Apropos of nothing in particular, here are some quotes from the introduction to Northrop Frye’s Anatomy of Criticism.
However, the fate of art that tries to do without criticism is instructive. The attempt to reach the public directly through “popular” art assumes that criticism is artificial and public taste natural. Behind this is a further assumption about natural taste which goes back through Tolstoy to Romantic theories of a spontaneously creative “folk.” These theories have had a fair trial; they have not stood up well to the facts of literary history and experience, and it is perhaps time to move beyond them. An extreme reaction against the primitive view, at one time associated with the “art for art’s sake” catchword, thinks of art in precisely the opposite terms, as a mystery, an initiation into an esoterically civilized community. Here criticism is restricted to ritual masonic gestures, to raised eyebrows and cryptic comments and other signs of an understanding too occult for syntax. The fallacy common to both attitudes is that of a rough correlation between the merit of art and the degree of public response to it, though the correlation assumed is direct in one case and inverse in the other.
The first step in developing a genuine poetics is to recognize and get rid of meaningless criticism, or talking about literature in a way that cannot help to build up a systematic structure of knowledge. This includes all the sonorous nonsense that we so often find in critical generalities, reflective comments, ideological perorations, and other consequences of taking a large view of an unorganized subject. It includes all lists of the “best” novels or poems or writers, whether their particular virtue is exclusiveness or inclusiveness. It includes all casual, sentimental, and prejudiced value judgments, and all the literary chit-chat that makes the reputations of poets boom and crash in an imaginary stock exchange. […] This sort of thing cannot be part of any systematic study, for a systematic study can only progress: whatever dithers or vacillates or reacts is merely leisure-class gossip. The history of taste is no more a part of the structure of criticism than the Huxley-Wilberforce debate is part of the structure of biological science.