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    The Romantic movement in English literature coincides with the transformation of Britain from the agricultural and commercial country of the 18th century into (the workshop of the world). It coincides with the Industrial Revolution at home and the French Revolution abroad. It was the expression of the need of the British writers to come to grips with the new world that the Industrial Revolution created. In this task the old secure standards of the eighteenth century ruling classes were inevitably insufficient. The old horizons were inadequate: a thousand new problems, new relationships, new Ideas,came crowding in. The writers whom we have come to see as
    movement were men and women of widely differing attitudes to life and ways of writing. Wordsworth and Byron, Coleridge and Keats, Shelley and Scott have, when we come to look at their work, remarkably little in common in the way of positive achievement or philosophy. But they have this that links them together: each Is responding in his particular way to the new situation brought about by, the Industrial Revolution.They have differing philosophies, but they are all in revolt against the mechanical and undialectical materialism of the eighteenth century philosophers and its later development, the utilitarianism of the theorists of industrial capitalism. The Romantic movement was not a literary movement away from realism. On the contrary it was the aim of the Romantic writers to achieve a more significant nificant more inclusive realism than the conventions of aristocratic literature had permitted. They did not always succeed, for it was one thing to recognize the inadequacies of the class- bound standards of the (classical) writers and quite another to achieve a satisfactory democratic art.
    For reasons which, from our point of vantage a hundred and fifty years on, it is not hard to understand, it was easier for the Romantic writers to sense that it was impossible for them to attach themselves any longer to the eighteenth century tradition, than to discover a positive force upon which to base their work and aspirations. Hence the tendency of a good deal of Romantic literature to lose itself in vagueness and individualist frustration and to become in the end romantic in the pejorative sense.

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