pointing out how Goldsmith made a great change in criticism 
by shifting attention to the experience  of the reader, Lowenthal 
has broken rich new ground (pp. 107-8):

          But perhaps the most far-reaching change which 
     took place in the concept of the critic was that a two-way 
     function was premised for him. Not only was he to reveal 
     the beauties of literary works to the general public by 
     means of which, in Goldsmith’s terms, “even the 
     philosopher may acquire popular applause”; he must also 
     interpret the public back to the writer. In brief, the critic 
     not only “teaches the vulgar on what part of a character 
     to lay the emphasis of praise,” he must also show “the 
     scholar where to point his application so as to deserve it.” 
     Goldsmith believed that the absence of such critical 
     mediators explained why wealth rather than true literary