidas, therefore, the musician, might say to his scholar, who was but coldly received by the Public, Play on, to please me and the Muses;--I shall say to my friend Brutus, when he mounts the Rostra, as he frequently does,-- Play to me and the people;--that those who hear him may be sensible of the effect of his Eloquence, while I can likewise amuse myself with remarking the causes which produce it. When a Citizen hears an able Orator, he readily credits what is said;--he imagines every thing to be true, he believes and relishes the force of it; and, in short, the persuasive language of the Speaker wins his absolute, his hearty assent. You, who are possessed of a critical knowledge of the art, what more will you require? The listening multitude is charmed and captivated by the force of his Eloquence, and feels a pleasure which is not to be resisted. What here can you find to censure? The whole audience is either flushed with joy, or overwhelmed with grief;--it smiles, or weeps,--it loves, or hates,--it scorns or envies,--and, in short, is alternately seized with the various emotions of pity, shame, remorse, resentment, wonder, hope, and fear, according as it is influenced by the language, the sentiments, and the action of the speaker. In this case, what necessity is there to await the sanction of a critic? For here, whatever is approved by the feelings of