The author even excuses himself for not providing new examples. The book closes with three lists of vices in sense or sound: (1) achirologia, etc., as in Alexandre de Villedieu; (2) _repetitio_, etc., as in _ad Herennium_; (3) six derived from _Ars poetica_. Book III. _Salutatio_ The three kinds of _dictamen_ are: (1) prose, i.e., free composition (_sermo communis_, or _solutus_); (2) metrical; (3) rhythmical (_genus rithmicum_), which observes syllabic equality and rime.[26] “Since we have nothing, however, to do with the two others, ... let us now proceed to the prose _dictamen_, the _dictamen_ of letters; for that is demanded of all and recognized as of great utility. It increases eloquence, promotes favor, enlarges honors, and often enriches the needy.” The typical parts of a letter—there may be more, or fewer—are _salutatio_, _exordium_, _petitio_, _conclusio_. This whole book is devoted to prescriptions for the first. The _salutatio_ must always be in the third person. Its order is determined by the relation of the rank or dignity of the sender to that of the recipient, though this in certain cases is waived. It is careful of titles and of their appropriate modifiers. The use of _Dei gratia_ with a title is determined specifically. “The main consideration, however, in any _salutatio_ is who is writing to whom; for there must always be made an adjustment of the one to the other (_collatio personarum_). The Pope thus salutes the Emperor: ‘_dilecto filio F. romanorum imperatori et semper augusto_’.... The Emperor calls the Pope ‘_sanctissimum in Christo patrem_.’” So on down the list of dignities and occupations[27] the author specifies what is correct, or suggests what is appropriate, in noun and modifier, and answers certain questions of syntax. The book closes with a protest. Merely to consult a formulary is a poor substitute for studying the art of _salutatio_. It is like swimming with corks. “The ideal (_forma_) of _salutatio_ which we have here worked out, well grasped and held, will save writers both from borrowed plumage and from deficiency.” Book IV. _Exordium, Narratio, Petitio, Conclusio_ The _exordium_ is such a prelude to the statement of the facts as will make the hearer[28] open-minded, well disposed, and attentive. The reader’s sympathy is engaged by the writer’s reference to himself, to his opponent,[29] to his reader, or to the occasion. According to the nature of the subject, the _exordium_ may be either direct (_principium_) or indirect (_insinuatio_). Its diction must be fluent, correct, unstudied, i.e., it must avoid harshness, deviation from recognized usage, and pomp.[30] Especially must the writer avoid any language that can be turned against him. To begin with a proverb, though this is advised by some authors,[31] is to deviate the _exordium_ from its proper function.