According to his testimony, these lively demonstrations of popular approbation were chiefly called out by the moral significance or the political meaning attached to the words, and by the oratorical fervour and passion with which the actor enforced them. Thus Laelius is represented, in the treatise _De Amicitia_, as testifying to the applause with which the mutual devotion of Pylades and Orestes, as represented in a play of Pacuvius, was received by the audience[3]: 'What shouts of applause were heard lately through the whole body of the house, on the representation of a new play of my familiar friend, M. Pacuvius, when, the king being ignorant which of the two was Orestes, Pylades maintained that it was he, while Orestes persisted, as was indeed the case, that he was the man! They stood up and applauded at this imaginary situation.' Again, in his speech in defence of Sestius[4], the same author says, 'amid a great variety of opinions uttered, there never was any passage in which anything said by the poet might seem to bear on our time, which either escaped the notice of the people, or to which the actor did not give point.' In a letter to Atticus (ii. 19) he states that the actor Diphilus had applied to Pompey the phrase 'Miseria nostra tu es magnus,' and that he was compelled to repeat it a thousand times amid the shouts of the whole theatre. He mentions further, in the speech in defence of Sestius[5] that the actor Aesopus had applied to Cicero himself a passage from a play of Accius (the Eurysaces), in which the Greeks are reproached for allowing one who had done them great public service to be driven into exile; and that the same actor, in the Brutus, had referred to him by name in the words, 'Tullius qui libertatem civibus stabiliverat'; he adds that these words 'were _encored_ over and over again,' 'millies revocatum est.' These and similar passages testify primarily to the intense political excitement of the time at which they were written, but also to the meaning which was looked for by the audience in the words addressed to them on the stage, and which was enforced by the emphasis given to them by the actor. Besides these and other passages in Cicero, the fragments themselves of Roman tragedy testify to its moral and didactic tone, and its occasional appeal to national and political feeling.