_Trimmer_: And You shall Suppose Mee to be a Statesman. _Obs._: But of what Magnitude? A Lord? A Knight?... _Trimmer_: Why truly Nobs, if they be all of a Price, I don't care if I be a Lord. _Obs._: We are over that Point then; And so I am your Lordships most Humble Servant. But this role playing within role playing is discarded at the end of the paper, the role of Lord being apparently too cumbersome: _Trimmer_: No more of your Lordships, as you love me, Nobs; for I am e'en as weary as a Dog of my Dignity. (No. 242) The "Character," however, is not only L'Estrange's favorite satiric tool but perhaps the literary form most frequently used in the _Observator_. L'Estrange himself attests to his partiality in his parting comment at the close of the _Observator_: _Obs._: For my Fancy lyes more to Character, then to Dialogue; and whoever will be so Kind as to Furnish me with Spitefull Materials, shall get his Own again with Interest, in an Essay upon Humane Nature. (III, No. 246) The Character was, of course, still highly popular in the latter half of the century, as Chester Noyes Greenough's listings show,[19] so that in indulging his own taste, L'Estrange was also catering to the tastes of his public. Of whatever other value the _Observator_ may be to the modern student, it is invaluable as a fine example of the state-of-the-Character toward the end of the century. Practically every type of Character analyzed by Benjamin Boyce in his two studies can be found repeatedly in L'Estrange's dialogues:[20] the earlier imitations of Theophrastan Characters, with their parallelisms and antitheses; the Overburian Character, with its extravagant metaphors; the externally dramatized; the subjective; the sprung. There are Characters of ideologies, of political parties, of virtues, of vices, of Whigs and Dissenters (vices), of Tories and Anglicans (virtues). There are several "Credo-Characters" (confessions or manifestoes), and finally there is the habitually dramatized self-exposing Character which becomes indistinguishable from the _dramatis persona_, as is the Character of the Modern Whig in Nos. 13 and 110. Among the _Observators_ included here, the definition of "Dissenter" in No. 1 is based on Character techniques, as is the conceit of the Protestant as "Adjective Noun-Substantive" in the same number. So is also the lengthy exposure of "Leaders" in III, No. 202, beginning with "They Talk, to the Ears, and to the Passions of their Hearers."