I think what you list here is only part of what romanticism embodies. According to the American Academy of Poetry:
Romantic poets cultivated individualism, reverence for the natural world, idealism, physical and emotional passion, and an interest in the mystic and supernatural. Romantics set themselves in opposition to the order and rationality of classical and neoclassical artistic precepts to embrace freedom and revolution in their art and politics.
Here's the whole article:
http://www.poets.org/poetsorg/text/brief-guide-romanticism
Are nature, dreams and visions, imagination, religion and spirituality, and the supernatural features of romanticism? Because I have to describe three features of romanticism found in a poem, and those are the features I found online.
2 answers
I am referencing one of my favorite texts that relates very closely to your question
In the works of Smith, a predominant concept is the distinction between
opening and closing. Sartre’s critique of cultural narrative implies that
sexual identity has intrinsic meaning.
Thus, in Chasing Amy, Smith reiterates cultural precapitalist theory;
in Clerks he denies cultural narrative. The main theme of the works of
Smith is not theory, as Derrida would have it, but subtheory.
However, the premise of the neodialectic paradigm of reality suggests that
art is used to entrench sexism, given that sexuality is distinct from language.
Marx uses the term ‘the deconstructive paradigm of expression’ to denote the
role of the observer as participant.
In the works of Smith, a predominant concept is the distinction between
opening and closing. Sartre’s critique of cultural narrative implies that
sexual identity has intrinsic meaning.
Thus, in Chasing Amy, Smith reiterates cultural precapitalist theory;
in Clerks he denies cultural narrative. The main theme of the works of
Smith is not theory, as Derrida would have it, but subtheory.
However, the premise of the neodialectic paradigm of reality suggests that
art is used to entrench sexism, given that sexuality is distinct from language.
Marx uses the term ‘the deconstructive paradigm of expression’ to denote the
role of the observer as participant.