While Fielding makes use of theatrical devices by using plot clichés of the period such as foundlings, surprising revelations, death-bed scenes, confusions and misunderstandings, mistaken identities, all which were familiar to readers and theatregoers of the time, he also takes care to construct scenes filled with details which will gain significance only later, and which will move the plot forward. In order to fully appreciate the details (their significance is not completely clear at a first reading) the reader must read parts of the text for a second time to see that the design of the plot has been carefully preconceived. Fielding introduces functional characters who will reappear in the story, plotting against or assisting Tom in his journey of moral progress, and in unravelling the resolution of the mystery concerning his background. The plot of Tom Jones, according to Coleridge, is among the “three most perfect plots ever planned.” There are altogether eighteen books in the novel which are sub-divided into chapters, but essentially it has a tripartite (3x6) structure: the first six books are set in the country (introduction of the conflict as a consequence of Tom’s character), the next six relate Tom’s travels on the road (conflict); and the last six take place in London (escalation of the conflict and resolution). With this method, the text acquires neo-classical symmetry and unity. According to some readers, the only flaw to the plot is the introduction of the “Man of the Hill” and his story. Neither the character, nor the story advances the plot in any way. But the story about how the Man of the Hill became embittered by mankind and removed himself from society is important for Tom’s moral progress, and warns him that if he is not careful, his natural and kind disposition can also make him a victim of the selfish interests of others.