Aspects of this topic are discussed in the following places at Britannica.
...to the mythology, epics, and sagas of exotic lands and past civilizations, notably India and ancient Greece. The Parnassians derived their name from the anthology to which they contributed: Le Parnasse Contemporain (3 vol., 1866, 1871, 1876), edited by Louis-Xavier de Ricard and Catulle Mendès and published by Alphonse Lemerre. Their principles, though, had been formulated...
...works of Théophile Gautier (whose daughter Mendès married in 1866 but left soon afterward) and such poets as Charles Baudelaire and Villiers de L’Isle-Adam. Mendès edited Le Parnasse contemporain (1866, 1871, 1876; “The Contemporary Parnassians”), which named their movement, and he became their historian in La Légende du Parnasse...
...Villiers de L’Isle-Adam, and Anatole France. His poems began to appear in their literary reviews; the first, “Monsieur Prudhomme,” in 1863. Three years later the first series of Le Parnasse contemporain, a collection of pieces by contemporary poets (hence the term Parnassian), contained eight contributions by Verlaine.
Link to this article and share the full text with the readers of your Web site or blog-post.
If you think a reference to this article on "Le Parnasse contemporain" will enhance your Web site,
blog-post, or any other web-content, then feel free to link to this article,
and your readers will gain full access to the full article, even if they do not subscribe to our service.
You may want to use the HTML code fragment provided below.
Aspects of this topic are discussed in the following places at Britannica.
...to the mythology, epics, and sagas of exotic lands and past civilizations, notably India and ancient Greece. The Parnassians derived their name from the anthology to which they contributed: Le Parnasse Contemporain (3 vol., 1866, 1871, 1876), edited by Louis-Xavier de Ricard and Catulle Mendès and published by Alphonse Lemerre. Their principles, though, had been formulated...
...works of Théophile Gautier (whose daughter Mendès married in 1866 but left soon afterward) and such poets as Charles Baudelaire and Villiers de L’Isle-Adam. Mendès edited Le Parnasse contemporain (1866, 1871, 1876; “The Contemporary Parnassians”), which named their movement, and he became their historian in La Légende du Parnasse...
...Villiers de L’Isle-Adam, and Anatole France. His poems began to appear in their literary reviews; the first, “Monsieur Prudhomme,” in 1863. Three years later the first series of Le Parnasse contemporain, a collection of pieces by contemporary poets (hence the term Parnassian), contained eight contributions by...
prolific French poet, playwright, and novelist, most noted for his association with the Parnassians, a group of French poets who advocated a controlled, formal art for art’s sake in reaction to the formlessness of Romanticism.
A banker’s son, Mendès founded La Revue fantaisiste (1861), which became a vehicle for the late works of Théophile Gautier (whose daughter Mendès married in 1866 but left soon afterward) and such poets as Charles Baudelaire and Villiers de L’Isle-Adam. Mendès edited Le Parnasse contemporain (1866, 1871, 1876; “The Contemporary Parnassians”), which named their movement, and he became their historian in La Légende du Parnasse contemporain. He also encouraged members of a younger generation of poets who were to found the Symbolist movement.
Mendès’ Poésies (1892) and Poésies nouvelles (1893) imitate many other poets, and it is difficult to tell his verse from theirs. His plays Les Mères ennemies (1882; “The Enemy Mothers”) and La Femme de Tabarin (1887; “The Woman of Tabarin”) were more successful. He also wrote several novels and licentious tales, such as Pour lire au bain (“Readings for the Bath”). Rapport sur le mouvement poétique français de 1867–1900 (1902; “Thoughts on the French Poetic Movement of 1867–1900”) is a critical work.
Aspects of this topic are discussed in the following places at Britannica.
...and ancient Greece. The Parnassians derived their name from the anthology to which they contributed: Le Parnasse Contemporain (3 vol., 1866, 1871, 1876), edited by Louis-Xavier de Ricard and Catulle Mendès and published by Alphonse Lemerre. Their principles, though, had been formulated earlier in...
Aspects of this topic are discussed in the following places at Britannica.
...India and ancient Greece. The Parnassians derived their name from the anthology to which they contributed: Le Parnasse Contemporain (3 vol., 1866, 1871, 1876), edited by Louis-Xavier de Ricard and Catulle Mendès and published by Alphonse Lemerre. Their principles, though, had been formulated earlier in Théophile Gautier’s preface to Mademoiselle de Maupin...
member of a group—headed by Charles-Marie-René Leconte de Lisle—of 19th-century French poets who stressed restraint, objectivity, technical perfection, and precise description as a reaction against the emotionalism and verbal imprecision of the Romantics.
The poetic movement led by the Parnassians that resulted in experimentation with metres and verse forms and the revival of the sonnet paralleled the trend toward realism in drama and the novel that became evident in the late 19th century. Initially taking their themes from contemporary society, the Parnassians later turned to the mythology, epics, and sagas of exotic lands and past civilizations, notably India and ancient Greece. The Parnassians derived their name from the anthology to which they contributed: Le Parnasse Contemporain (3 vol., 1866, 1871, 1876), edited by Louis-Xavier de Ricard and Catulle Mendès and published by Alphonse Lemerre. Their principles, though, had been formulated earlier in Théophile Gautier’s preface to Mademoiselle de Maupin (1835), which expounded the theory of art for art’s sake, in Leconte de Lisle’s preface to his Poèmes antiques (1852), and in La Revue Fantaisiste (1860), founded by Mendès. Gautier’s Émaux et camées (1852), a collection of carefully constructed, formally perfect poems, pointed to a new conception of poetry and influenced the works of major Parnassians such as Albert-Alexandre Glatigny, Théodore de Banville, François Coppée, Léon Dierx, and José Maria de Heredia. Heredia, the most representative of the group, looked for precise details, double rhymes, sonorous words, and exotic names, and concentrated on making the 14th line of his sonnets the most striking.
The influence...
