In so far as it served any political end we may infer from the personal relations of the poets, from the approving testimony of Cicero, and from the personages and the nature of the situations represented, that, unlike the older comedy of Naevius and Plautus, it was in sympathy with the spirit of the dominant aristocracy. The 'boni' or 'optimates' regarded themselves as the true guardians of law and liberty, and it would be to their partisans that the resistance to, and denunciations of tyrannical rule, expressed in such plays as the Atreus, the Tereus, and the Brutus of Accius, must have been most acceptable. Members of the aristocracy, eminent in public life and accomplished as orators, became themselves authors of tragedies. Of these two are mentioned by Cicero, C. Julius Caesar, a contemporary and friend of the orator Crassus, and C. Titius, a Roman Eques, also distinguished as an orator[127]. These instances, and the comments Cicero makes upon them, indicate the close affinity of Roman tragedy to the training and accomplishments which fitted men for public life at Rome. Passages already referred to, and others which will be brought forward later, imply also that the audience were easily moved by the dramatic art and the elocution of the actor. We hear of the pains which the best actors took to perfect themselves in their art, and of the success which they attained in it. Cicero specifies among the accomplishments of an orator, the 'voice of a tragedian, the gestures and bearing of a consummate actor.' The stage may be said to have been to the Romans partly a school of practical life, partly a school of oratory. Spirited declamation, the expression, by voice and gesture, of vehement passion, of moral and political feeling, and of practical wisdom, would gratify the same tastes that were fostered by the discussions and harangues of the Forum[128]. The testimony of later writers points to the conclusion that the early Roman tragedy, like Roman oratory, was characterised both by great moral weight and dignity, and also by a fervid and impassioned character. The latter quality is suggested by the line of Horace, Nam spirat tragicum satis et feliciter audet; and also by the epithets 'altus' and 'animosus' applied by him and Ovid to the poet Accius. Quintilian describes the ancient tragedies as superior to those of his own time in the management of their plots ('oeconomia'), and adds that 'manliness and solemnity of style' ('virilitas et sanctitas)[129], were to be studied in them. He states also that Accius and Pacuvius were distinguished by 'the earnestness of their thought, the weight of their language, the commanding bearing of their personages[130].' The fragments of all the tragic poets bear further evidence to the union of these qualities in their thought and style.