الفهرس 
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Abstract
The first chapter of this study is an introduction to discuss what is meant by ”Objectivity” in criticism. In this chapter, a historical background of this critical concept will be given. In addition, there will be an elucidation of the concept of objectivity by juxtaposing it with subjectivity. Moreover, there will be an attempt to trace the critical criterion ”objectivity” in the writings of some of the main figures throughout the history of literary criticism. The term itself was first introduced as a critical idea into England by Matthew Arnold. Certainly, Eliot tackles the idea of objectivity laid down by Arnold.
Chapter II deals with Arnold’s handling of objectivity in his critical writings. Arnold is greatly influenced by Goethe and shares his emphasis on antiquity as the best model and his preference for ”disinterestedness.” Arnold believes that criticism constitutes the preparatory stage to creation. Arnold wavers between an objective and a romantic approach. He wants criticism to be simple, flexible and disinterested. However, he himself is not always entirely free from prejudice, though he refuses to subject himself to any systematic approach. In this chapter there will be a discussion of all such matters with an attempt to see how far his theories apply to what he propounds in two of his critical essays.
The third chapter will tackle the main features of Eliot’s impersonal theory. Eliot’s three theories, Theory of Tradition, Theory of Impersonality, and Theory of Poetry have gained universal recognition. In this chapter, an attempt will be made to show that his Theory of Poetry and that of Impersonality may be taken as important corollaries of his Theory of Tradition. Eliot tries to explain a poem in terms of ”impersonal emotions”. His understanding of the whole ”creative process” involves two requirements of the poet’s personality. First, he should yield to the authority of the poetic tradition. Second, he should understand and follow the literary heritage of his own people. Such an interaction between the poet’s mind and the mind of his own country would yield a poetic personality and an impersonal art. In this chapter, there will be a practical critical account to show how ”Objectivity” functions as a critical approach in two of Eliot’s critical works.
Finally, the conclusion will be a general assessment in which there will be a comprehensible view concerning Arnold and Eliot’s theory and practice of ”Objectivity”. An attempt will be made to expound the main tenets shared by Arnold and Eliot as well as the general atmosphere of their age that led to their production. There will be an attempt to show that in spite of Eliot’s severe attack directed against Arnold, he is greatly influenced by him. Their doctrines paved the way to the emergence of a movement like New Criticism and their impact is indeed still felt among many contemporary critics.