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Criticism will need an injection of humility — that is, a recognition of its role as ancillary to the arts, needed only occasionally in a temporary capacity. Since the critic exists only for introducing and explaining, he must be readily intelligible; he has no special vocabulary: criticism is in no way a science or a system.
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"Culture High and Dry" (1984), p. 20

 

Jacques Barzun

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Now - how can we possibly examine something we use all the time and presuppose in every statement? How can we criticize the terms in which we habitually express our observations? Let us see! The first step in our criticism of commonly-used concepts is to create a measure of criticism, something with which these concepts can be compared. Of course, we shall later want to know a little more about the measuring stick itself; for example, we shall want to know whether it is better than, or perhaps not as good as, the material examined. But in order for this examination to start there must be a measuring-stick in the first place. Therefore, the first step in our criticism of customary concepts and customary reactions is to step outside the circle and either to invent a new conceptual system, for example a new theory, that clashes with the most carefully established observational results and confounds with the most plausible theoretical principles, or to import such a system from outside science, from religion, from mythology , from the ideas of incompetents, or the ramblings of madmen. This step is, again, counter-inductive, Counter-induction is thus both a fact' - science could not exist without it - and a legitimate and much needed move in the game of science.

 

Paul Karl Feyerabend

 

One would have thought that the notion of an impersonal critic was as patently absurd as that of an impersonal person: yet playwrights still cherish it as a sort of holy ideal. Admittedly, we all make mystiques: but this one is particularly wishful. The man who asks for an anonymous, impersonal criticism is trying to elevate criticism to the status of a science; whereas it is, I am afraid, only an art. The critic's business is to write readable English: the playwright's to write speakable English. Beyond that it is every man for himself.

 

Kenneth Tynan

 

If “humility” means nothing more than the capacity to learn from criticism, then it has an undoubted value; but if “humility” means a willingness to submit to authority—to abandon or to modify what one is doing merely because it does not accord with the teachings of the Bible or the thoughts of Chairman Mao—then it is death to the spirit: the proper name for it, indeed, is “servility.”

 

John Passmore

 

The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men's genius.

 

George Steiner

 

Critics of visual arts and of music describe in words — that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music — those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. “Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.

 

Stephen Spender