by religion, and a spirit of honour, or refined conscience?  Now religion, in a widely extended country plentifully peopled, cannot be preserved from abuse of priestly influence, and from superstition and fanaticism, nor honour be an operating principle upon a large scale, except through property—­that is, such accumulations of it, graduated as I have mentioned above, through the community.  Thus and thus only can be had exemption from temptation to low habits of mind, leisure for solid education, and dislike to innovation, from a sense in the several classes how much they have to lose; for circumstances often make men wiser, or at least more discreet, when their individual levity or presumption would dispose them to be much otherwise.  To what extent that constitution of character which is produced by property makes up for the decay of chivalrous loyalty and strengthens governments, may be seen by comparing the officers of the English army with those of Prussia, &c.  How far superior are ours as gentlemen! so much so that British officers can scarcely associate with those of the Continent, not from pride, but instinctive aversion to their low propensities.  But I cannot proceed, and ought, my dear C——­, to crave your indulgence for so long a prose.

When you see Frere, pray give him my kind regards, and say that he shall hear from me the first frank I can procure.  Farewell, with kindest love from all,

Yours, very affectionately,
W.W.[87]

[87] Memoirs, ii. 129-131.

53. Style:  Francis Edgeworth’s ‘Dramatic Fragment:’  Criticisms.  I should say [to your young friend] style is in Poetry of incalculable importance.  He seems, however, aware of it, for his diction is obviously studied.  Now the great difficulty is to determine what constitutes a good style.  In estimating this we are all subject to delusion, not improbably I am so, when it appears to me that the metaphor in the first speech of his dramatic scene is too much drawn out.  It does not pass off as rapidly as metaphors ought to do, I think, in dramatic writing.  I am well aware that our early dramatists abound with these continuities of imagery, but to me they appear laboured and unnatural, at least unsuited to that species of composition, of which action and motion are the essentials.  ‘While with the ashes of a light that was,’ and the two following lines, are in the best style of dramatic writing.  To every opinion thus given always add, I pray you, ‘in my judgment,’ though I may not, to save trouble or to avoid a charge of false modesty, express it.  ‘This over-pressure of a heavy pleasure,’ &c., is admirable; and, indeed, it would be tedious to praise all that pleases me.  Shelley’s ‘Witch of Atlas’ I never saw; therefore the stanza referring to Narcissus and her was read by me to some disadvantage.  One observation I am about to make will at least prove I am no flatterer, and will therefore give a qualified value to my praise.