"The modern proliferation of theoretical means and critical methods barely conceals the fact that we still allow ourselves to write about these works only within the narrowest disciplinary boundaries. We move from rigorous scholarship (the phrase is already too obvious) to ideological commitments that often seem, even when they are put forward in the name of History, to have forgotten the perils of devotion to an idea; to some straitened notion of pleasure; to the fantasy that some new science of rhetorical displacements will finally release us from the cold regime of the final signified. We have plenty of psychoanalytic criticism, formalist criticism, ideological criticism, etc., but where is our fear criticism? our despair criticism? our disgust criticism? our criticism of resentment? of petty ambition? of treachery, deceit, jealousy, hysterical rage? Nowhere in sight; and yet it would hardly require much effort to discover them all just beneath the thin civility of the strictest critical decorum. Then what if we were able to pursue critical fear, to identify critics with their fear, to prove that service to the text is driven by jealous desires, horrified resentment, abject loathing."