The oral dimension to classical literature as a whole has, rightly, become an object of increasing interest to interpreters. The process of composition of any text usually involved a spoken element; public or private readings could be a medium by which a text was disseminated; and individual reading could involve audible speech, or having another person read aloud. All Roman literature involves some oral dimension. Within this broad framework, however, oratory occupies a distinctive space. A speech is prepared for a specific time and place, to be directed at a specific audience and, in the case of forensic and deliberative oratory, with the aim of securing a specific outcome. Moreover, this first performance is, logically, oral and does not imply the existence of a written text; indeed, there was a strong convention within ancient rhetoric that speeches were delivered from memory, and even though written texts might well feature in preparation, orators would often find themselves in situations where improvisation was necessary. The sense of being created for a particular time and place is a characteristic which oratory shares with drama but, unlike drama, subsequent performances in a similar manner are difficult to envisage. Plays in both Greece and Rome were revived after the festival for which they had been initially composed; but the circumstances in front of the Roman people, in the Senate, or in a court which demanded a speech would never be repeated.