The classical music critic suffers the double indignity of opining on a field that the layman mostly (i): not only must he deal with the fact that the public tends to look (ii) on critics but he must also risk coming across as (iii) a subject in which few deign to show any interest.
Blank (i)
spurns
embraces
misinterprets
Blank (ii)
askance
unduly
smugly
Blank (iii)
deeply moved by
dispassionate
condescending towards
