In Demosthenes' initial judicial orations, the influence of both Lysias and Isaeus is obvious, but his marked, original style is already revealed.
Most of his extant speeches for private cases—written early in his career—show glimpses of talent: a powerful intellectual drive, masterly selection (and omission) of facts, and a confident assertion of the justice of his case, all ensuring the dominance of his viewpoint over his rival.
However, at this early stage of his career, his writing was not yet remarkable for its subtlety, verbal precision and variety of effects.

According to Dionysius of Halicarnassus, a Greek historian and teacher of rhetoric, Demosthenes represented the final stage in the development of Attic prose.
Both Dionysius and Cicero assert that Demosthenes brought together the best features of the basic types of style; he used the middle or normal type style ordinarily and applied the archaic type and the type of plain elegance where they were fitting.
In each one of the three types he was better than its special masters.
He is, therefore, regarded as a consummate orator, adept in the techniques of oratory, which are brought together in his work.

According to the classical scholar Harry Thurston Peck, Demosthenes "affects no learning; he aims at no elegance; he seeks no glaring ornaments; he rarely touches the heart with a soft or melting appeal, and when he does, it is only with an effect in which a third-rate speaker would have surpassed him.
He had no wit, no humour, no vivacity, in our acceptance of these terms.
The secret of his power is simple, for it lies essentially in the fact that his political principles were interwoven with his very spirit."
In this judgement, Peck agrees with Jaeger, who said that the imminent political decision imbued Demosthenes' speech with a fascinating artistic power.
From his part, George A. Kennedy believes that his political speeches in the ekklesia were to become "the artistic exposition of reasoned views".

Demosthenes was apt at combining abruptness with the extended period, brevity with breadth.
Hence, his style harmonises with his fervent commitment.
His language is simple and natural, never far-fetched or artificial.
According to Jebb, Demosthenes was a true artist who could make his art obey him.
For his part, Aeschines stigmatised his intensity, attributing to his rival strings of absurd and incoherent images.
Dionysius stated that Demosthenes' only shortcoming is the lack of humour, although Quintilian regards this deficiency as a virtue.
In a now lost letter, Cicero, though an admirer of the Athenian orator, claimed that occasionally Demosthenes "nods", and elsewhere Cicero also argued that, although he is pre-eminent, Demosthenes sometimes fails to satisfy his ears.
The main criticism of Demosthenes' art, however, seems to have rested chiefly on his known reluctance to speak ex tempore; he often declined to comment on subjects he had not studied beforehand.
However, he gave the most elaborate preparation to all his speeches and, therefore, his arguments were the products of careful study.
He was also famous for his caustic wit.

Besides his style, Cicero also admired other aspects of Demosthenes' works, such as the good prose rhythm, and the way he structured and arranged the material in his orations.
According to the Roman statesman, Demosthenes regarded "delivery" (gestures, voice, etc.)
as more important than style.
Although he lacked Aeschines' charming voice and Demades' skill at improvisation, he made efficient use of his body to accentuate his words.
Thus he managed to project his ideas and arguments much more forcefully.
However, the use of physical gestures wasn't an integral or developed part of rhetorical training in his day.
Moreover, his delivery was not accepted by everybody in antiquity: Demetrius Phalereus and the comedians ridiculed Demosthenes' "theatricality", whilst Aeschines regarded Leodamas of Acharnae as superior to him.

Demosthenes relied heavily on the different aspects of ethos, especially phronesis.
When presenting himself to the As
In Demosthenes' initial judicial orations, the influence of both Lysias and Isaeus is obvious, but his marked, original style is already revealed. Most of his extant speeches for private cases—written early in his career—show glimpses of talent: a powerful intellectual drive, masterly selection (and omission) of facts, and a confident assertion of the justice of his case, all ensuring the dominance of his viewpoint over his rival. However, at this early stage of his career, his writing was not yet remarkable for its subtlety, verbal precision and variety of effects.
According to Dionysius of Halicarnassus, a Greek historian and teacher of rhetoric, Demosthenes represented the final stage in the development of Attic prose. Both Dionysius and Cicero assert that Demosthenes brought together the best features of the basic types of style; he used the middle or normal type style ordinarily and applied the archaic type and the type of plain elegance where they were fitting. In each one of the three types he was better than its special masters. He is, therefore, regarded as a consummate orator, adept in the techniques of oratory, which are brought together in his work.
According to the classical scholar Harry Thurston Peck, Demosthenes "affects no learning; he aims at no elegance; he seeks no glaring ornaments; he rarely touches the heart with a soft or melting appeal, and when he does, it is only with an effect in which a third-rate speaker would have surpassed him. He had no wit, no humour, no vivacity, in our acceptance of these terms. The secret of his power is simple, for it lies essentially in the fact that his political principles were interwoven with his very spirit." In this judgement, Peck agrees with Jaeger, who said that the imminent political decision imbued Demosthenes' speech with a fascinating artistic power. From his part, George A. Kennedy believes that his political speeches in the ekklesia were to become "the artistic exposition of reasoned views".
Demosthenes was apt at combining abruptness with the extended period, brevity with breadth. Hence, his style harmonises with his fervent commitment. His language is simple and natural, never far-fetched or artificial. According to Jebb, Demosthenes was a true artist who could make his art obey him. For his part, Aeschines stigmatised his intensity, attributing to his rival strings of absurd and incoherent images. Dionysius stated that Demosthenes' only shortcoming is the lack of humour, although Quintilian regards this deficiency as a virtue. In a now lost letter, Cicero, though an admirer of the Athenian orator, claimed that occasionally Demosthenes "nods", and elsewhere Cicero also argued that, although he is pre-eminent, Demosthenes sometimes fails to satisfy his ears. The main criticism of Demosthenes' art, however, seems to have rested chiefly on his known reluctance to speak ex tempore; he often declined to comment on subjects he had not studied beforehand. However, he gave the most elaborate preparation to all his speeches and, therefore, his arguments were the products of careful study. He was also famous for his caustic wit.
Besides his style, Cicero also admired other aspects of Demosthenes' works, such as the good prose rhythm, and the way he structured and arranged the material in his orations. According to the Roman statesman, Demosthenes regarded "delivery" (gestures, voice, etc.) as more important than style. Although he lacked Aeschines' charming voice and Demades' skill at improvisation, he made efficient use of his body to accentuate his words. Thus he managed to project his ideas and arguments much more forcefully. However, the use of physical gestures wasn't an integral or developed part of rhetorical training in his day. Moreover, his delivery was not accepted by everybody in antiquity: Demetrius Phalereus and the comedians ridiculed Demosthenes' "theatricality", whilst Aeschines regarded Leodamas of Acharnae as superior to him.
Demosthenes relied heavily on the different aspects of ethos, especially phronesis. When presenting himself to the As
Demosthenes