Anonymus busies himself with Synecdoche only, and yet another adopts the dictionary arrangement, as do divers others with Tropes. One of the best pieces of the whole is the treatise of Georgius Choeroboscus, a writer of the fourth or fifth century. It is short, and deals with only a few figures; but these are the important ones, the definitions are mostly clear and sensible, and the examples, though not numerous, are well chosen. The ninth volume opens with the not unimportant work to which reference has been made above, the _De Interpretatione_ [Sidenote: _The Demetrian_ De Interpretatione.] of Demetrius the Uncertain. But it also contains six other works on various divisions of Rhetoric, one of which is at least interesting for the great name of Longinus attached to it (as some would have it with greater certainty than in the case of the work that we would rather wish his), and others for other matter. Demetrius takes a somewhat independent view of his subject, which he puts on a level with Poetics, but does not call Rhetoric. As Poetry, he states, deals with—or at least is distinguished and divided by—metres (this _netteté_ is refreshing, and we shall go farther to fare very often worse), so what are called clauses[144] divide and distinguish the interpretation of prose speech. Then, directing attention directly to clauses, he illustrates their kinds from the respective beginnings of the histories of Hecatæus and the _Anabasis_ of Xenophon, and prefers (though not to the exclusion of what he does _not_ prefer) short clauses to long. From clauses he goes to periods, discussing and analysing their composition rather narrowly, and then returns to parallel clauses, whence striking off to _homœoteleuta_ he continues his treatise under a great number of similar heads, betraying the slightly heterogeneous and higgledy-piggledy arrangement which, as we have said already, is so apt to beset these writers on Rhetoric. But he maintains throughout a creditable desire to identify his subject with the Art of Prose Composition, and not merely with Persuasion, or with the composition of an extremely artificial kind of prize essay on lines more artificial still. Footnote 144: τὰ καλούμενα κώλα