Intellectuals and Intellectualism
Neoclassical authors prioritized the cultivation and application of intellect, a practice rooted in their aspiration to follow the classical tradition. Writers such as Dryden, Johnson, and Pope avoided limiting themselves to one genre. Instead, they explored various forms to broaden their intellectual scope, drawing inspiration from classical poetry, drama, and rhetoric. Their works covered a wide range of topics, including political, historical, and social themes, demonstrating their vast personal knowledge. For neoclassicists, intellectual expression was valued more highly than emotional expression, which led to the prominence of satire and different types of didactic literature.
The writings of these authors often resembled a kind of intellectual battle in print and journalism. Satirists fiercely competed with one another, wielding sharp wit to mercilessly critique their adversaries. When John Dryden wrote Of Dramatick Poesie: An Essay, he critiqued the prevailing trends in English theater. Sir Robert Howard promptly responded with his criticisms, which prompted Dryden to craft his scathing reply, A Defence of An Essay of Dramatick Poesie, targeting Howard's comments. Howard's response was comparatively subdued, almost as if he was admitting defeat.
Imitation
Neoclassicists aimed to replicate the classics, finding inspiration in traditional poetic forms, dramatic theories, and rhetorical techniques. From the start of the Restoration Age through to the Age of Johnson, authors sought guidance from classical structures like the ode, satire, and epic. They favored crafting works with rhymed couplets, employing traditional poetic language and imagery.
Imitation also emerged as a distinct genre within the neoclassical movement. This style of imitation involved translating a classical text with artistic liberty to produce something new. Translators often used the original as a foundation, adjusting not only the language but also the structure, sometimes omitting or altering elements to appeal to contemporary preferences.
This form of art was enthusiastically adopted by poets during the Restoration period. Samuel Johnson was among those who practiced imitation, choosing to follow in the footsteps of the Latin poet Juvenal by adapting his Satura III to reflect on life in London. In his work London, Johnson included Juvenal’s text at the bottom of the pages, intending to present Juvenal’s ideas alongside his own. While he preserved the original framework, Johnson altered certain portions to better express his perspectives, which resonated more effectively with his modern audience.
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