Wycherley's plays are said to have been the produce of long and patient labour. The epithet of "slow" was early given to him by Rochester, and was frequently repeated.[21] In truth, his mind, unless we are greatly mistaken, was naturally a very meagre soil, and was forced only by great labour and outlay to bear fruit which, after all, was not of the highest flavour. He has scarcely more claim to originality than Terence. It is not too much to say that there is hardly anything of the least value in his plays of which the hint is not to be found elsewhere. The best scenes in _The Gentleman Dancing-Master_ were suggested by Calderon's _Maestro de Danzar_, not by any means one of the happiest comedies of the great Castilian poet. _The Country Wife_ is borrowed from the _Ecole des Maris_ and the _Ecole des Femmes_. The groundwork of _The Plain Dealer_ is taken from the _Misanthrope_ of Molière. One whole scene is almost translated from the _Critique de l'Ecole des Femmes._[22] Fidelia is Shakespeare's Viola stolen, and marred in the stealing: and the widow Blackacre, beyond comparison Wycherley's best comic character, is the Countess in Racine's _Plaideurs_, talking the jargon of English instead of that of French chicane. The only thing original about Wycherley, the only thing which he could furnish from his own mind in inexhaustible abundance, was profligacy. It is curious to observe how everything that he touched, however pure and noble, took in an instant the colour of his own mind. Compare the _Ecole des Femmes_ with _The Country Wife_. Agnes is a simple and amiable girl, whose heart is indeed full of love, but of love sanctioned by honour, morality and religion. Her natural talents are great. They have been hidden and, as it might appear, destroyed by an education elaborately bad. But they are called forth into full energy by a virtuous passion. Her lover, while he adores her beauty, is too honest a man to abuse the confiding tenderness of a creature so charming and inexperienced. Wycherley takes this plot into his hands; and forthwith this sweet and graceful courtship becomes a licentious intrigue of the lowest and least sentimental kind, between an impudent London rake and the idiot wife of a country squire. We will not go into details. In truth, Wycherley's indecency is protected against the critics as a skunk is protected against the hunters. It is safe, because it is too filthy to handle and too noisome even to approach.