 Assuming that Aristotle’s Poetics gives instructions for how to compose good tragedies, shouldn’t we expect, then, that Aristotle’s Rhetoric is similarly meant to give instructions for how to compose good speeches? And does this, by the same token, render the art of rhetoric a sort of productive knowledge aiming at the fabrication of a speech (similar to the way the art of shoemaking aims at the fabrication of shoes)? This sounds plausible, as far as it goes (for a discussion of this issue see Leff 1993), and in a few passages (especially in Rhet. III: e.g. 1415b35, 1417a2, 1417a34f. and 36, 1418a10 and 12 and 39, 1420b1) Aristotle actually seems to directly address and instruct a speechwriter in the second person. However, these are rather exceptions to a broader tendency and it is striking that Aristotle never defines the art of rhetoric through the supposed product, the speech, nor the full command of the art of rhetoric through the perfection of the product, i.e. the excellent speech. Instead, Aristotle defines the rhetorician as someone who is always able to see what is persuasive (Topics VI.12, 149b25); correspondingly, rhetoric is defined as the ability to see what is possibly persuasive in every given case (Rhet. I.2, 1355b26f.). Indeed there are passages (Rhet. I.1, 1355b15–17) in which the persuasive plays the same role in rhetoric as the conclusive plays in dialectic or logic. This is not to say that it is the defining function (ergon) of rhetoric to persuade, for the rhetoricians (the ones who possess the art of rhetoric) will not be able to convince people under all circumstances (Rhet. I.1, 1355b10–14). Rather they are in a situation similar to that of physicians: the latter have a complete grasp of their art if and only if they neglect nothing that might heal their patients, although they are not expected to heal each and every patient. Similarly, rhetoricians have a complete grasp of their method, if and only if they are capable of seeing the available means of persuasion, although they are certainly not able to convince each and every audience — owing to factors that the art of rhetoric cannot alter (e.g. biases, partisanship, stubbornness or corruption of the audience). In light of this definition, it seems that the art (technê) of rhetoric is primarily concerned with the nature and the ingredients of persuasiveness and that the book Rhetoric is primarily concerned with elaborating the various ingredients of this art. It goes without saying that possessing such an art is useful for the composition of speeches, but might also be useful for other purposes, e.g. for assessing other people’s speeches, for analysing the persuasive potential of competing cases, etc.