 Indeed, many interpretations have been put forward with regard to the composition and purpose of this book. It has been regarded by some scholars as an independent work, while others have argued that it is a collection of extracts from one or more writings of Theophrastus that were brought together and edited after his death; but the coherence and stylistic unity of the collection suggest that its parts cannot have been derived from unconnected works (see Diggle 2004: 4–26). Theophrastus’ main interest, here, seems to have been limited to merely portraying superficial behavioural patterns, without any consideration of the various desires and beliefs that may underlie these character traits; for Theophrastus, in contrast to Aristotle, hardly gave any explanation of why people behave in these ways or what motivates them (see Fortenbaugh 2003b). It is not surprising that his sketches of immoral and corrupt characters have often been linked with the stage characters of his pupil and comic writer Menander, such as Sicon, the garrulous cook in the Dyscolus, or Polemon, the vehement person in the Perikeiromene (see Fortenbaugh 2003d). Moreover, the Characters have also been closely connected to rhetorical instruction as well as to actual rhetorical practice, since it is plausible to believe that this book would have been of use to the student of rhetoric as well as to the rhetorician who wished to study and narrate emotional behaviour; it is indicative, after all, that it was preserved in rhetorical manuscripts (see Fortenbaugh 2003c). But whatever one thinks about the purpose of the Characters, there is no doubt that Theophrastus’ book constitutes a valuable testimony to the culture and society of his contemporary Athens, by vividly depicting the complex etiquette considered appropriate for Athenian citizens in their homes, streets and other public places of their city (see Millett 2007).