For Thackeray and his contemporaries, literature is a public matter, a matter to be lectured upon before large audiences, a matter to be given importance because of its impact upon morals and emotions. For the present-day academic critic, literature no longer is a public matter but rather is a professional matter, even more narrowly, a departmental matter. The study of literature has become a special and separate discipline — housed in colleges of arts and sciences along with other special and separate disciplines. The public has narrowed to a group of frequently recalcitrant students whose need for instruction in English composition — not in English literature — justifies the existence of the English department… . People who want to become English professors do so because, at one point in their lives, they found reading a story, poem, or play to be an emotionally rewarding experience. They somehow, someway were touched by what they read. Yet it is precisely this emotional response that the would-be professor must give up. Of course, the professor can and should have those feelings in private, but publicly, as a teacher or publisher, the professor must talk about the text in nonemotional, largely technical terms. No one ever won a National Endowment for the Humanities grant by weeping copiously for Little Nell, and no one will get tenure in a major department by sharing his powerful feelings about Housman’s Shropshire Lad with the full professors.
— Brian McRae, from Addison and Steele Are Dead (1991)