recounted, a story to be told, will often be in its second reading. And though there are instances of great writers who have been no artists, an unconscious tact sometimes directing work in which we may detect, very pleasurably, many of the effects of conscious art, yet one of the greatest pleasures of really good prose literature is in the critical tracing out of that conscious artistic structure, and the pervading sense of it  as we read. Yet of poetic literature too; for, in truth, the kind of constructive intelligence here supposed is one of the forms of the imagination.
That is the special function of mind, in style. Mind and soul:--hard to ascertain philosophically, the distinction is real enough practically, for they often interfere, are sometimes in conflict, with each other. Blake, in the last century, is an instance of preponderating soul, embarrassed, at a loss, in an era of preponderating mind. As a quality of style, at all events, soul is a fact, in certain writers--the way they have of absorbing language, of attracting it into the peculiar spirit they are of, with a subtlety which makes the actual result seem like some inexplicable inspiration. By mind, the literary artist reaches us, through static and objective indications of design in his work, legible to all. By soul, he reaches us, somewhat capriciously perhaps, one and not another, through vagrant sympathy and a kind of immediate contact. Mind we cannot