We are told, that, when Demosthenes was to plead, all ingenious men flocked to Athens from the most remote parts of Greece, as to the most celebrated spectacle of the world. At London, you may see men sauntering in the court of requests, while the most important debate is carrying on in the two Houses; and many do not think themselves sufficiently compensated for the losing of their dinners, by all the eloquence of our most celebrated speakers. When old Cibber is to act, the curiosity of several is more excited, than when our prime minister is to defend himself from a motion for his removal or impeachment. Even a person, unacquainted with the noble remains of ancient orators, may judge, from a few strokes, that the style or species of their eloquence was infinitely more sublime than that which modern orators aspire to. How absurd would it appear, in our temperate and calm speakers, to make use of an _Apostrophe_, like that noble one of Demosthenes, so much celebrated by Quintilian and Longinus, when, justifying the unsuccessful battle of Chæronea, he breaks out, 'No, my fellow-citizens. No: you have not erred. I swear by the _manes_ of those heroes, who fought for the same cause in the plains of Marathon and Platæa.' Who could now endure such a bold and poetical figure as that which Cicero employs, after describing, in the most tragical terms, the crucifixion of a Roman citizen? 'Should I paint the horrors of this scene, not to Roman citizens, not to the allies of our state, not to those who have ever heard of the Roman name, not even to men, but to brute creatures; or, to go further, should I lift up my voice in the most desolate solitude, to the rocks and mountains, yet should I surely see those rude and inanimate parts of nature moved with horror and indignation at the recital of so enormous an action.' With what a blaze of eloquence must such a sentence be surrounded to give it grace, or cause it to make any impression on the hearers! And what noble art and sublime talents are requisite to arrive, by just degrees, at a sentiment so bold and excessive! To inflame the audience, so as to make them accompany the speaker in such violent passions, and such elevated conceptions; and to conceal, under a torrent of eloquence, the artifice by which all this is effectuated! Should this sentiment even appear to us excessive, as perhaps justly it may, it will at least serve to give an idea of the style of ancient eloquence, where such swelling expressions were not rejected as wholly monstrous and gigantic. Suitable to this vehemence of thought and expression, was the vehemence of action, observed in the ancient orators. The _supplosio pedis_, or stamping with the foot, was one of the most usual and moderate gestures which they made use of; though that is now esteemed too violent, either for the senate, bar, or pulpit, and is only admitted into the theatre to accompany the most violent passions which are there represented.