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.

The unchecked actions and irresponsibility of the monarchy drew widespread criticism. The reigns of Charles II and James were filled with contradictions, as their public images often hid their true intentions. Strong opposition also emerged against the effective rule of Robert Walpole, 1st Earl of Orford, a powerful statesman who wielded king-like authority and gained the trust of both George I and II.

Neoclassical writers frequently challenged the establishment, using their literary work as a form of social protest to inform, educate, and spark public outrage. In response to Walpole's blatant abuse of power, the two major political parties of the era, the Tories and the Whigs, loosely allied against him. Among the dissenters were Tory writers like Jonathan Swift, Alexander Pope, John Gay, and Henry Fielding, along with Whig writer James Thomson, who collaborated to publicly criticize Walpole. The biting critiques from this group of intellectuals stung Walpole, leading him to impose censorship on them.

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.