To reinforce this ironic self-indictment by Citt and Bumpkin, L'Estrange introduces a third character, Trueman, who enters like a _deus ex machina_ to represent the abstract forces of truth, justice, and morality--albeit with a Tory bias. Because he functions as an abstract symbol in contrast with Citt and Bumpkin, who are very much of this world, Trueman has a personality uncomplicated by any psychological subtleties or idiosyncrasies which would emphasize his humanity. The entrance of Trueman may well be regarded as the climax of this little drama, for the plot unfolds gradually and dramatic tension builds to the point of his intrusion, when the course of action is interrupted and diverted in another direction by his arguments. Taking up the topics previously discussed by Citt and Bumpkin while he was concealed in a nearby closet, Trueman confronts them with their confessed treachery, denounces their chicanery and folly, and refutes their political views with Tory arguments. The fact that Trueman symbolizes extrahuman moral forces lends authority to his defense of absolute monarchy and the established Church. Couched in an authentic colloquial style, the dialogue between Citt and Bumpkin progresses in an entirely natural, credible manner. Their conversation is animated, colorful, humorous, informative, and purposeful. The direction of the conversation is logically dictated by its substance; there is nothing artificial, contrived, or foreordained about it. The interaction of personality is reflected in the verbal exchange. As in a play, the development of the action depends upon each character's immediate and genuine response to the statements made by the other _dramatis personae_. Again, as in the theater, dramatic tension is created as the plot unfolds and the reader waits to see what will happen next. Except for one passage of extended quotation (pp. 32-33), the dramatic realism is sustained effortlessly.