mind and soul. Literature will have mind when it has that architectural sense of structure which foresees the end in the beginning and keeps all the parts related in a harmonious unity. It will have soul when it has that "vagrant sympathy" which makes it come home to us and which makes it suggest what it does not say. Test the Tale of Cinderella by this standard. As to mind, it makes one think of a bridge in which the very keystone of the structure is the condition that Cinderella return from the ball by the stroke of twelve. And its "vagrant sympathy" is quite definite enough to reach a maid of five, who remarked: "If I 'd have been Cinderella, I would n't have helped those ugly sisters, would you?"
If the fairy tale stands the test of literature it must have proved itself, not only a genuine classic according to Sainte-Beuve's standard, and a tale possessing qualities of mind and soul according to Pater's Style, but it must have shown itself also a work owning certain features distinguishing it as literature. These particular literary marks which differentiate the literary tale from the ordinary prose tale have been pointed out by Professor Winchester in his Principles of Literary Criticism. They apply to the old tale of primitive peoples just as well as to the modern tale of to-day. As literature the tale must have: (1) a power to appeal to the emotions; (2) a power to appeal to the imagination; (3) a basis of truth; and (4) a form more or less perfect.
