The chief features of romantic criticism may be summarised as follows:
1. Romantic criticism ignores rules whether of Aristotle or Horace or of the French and emphasises that works of literature are to be judged on the basis of the impression they produce, and not with reference to any rules. It is impressionistic and individualistic, and freedom of inquiry is its keynote.
2. It is concerned with the fundamentals, such as the nature of poetry, and its functions, and not merely with the problems of style, diction or literary genres. It is neither legislative nor judicial. It is concerned mainly with the theory of poetry, and the process of poetic creation.
3. Emphasis is laid on imagination and emotion and not on reason and good sense. Poetic enthusiasm is no longer looked down upon, as by the Neo-classicists.
4. New definitions of poetry are attempted. Poetry is no longer considered as mere imitation or invention but becomes the expression of emotion and imagination. Inspiration and intuition rather than adherence to rules are regarded as the true bases of creation.
5. Pleasure than instruction becomes the end or function of poetry. If poetry instructs, it does so only through pleasure. Poetry should transport and make people 'nobler' and 'better' through such transport. Its appeal should be to the heart and not to the head.
6. Imagination is emphasised both as the basis of creation and of judgement. It is imagination which leads to the production of great works of art. Shakespeare is great because his works are the production of imagination. Pope is not great as he is deficient in this respect. The critic also must primarily be gifted with imagination; only then can be appreciate the beauty of work of art.
7. Views of Poetic diction and versification undergo a radical change. Simplicity is emphasised both in theme and treatment.
8. Romantic criticism is creative. It is as much the result of imagination as works of literature. Critics express their views after entering imaginatively into the thoughts and feelings of the writers whose works they may be examining.
9. The far reaching influence of Wordsworth and Coleridge.