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This new relation established by languageto himself, is neither simple nor one-sided. Inapparently, criticism is opposed to the review as an analysis of the visibleforms disclosure of a hidden content. Ho as this formis the submission form, the criticism can analyzethe language only in terms of truth, accuracy, property, orexpressive significance. Hence the complex rolecriticism and ambiguity, from which it could neverto get rid of. She examines language as if it was cleanfunction, a set of mechanisms, a great Autonomousa system of signs. But she cannot at the same time not to ask himo the question of its truth or falsity, o its transparency ornebula, that is, o the nature of the presence that hesaid in words, through which he represents.It is precisely in this double, fundamental necessitygradually revealed and eventually took knownplace the juxtaposition of form and content. Ho isthe opposition has undoubtedly been late whenin the nineteenth century a critical attitude in turn wasuntenable. Criticism in the classical period involved, withoutdecomposition and as if as a whole, the role of language in the analysisviews.
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