Criticism (n.) is structuralist in every age, in its essence and its destiny.
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Criticism (n.) knows itself separated from force, and sometimes takes revenge on force by proving that separation is the condition of the work.
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Criticism (n.) protects a thought from reduction only by making it an example, a case, a martyr.
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Criticism (n.) is what one writes when one cannot create art, the way one becomes a spy when one cannot be a soldier.
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Criticism (n.) is always baffled by one more rejoinder: a supplementary double, one representation too many, which also means one too few.