Wycherley has been characterized by Professor Ward as the Timon of his stage, and the description is excellent, if not understood of one animated by moral indignation at its immorality, but of one impelled by temperament to insist upon and exaggerate its most disagreeable features. The two most important of his plays, _The Country Wife_ and _The Plain Dealer_, are rather tragi-comedies than comedies, especially the latter, of which Professor Ward justly observes, 'Working within the limits of his own horizon, with nothing perceptible to him but a vicious world hateful on account of the palpable grossness of its outward pretences, Wycherley must be allowed to have worked with vigour and effect, and to have produced what is indisputably one of the most powerful dramas of its age.' Its unpardonable sin is to be to a great extent an adaptation of Molière's _Misanthrope_, and to pervert and brutalize whatever is most admirable in that masterpiece. _Love in a Wood_ and _The Gentleman Dancing Master_ are comparatively slight performances, but there is great humour in the representation in the latter of the disguised lover helped out of all his scrapes by the self-complacent credulity of the young lady's father and his own rival, whose business it is to detect him. The delineation of the father as a merchant returned from long residence in Spain, enamoured of Spanish manners, and quoting the language at every second sentence, is one of those which justify Aubrey's remark that the dramatists of his age would be soon forgotten, because their ephemeral 'humours' would have ceased to be intelligible. The character, if still possible in Wycherley's time, ceased to be so very soon afterwards. It must, however, have been popular if it gave or helped to give the nickname of Don Diego to the Spaniards, which survives to this day in 'dago,' the familiar appellation of South Americans in the United States. One characteristic of all Wycherley's comedies should be mentioned, their length, which confirms the impression that he composed with slowness. 'When,' says Hazlitt, 'he got hold of a good thing, or sometimes even of a bad one, he was determined to make the most of it, and might have said with Dogberry, "Had I the tediousness of a king, I could find it in my heart to bestow it all upon your worships."'