Both the Romantics and the early Victorians shared an interest in the gothic. Gothic literature was first established during the Romantic period, stressing the supernatural and the power of evil to corrupt the virtuous. Gothic literature was largely rejected by respectable and more literary writers for much of the late eighteenth century, but some major Romantic writers did turn out gothic works such as Matthew Lewis' The Monk and Mary Shelley's Frankenstein. Focused on more than bumps in the night, these Romantic works examined human failings and the dark depths of the human heart.
Early Victorian writers also used gothic tropes and imagery for more literary purposes as well as social commentary. Charles Dickens' Oliver Twist and The Old Curiosity Shop both indulge in gothic tropes such as a lecherous villain, an innocent menaced by evil, and shadowy imagery, while Emily Bronte uses gothic character types to comment on class divisions and gender inequalities in Wuthering Heights.
Romantic and early Victorian gothic literature both emphasized nature over the industrial world. In the poems of William Blake, for instance, the city is viewed as a hotbed of pollution and moral corruption while gardens and the wilderness are associated with an original goodness untainted by society. William Wordsworth largely puts the same message across in The Prelude, and Mary Shelley's abandoned monster finds solace in nature, where he is not judged unfairly for his appearance.
The early Victorians were similarly critical of industrialization and looked back at the pre-industrial world with longing. The Old Curiosity Shop shows urban spaces as dirty and teeming with moral corruption in the form of criminals (most prominently the arch-villain Quilp), while Charlotte Bronte's Jane Eyre, not unlike Shelley's Creature, finds solace in nature when she is on the run from the corrupted Mr. Rochester.
Finally, both Romantic and early Victorian literature were critical of organized religion, though not necessarily faith itself. Some of the most prominent Romantics were indeed atheists and agnostics, such as Percy Shelley, but others such as William Blake simply had an unconventional view of God. Organized religion was perceived as often hypocritical: Blake's poetry often criticized religion for restricting natural desires such as sexuality (as in "The Garden of Love") or ignoring the plight of the poor (as in "Holy Thursday"). God was to be found in nature rather than in a church, such as in The Prelude or Samuel Coleridge's The Rime of the Ancient Mariner.
While the early Victorians were a little more conventional about religion, there was still the same sense among them that most Christians did not treat the socially marginalized with the proper charity their faith demanded. Using Jane Eyre as an example again, Jane finds solace in nature and her faith in God, but when she turns to a human community for charity, she is ignored, mocked, and even assumed to be a criminal solely on the basis of her ragged clothes and lack of familial connections. The ultra-pious tend to be the most judgmental, seeing the poor as inherently fallen and more prone to vice, and then using this excuse to deny them kindness.