He also had literary ambitions, writing Parnassian poetry in strict metre and squibbish vers de société.
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Mitchell was frank but weirdly Parnassian about male sexual appetite, which she saw as not so different, finally, from her own.
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His individual voice materializes in settings of Paul Bourget, Théodore de Banville, Baudelaire, Verlaine, and Mallarmé—poets who ranged from Parnassian classicism to Symbolist esotericism.
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"Our almost instinct almost true," the stone monument quotes him, as if gently mocking the controversies that might have kept him out of this hallowed Parnassian precinct.
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Particularly jarring is a passage from "Funeral Toast," in which Mallarmé celebrates his Parnassian predecessor Théophile Gautier: Magnificent, plenary, this Nothing sucks decorum from the breasts of men.
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Louise-Victorine Ackermann Louise-Victorine Ackermann (née Choquet) (30 November 1813 – 2 August 1890) was a French Parnassian poet.
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Raimundo da Mota de Azevedo Correia (May 13, 1859 – September 13, 1911) was a Brazilian Parnassian poet, judge and magistrate. Alongside Alberto de Oliveira and Olavo Bilac, he was a member of the "Parnassian Triad". He founded and occupied the 5th chair of the Brazilian Academy of Letters from 1897 until his death in 1911.
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A Romanian poet with Parnassian influences was Alexandru Macedonski.S Serafin, 20th C Eastern European Writers (2000) p. 220 Florbela Espanca was a Parnassian Portuguese poet (Larousse), as was Cesário Verde. British poets such as Andrew Lang, Austin Dobson and Edmund Gosse were sometimes known as "English Parnassians" for their experiments in old (often originally French) forms such as the ballade, the villanelle and the rondeau, taking inspiration from French authors like Banville. Gerard Manley Hopkins used the term Parnassian pejoratively to describe competent but uninspired poetry, “spoken on and from the level of a poet’s mind”.
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Olavo Brás Martins dos Guimarães Bilac (16 December 1865 – 28 December 1918), often known as Olavo Bilac (), was a Brazilian Parnassian poet, journalist and translator. Alongside Alberto de Oliveira and Raimundo Correia, he was a member of the "Parnassian Triad". He was elected the "Prince of Brazilian Poets" in 1907 by the magazine Fon-Fon. He wrote the lyrics of the Brazilian Flag Anthem.
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The school magazine was quickly named The Parnassian and has been published every year since it first appeared, copies of which are held in the school library.
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Charles Marie René Leconte de Lisle (; 22 October 1818 – 17 July 1894) was a French poet of the Parnassian movement. He is traditionally known by his surname only, Leconte de Lisle.
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José-Maria de Heredia (22 November 1842 – 3 October 1905) was a Cuban-born French Parnassian poet. He was the fifteenth member elected for seat 4 of the Académie française in 1894.
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Flecker, in his rooms at Cambridge James Elroy Flecker (5 November 1884 – 3 January 1915) was an English novelist and playwright. As a poet, he was most influenced by the Parnassian poets.
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Other writings were published posthumously as Discourses and Lectures (1909). A prominent member of the Generation of '80, Cané was influenced by naturalism and the Parnassian poets. He died in Buenos Aires, Argentina.
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Alphonse Lemerre Alphonse Lemerre (Canisy, Normandy, France, 1838 - Paris, France, 1912) was a 19th-century French editor and publisher, known especially for having been the first to publish many of the Parnassian poets.
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José Barnabé de Mesquita (March 10, 1892, Cuiabá – June 22, 1961, Cuiabá), generally known as José de Mesquita, was a Brazilian poet parnassian, romance and short story writer, historiographer, journalist, essayist, genealogist and jurist.
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Louÿs thereby was able to socialize with homosexuals. Louÿs started writing his first erotic texts at the age of 18, at which time he developed an interest in the Parnassian and Symbolist schools of writing.
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Ornea, p.302-303 While welcoming the debut of its contributor, Parnassian-Neoclassicist novelist and poet Duiliu Zamfirescu, Macedonski repeatedly attacked its main exponent, the conservative poet Eminescu, claiming not to understand his poetry.Vianu, Vol.II, p.353-355.
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II, p.361-362, 377-378, 389, 391, 409, 421; Vol. III, p.285-286 Macedonski's ideology was itself marked by inconsistency and eclecticism, often allowing for the coexistence of Parnassian and Symbolist opposites, and eventually turning into Neoclassicism.
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Pedro Militão dos Santos KilkerryCAMPOS, Augusto de. (Re)Visão de Kilkerry. 1970 (March 10, 1885 – March 25, 1917) was a Brazilian journalist and Parnassian/Symbolist poet. He was born in Santo Antônio de Jesus, in the state of Bahia, on March 10, 1885.
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As a "neo- classical form of modernism", which essentialized "poetic craft and cultural continuity", the Guild of Poets placed Alexander Pope, Théophile Gautier, Rudyard Kipling, Innokentiy Annensky, and the Parnassian poets among their predecessors.Michael Wachtel. The Cambridge Introduction to Russian Poetry. Cambridge University Press, 2004. .
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Verde's Parnassian lyric would only be embraced and popularised many years following his death in 1886 at the age of 31, by Portuguese Modernists such as Mário de Sá-Carneiro and Fernando Pessoa (whose heteronyms Álvaro de Campos, Alberto Caeiro and Bernardo Soares praise Verde).
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Parnassius eversmanni, or Eversmann's parnassian, is a high-altitude butterfly which is found in eastern Russia, Mongolia, Japan, Alaska, and the Yukon. It is a member of the snow Apollo genus (Parnassius) of the swallowtail family, Papilionidae. The species was named to honour Eduard Friedrich Eversmann.
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A caricature of Alberto de Oliveira, by Belmiro de Almeida. Antônio Mariano de Oliveira (April 28, 1857 – January 19, 1937) was a Brazilian poet, pharmacist and professor. He is better known by his pen name Alberto de Oliveira. Alongside Olavo Bilac and Raimundo Correia, he comprised the Brazilian "Parnassian Triad".
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One of them, titled Reminiscență ("Reminiscence"), was signed with the pen name D. Pandara. At around that time, the young author met and befriended Parnassian poet Artur Enășescu, being, together with fellow critic Tudor Vianu, a witness to Enășescu's life before it was changed by mental disorder and material ruin.Vianu, Vol. III, p.
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Teófilo Odorico Dias de Mesquita (November 8, 1854 – March 29, 1889) was a Brazilian poet, journalist and lawyer, nephew of the famous Romantic author Gonçalves Dias. He is the patron of the 36th chair of the Brazilian Academy of Letters. The literary critic Alfredo Bosi considers his 1882 work Fanfarras to have launched the Parnassian movement in Brazilian literature.
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Artur Nabantino Gonçalves de Azevedo (7 July 1855 – 22 October 1908) was a Brazilian playwright, short story writer, chronicler, journalist and Parnassian poet. He is famous for consolidating in Brazil the "comedy of manners" genre, initiated by Martins Pena. He founded and occupied the 29th chair of the Brazilian Academy of Letters from 1897 until his death in 1908.
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From the very beginning Balmaceda became his mentor and protector. He introduced Darío to the Parnassian and Symbolist poets in his library: Leconte de Lisle, Catulle Mendes, Gautier, Beaudelaire and Verlaine. He financed the publication of his book Abrojos (1887), and was the main support behind Azul (1888). He died in Santiago on June 1, 1889, at the age of 21.
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L'École littéraire de Montréal was not a literary school but a group of poets that met regularly. In reaction to the earlier following of the romantic Victor Hugo, they took later schools (such as the Parnassian or symbolism) as their masters. The group included Émile Nelligan, a young poet who stopped writing at only 19 years of age due to mental illness.
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The Rocky Mountain parnassian and the High brown fritillary are more examples of univoltine butterfly species.Aalberg Haugen IM, Berger D, and Gotthard K. 2012. The evolution of alternative developmental pathways: footprints of selection on life-history traits in a butterfly. 12pp. Journal of Evolutionary Biology, 25:7, Available online: The bee species Macrotera portalis is bivoltine, and is estimated to have about 2 or 3 broods annually.
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303 According to Constantinide, young Petrescu authored a volume of poems which he signed as Petrescu-D'Artagnan. He is known to have published, as Petresco-Comnène, the collection Il était une fois ("Once upon a Time", 1904). Comprising Parnassian verse,Petrescu, p. 331 it received a lukewarm review from the staff critic at Le Figaro: "the work of a real poet", it nevertheless contained "pages that are quite needlessly bizarre".
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Parnassius behrii, the Sierra Nevada parnassian, is a species of butterfly in the family Papilionidae. It is native to the Sierra Nevada of California, US, where it is found in habitats such as rock slides, alpine tundra, and stream edges. Adults use members of the family Asteraceae as nectar plants, and both adults and larvae use Sedum species as nectar and host plants. P. behrii has one flight from mid-July to early September.
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French literature enjoyed enormous international prestige and success in the 19th century. The first part of the century was dominated by Romanticism, until around the mid-century Realism emerged, at least partly as a reaction. In the last half of the century, "naturalism", "parnassian" poetry, and "symbolism", among other styles, were often competing tendencies at the same time. Some writers did form into literary groups defined by a name and a program or manifesto.
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Augusto dos Anjos published only one book during his lifetime, named Eu. The themes of its poems, that are impregnated with a heavily scatological medical, scientific and philosophical vocabulary, are mostly sickness, death, heavy morbidity and pessimism. Literary critics are not sure to which literary movement Augusto dos Anjos belong: some say he was a Symbolist and some say he was a Parnassian, although Ferreira Gullar classifies him as being a Pre- Modernist.
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The same issue carried his advertisement, both for specimens sold commercially, and his services as an illustrator for museums. He died in 1980. Some of his specimens were purchased by Cyril Franklin dos Passos. The species Nemeris sternitzkyi was named in his honor by Frederick H. Rindge in 1981, as had been Parnassius phoebus sternitzkyi (Sternitzky's parnassian), by James Halliday McDunnough, in 1936; the latter is now known as Parnassius smintheus sternitzkyi.
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His writing style was generally labelled as Parnassian, and as most strongly influenced by José-Maria de Heredia.Émile Talbot, Reading Nelligan. McGill-Queen's University Press, 2003. . p. 10. He supported himself primarily as a house painter, according to official sources; after Nelligan was committed to an insane asylum in 1899, Bussières virtually disappeared from the École littéraire, and published only a very small amount of work in the next decade until reemerging in 1910.
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U.S.-performed rendition The "Brazilian National Anthem" () was composed by Francisco Manuel da Silva in 1831 and had been given at least two sets of unofficial lyrics before a 1922 decree by President Epitácio Pessoa gave the anthem its definitive, official lyrics, by Joaquim Osório Duque-Estrada, after several changes were made to his proposal, written in 1909. The anthem's lyrics have been described as Parnassian in style and Romantic in content.
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Eighteenth- century fancy pictures were an antecedent of Victorian sentimentalism; J. E. Millais' paintings of children, such as his My First Sermon and My Second Sermon, modelled by his young daughter, were called fancy pictures.Kumiko Tanabe, "Hopkins's Obsession with Beauty and Fancy: The Influence of the Parnassian Movement and the Fancy Picture of J. E. Millais", in The Interconnections between Victorian Writers, Artists and Places, ed. Kumiko Tanabe, Newcastle upon Tyne: Cambridge Scholars, 2019, , pp. 48–66, p. 55.
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He also reads a "Parnassian note" and echoes from the "macabre poetry" of Maurice Rollinat in the work of Demetriade, Alexandru Obedenaru, and Alexandru Petroff.Marino, pp. 520–521 Demetriade's first published work consisted of poems that appeared in Macedonski's Literatorul, in 1880; his first book was the 1883 Fabule, followed in 1884 by the collection Versuri.Tamara Teodorescu, Rodica Fochi, Florența Sădeanu, Liana Miclescu, Lucreția Angheluță, Bibliografia românească modernă (1831–1918). Vol. II: D–K, p. 60.
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Anthony was born at Kidwelly on 28 October 1886. His parents were Mary (née Harris) and John Gwendraeth Anthony, who was a merchant. In 1908, Anthony received his degree in French and Romance Philology from University College Wales, Aberystwyth and in 1910, he wrote a dissertation on French Parnassian poets entitled The metrik of the Parnassians towards his M.A. degree at the University of Wales. He studied in France at the Bibliothèque Nationale and the Sorbonne.
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Cernat, p.12 His version of Symbolism, critic Paul Cernat notes, clashed with that advocated by many of his contemporaries in that it rejected merit to the Decadent movement, and represented the "decorative" aestheticist trend of Paranassian spirit within the Romanian Symbolist current.Cernat, p.11-12, 16 Within Poezia viitorului, Macedonski invoked as his models to follow some important or secondary Symbolist and Parnassian figures: Charles Baudelaire, Joséphin Péladan, Maurice Maeterlinck, Stéphane Mallarmé and Jean Moréas.
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The significant biodiversity, both in flora and in fauna, led the authorities to the establishment of the National Park of Parnassus in 1938, the year when the systematic mining of bauxite started. The Park comprises a landscape of spreading on the mountainous region between Delphi, Arachova and Agoriani. Among the endemic flora species under protection are the Cephalonian fir tree and the Parnassian peony (Paeonia parnassica). In the Park sojourn prey birds and wolves, boars, badgers and weasels.
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His library occupied also other odd number addresses (23-33, 47). In 1865, he began to edit Parnassian poets in Louis-Xavier de Ricard's revue L'Art, which had ten issues between November 2, 1865, and January 6, 1866. The November issue had an article by Paul Verlaine about Baudelaire. In 1866, Lemerre published Le Parnasse contemporain, a collection of new poetry, in 18 weekly installments from 30 March to 30 June 1866, the collected installments published in October.
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Other true poets are the sonneteer João Penha, the Parnassian Goncalves Crespo, and the symbolist Eugénio de Castro. The reaction against the use of verse for the propaganda of radicalism in religion and politics has succeeded and the most considered poets of the early twentieth century, Correia de Oliveira, and Lopes Vieira, were natural singers with no extraneous purpose to serve. They owe much to the "Só" of António Nobre, a book of true race poetry.
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"One must admire Saint-Saëns's skill in making a long and effective piece out of unpromising material [...] how much better Chabrier captures, right from the start, the spirit of the festive joust with music which rattles jovially between the hands", Johnson comments. Chabrier regularly sang this song at the Marquise de Ricard's Parnassian salon. It evokes the galop of a horse and plays on ambivalence between modal and tonal harmony, creating new and strange effects.Delage, Roger.
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He has no tragic flaw. In the end, he is simply a victim of intolerance. This is the source of the opera's excruciating sentimentality, the reduction of Wilde's tragedy to a fable of bigotry and victimization (with, of course, that happy Parnassian ending)." : ".....the libretto...tries to paint Wilde as a martyr and a tragic figure, but its earnestness, combined with meandering music that recalls composers from Bach to Prokofiev without settling on a particular profile, makes him more of a pathetic one.
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Shot through with black humour, and riddled with parody and pastiche of contemporary styles and attitudes,J Austin, Proust, Pastiche and the Postmodern (2013) p. 37 the album is the best guide to the Circle's membership of some fourteen names. A central target of the Album's mockery was the recently successful Parnassian Francois Coppee, while other more established figures like José-Maria de Heredia and Leconte de Lisle were also in the line of fire.J Austin, Proust, Pastiche and the Postmodern (2013) p.
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This approach also showed Maiorescu's appreciation for the artistic principles of American poet Edgar Allan Poe, who was a direct influence on the French Symbolists or Parnassians—the Junimist philosopher had in fact read Poe's theoretical essays, "The Poetic Principle" and "The Philosophy of Composition", in a French-language translation signed by Baudelaire.Carlson, p.75-76; Ornea, p.52, 54 However, Maiorescu generally ignored and at times expressed a strong rejection of French-inspired modern literary schools, either Parnassian or Symbolist.
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Salmon's education was neglected, although he received some tuition from the Parnassian poet Gaston de Raisme, a friend of François Coppée. During 1897–1902 he stayed in St-Petersburg, first with his parents and then as an assistant in the chancellery of the French consulate. In 1902 Salmon returned to France for military service but due to weak physical condition was dismissed after a few months. In the first decade of the 20th century he mixed with literary circles of Paris' Latin Quarter.
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Some poems are evocative and appeal to and overlay the separate senses in their expression, employing a symbolist poetics. In general, they lean toward an earlier European Romantic-era aesthetic, privileging strong emotion, as well as display Faubert’s great attention to technique and form, an approach more closely associated with French poetry’s Parnassian movement. The poems are written in French rhymed verse and a formal style, with employment and mastery of fixed poetic forms such as sonnets, chansons, and rondels, which supports their deep lyricism.
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The name is derived from the original Parnassian poets' journal, Le Parnasse contemporain, itself named after Mount Parnassus, home of the Muses of Greek mythology. The anthology was first issued in 1866 and again in 1869 and 1876, including poems by Charles Leconte de Lisle, Théodore de Banville, Sully Prudhomme, Stéphane Mallarmé, Paul Verlaine, François Coppée and José María de Heredia. The Parnassians were influenced by Théophile Gautier and his doctrine of "art for art's sake".G Brereton, A Short History of French Literature (Penguin 1954) p.
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As a writer he is most famous for his three collections of poetry: Poèmes antiques (1852), Poèmes barbares (1862), Poèmes tragiques (1884). He is also known for his translations of Ancient Greek tragedians and poets, such as Aeschylus, Sophocles, Euripides and Horace. .Homère, les tragiques grecs (Eschyle, Sophocle, Euripide), Hésiode, Théocrite, Biôn, Moskhos, Tyrtée, Horace, etc. Leconte de Lisle played a leading role in the Parnassian poetic movement (1866) and shared many of the values of other poets of this generation, bridging the Romantic and Symbolist periods.
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During his time as a Symbolist, Toma was part of a "proletarian" generation active within the movement. It also included George Bacovia, Traian Demetrescu, Mihail Cruceanu and Andrei Naum, contrasting to both the Parnassian school of Alexandru Macedonski and the balladesque style associated with Ștefan Octavian Iosif. This period was also marked by echoes from the works of traditionalist poets. Eugen Lovinescu proposed that, while being the "direct inheritor" of Eminescu's creation, and placed under his "overwhelming influence", Toma's Poezii also showed his admiration for Coșbuc, Vlahuță, Panait Cerna, Corneliu Moldovanu and D. Nanu.
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Renaud was born in Versailles. He worked as an official in the Hôtel de Ville, Paris, where for a short time he was a colleague of Léon Valade, and afterwards in the prefecture of the department of the Seine, where he finally became an inspector of the fine arts (inspecteur des beaux-arts). He was a friend of Stéphane Mallarmé, who brought him into contact with the Parnassian poets, among whom Renaud is now numbered. Renaud's poems, often influenced by Persian and Japanese poetry, were set to music by Camille Saint-Saëns and Reynaldo Hahn.
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Coppée was born in Paris to a civil servant. After attending the Lycée Saint-Louis he became a clerk in the ministry of war, and won public favour as a poet of the Parnassian school. His first printed verses date from 1864. In 1869, Coppée's first play, Le Passant, starring Sarah Bernhardt and Madame Agar,Bernhardt, My Double Life, London: Heinemann, 1907 was received with approval at the Odéon theatre, and later Fais ce que dois (1871) and Les Bijoux de la délivrance (1872), short poetic dramas inspired by the Franco-Prussian War, were applauded.
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Vianu, Vol.II, p.366 In his review of Bronzes for Mercure de France, Pierre Quillard remarked the "irreproachable" technique, but criticized the poet for being too indebted to both Baudelaire and Leconte de Lisle; other Symbolist figures whom Macedonski is known to have borrowed from are José María de HerediaCălinescu, p.526 and Iwan Gilkin.Vianu, Vol.II, p.413 While undergoing this transition, to what linguist Manuela-Delia Suciu argues is a mostly Parnassian phase,Suciu, p.107-109 Macedonski was still referencing Naturalism, and considered it compatible with Symbolism.
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Some adherents of modern Paganism have developed atheistic, humanistic, or secular approaches, where important aspects of a pagan worldview are embraced, but deities are not revered as real or supernatural beings. These approaches take on a variety of different forms. In the 19th century, the French writer Louis Ménard used the term "mystical paganism" for his attempt to create a substitute for organized religion, in which he used a humanistic approach to recognize the importance of symbols and the irrational. The concept had significant influence on the poet Leconte de Lisle and the Parnassian movement.
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He exclaimed to his friend Emile Verhaeren, after reading the latter's Les Moines (The Monks), "What I disapprove of with horror, what angers and irritates me is your improvising disdain for verse form, your profound and vertiginous ignorance of prosody and language."Cited in Kreuiter, p. 61, n. 34. Such an attitude leads the critic Robert Vilain to conclude that, while Giraud shared "the Symbolists' concern for the careful, suggestive use of language and the power of the imagination to penetrate beyond the surface tension of the here-and-now", he was equally committed to a Parnassian aesthetic.
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In 1828 he was appointed professor of zoology and botany at the university of Kazan. During the next thirty years he wrote numerous publications and is considered the pioneer of research into the flora and fauna of the southeast steppes of Russia between the Volga and the Urals. His name is commemorated in a number of birds, such as Eversmann's redstart,Eversmann's Redstart butterflies, including Eversmann's parnassian and moths, such as Eversmann's rustic. In the scientific field of herpetology he is best known for having described two new species of lizards, Darevskia praticola and Darevskia saxicola."Eversmann".
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By the middle of his > third he was romping in the Parnassian fields of comparative and putative > philology. In 1967 he moved to London to become Reader in German at Royal Holloway College in the department headed by Ralph Tymms. McLintock was regarded as "one of the foremost comparative Germanic philologists of his generation in Britain" and his major scholarly achievement was to complete the revision of J. Knight Bostock's A Handbook of Old High German Literature, which he undertook after the death of his colleague Kenneth King. The book remains "the most comprehensive guide to the field in any language".
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Nevertheless, he was an immediate precursor to the Romanian Symbolist school, or a representative of its "proletarian" side.Cernat, p.16 Discussing this latter aspect, literary critic Paul Cernat notes that Demetrescu stood alongside Mihail Cruceanu, Alexandru Toma and Andrei Naum, all of whom merged a socialist discourse into their poetic vision, thus contrasting with Macedonski's post-Parnassian school, as well as with the balladesque literature produced by Ştefan Octavian Iosif. According to Călinescu, Demetrescu's commitment to Symbolism was especially obvious in his attitudes, which he argued were linked to "spleen" (a humoralistic term used by Charles Baudelaire to define melancholy).
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Maniu and Emil Isac took charge of the political and satirical side of Simbolul.Cernat, p.50 Maniu also contributed a series of humorous prose poems, which was later published in his volume Figurile de ceară ("The Wax Figures"); they include the Cântec pentru întuneric ("Song for When It's Dark"), which is a parody of Symbolist leader Alexandru Macedonski's Noapte de mai ("May Night", part of the Nights cycle), replacing its Parnassian metaphors with a seemingly nonsensical imagery, and Minciune trăite ("Experienced Lies"), which literary critic Leon Baconsky praises for its "complete liberty of [word] association and metaphoric combinations".Cernat, p.50.
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She nursed him though his final illness two years later but survived him barely a month. Glatigny's best collection of lyrics, Les Flèches d'or (Arrows of gold), had appeared in 1864, dedicated to the Parnassian poet Leconte de Lisle, with an opening poem addressed to Théophile Gautier. It was followed by other occasional verse, including Le Fer Rouge (Red light, 1870) and a third collection of poems, Gilles et pasquins (Tom-fooleries, 1872), dedicated to the left-wing politician Camille Pelletan. In 1917 his collected works were awarded the prix de littérature by the Académie française.
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Phidylé is a mélodie by the French composer Henri Duparc, dedicated to his friend Ernest Chausson. It is a setting of a poem with the same title from Poèmes et poésies (1858) by the French Parnassian poet Leconte de Lisle. Duparc first completed a setting for high male voice and piano (1882), and then orchestrated it (1891-1892). The music, which shows the influence of Wagnerian voice leading and chromaticism, progressively rises from languid tranquillity to the singer's triumphant climax, accompanied by heavy chords and tremolos in the piano, before a solo postlude for the piano which gradually dies to a pianissimo finish.
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Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists; for Huysmans, this change represented his increasing interest in religion and spirituality. Certain of the characteristic subjects of the Decadents represent naturalist interest in sexuality and taboo topics, but in their case this was mixed with Byronic romanticism and the world-weariness characteristic of the fin de siècle period. The Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. While being influenced by hermeticism, allowing freer versification, and rejecting Parnassian clarity and objectivity, it retained Parnassianism's love of word play and concern for the musical qualities of verse.
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While the thieves are obviously familiar with the terrain, the Britons are not, and it soon becomes clear that the bunyips possess the ability to alter the terrain, providing watering holes as bait, and later diverting water to create quicksand beneath Temeraire in the hopes of entrapping him. The final egg, an experimental cross between a Parnassian and a Cheqeured Nettle, hatches a sickly runt who is unable to fly. Rankin decides to do away with it humanely, but Demane claims it for himself, naming it Kulingile. Kulingile eats enormously, growing at a rapid pace, and eventually develops the buoyant sacs which help dragons to fly.
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Artists and politicians were close collaborators. Its main defining features in poetry are a return to Apollonian classicism, a very refined and accurate language, objectivity and rejection of abrupt feelings and a particular interest in nature. Its stylistical origins in the tradition started by Josep Torras i Bages, the Escola Mallorquina ("Majorcan School") led by the Conservative Joan Alcover and the priest Miquel Costa i Llobera, the French Parnassian poetry and the Symbolists are obvious in most of the works produced in the period that spans from 1906 to approximately 1923. The Vienna Secession was a key influence to their ideal of beauty in architecture.
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He was born in Honfleur (Calvados) on 28 December 1864, and educated in Paris for law. In 1885 he began to contribute to the Parisian reviews, and his verses were published by most of the French and Belgian periodicals favorable to the symbolist writers. Having begun as a Parnassian, he retained the classical tradition, though he adopted some of the innovations of Jean Moréas and Gustave Kahn. His vaguely suggestive style shows the influence of Stéphane Mallarmé, of whom he was an assiduous disciple. His first volume of poems, Lendemains, appeared in 1885, and among numerous later volumes are Poèmes anciens et romanesques (1890), Les Jeux rustiques et divins (1890), Les Médailles d'argile (1900), La Cité des eaux (1903).
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Many great French poets and writers of the future attended: Anatole France, Sully Prudhomme, Villiers de l'Isle-Adam, Paul Verlaine, François Coppée; and Raoul Rigault, the future attorney of the Commune de Paris (1871). In March 1866, Ricard and Catulle Mendès were appointed by editor Alphonse Lemerre to be directors of a now famous and pivotal collection of poetry called Le Parnasse contemporain, a collection that gave the name Parnassian to a group of poets that came to be known as Parnassians. Ricard also contributed 8 poems to that first collection. In 1867 Verlaine, a friend of Ricard (whom he called "an excellent Langue d'Ocian poet"), dedicated his Les Vaincus to Ricard, a poem on the vanquished of 1848.
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His second book of poetry, Piyâle (پياله; "The Wine Cup"), would follow in 1926. Hâşim's early poetry was very much in the Parnassian and Decadent vein of the poets Tevfik Fikret (1867–1915) and Cenab Şahâbeddin (1870–1934), early influences who were a part of the Edebiyyât-ı Cedîde (ادبيات جدیده; "New Literature") movement. Hâşim's later poetry, however—collected in Göl Saatleri and Piyâle—evidences more of a French Symbolist influence, particularly that of Henri de Régnier, whom Hâşim greatly admired. This late poetry can—to a certain extent—be seen to adhere to the Fecr-i Âtî movement's variation of the Symbolist motto: "Sanat şahsî ve muhteremdir" (صنعت ﺵﺨﺼﯽ و محترمدر; "Art is personal and sacred").
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His literary career began in 1935, when he began writing a series of short stories, starting with Kajin (佳人, Lady), and Hinkyu mondo (貧窮 問答, Dialog on Poverty) in which he depicted the struggles of a solitary writer attempting to create a Parnassian fiction. In 1936 he won the fourth annual Akutagawa Prize for his story Fugen (普賢, The Bodhisattva). In early 1938, when Japan's war against China was at its height, Ishikawa published the brilliantly ironic Marusu no uta (マルス の 歌, Mars' Song), an antiwar story soon banned for fomenting antimilitary thought. His first novel, Hakubyo (白描, Plain Sketch, 1940) was a criticism of Stalinism.
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" These pieces, the critic notes, point to the influence of classicist authors such as Eminescu, Dante Aligheri, and Giacomo Leopardi (the latter poet had also been quoted in Cerna's Die Gedankenlyrik). One of the pieces, written from the perspective of a man who has once failed to gain the object of his affection, features the lyrics: While rejecting Cerna's conceptual approach, Lovinescu admired his style, for "the amplitude through which [the sentiment] is laid out in vast chimes and compact constructions of rhetorical stanzas." Such features, he concluded, surpassed "everything ever written in our country". For George Călinescu, Cerna's "euphoric thirst for life" recalled the work of Parnassian and Symbolist author Alexandru Macedonski, but was tempered by "the mellow anemia of the phthisic.
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Alomar was born in Palma and raised in the Balearic Islands, a traditional province of Spain where the power of the Catholic Church was very strong. His father was a minor bureaucrat and so was moved around rather often; this made Gabriel's childhood rather more cosmopolitan than was normal for Spanish youngsters of the time. In 1888, after finishing secondary school in Palma, he (like many young Majorcan men) went to mainland Barcelona to finish his education. In this environment, he became active as a journalist as well as continuing to publish poetry in what the critic Josephine de Boer has called a Parnassian mode, as well as becoming involved with the Catalan regionalist movement and the literary trend of noucentisme.
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Though the poems were actually clever fabulations, authored by Louÿs himself, they are still considered important literature. Louÿs claimed the 143 prose poems, excluding 3 epitaphs, were entirely the work of this ancient poet -- a place where she poured both her most intimate thoughts and most public actions, from childhood innocence in Pamphylia to the loneliness and chagrin of her later years. Although for the most part The Songs of Bilitis is original work, many of the poems were reworked epigrams from the Palatine Anthology, and Louÿs even borrowed some verses from Sappho herself. The poems are a blend of mellow sensuality and polished style in the manner of the Parnassian school, but underneath run subtle Gallic undertones that Louÿs could never escape.
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The anthologist Francis Turner Palgrave, in his work, The Golden Treasury declared that of the modern poets, despite his limited output, O'Shaughnessy had a gift that in some ways was second only to Tennyson and "a haunting music all his own". J. T. Nettleship's illustration to O'Shaughnessy's poem "A Neglected Harp" in Epic of Women (1870) O'Shaughnessy's translations of Parnassian poetry, and the influence of French decadence on his own work, were crucial in setting the stage for English- language decadence in the 1890s. Jordan Kistler writes that he was "instrumental in bridging the gap between the Pre-Raphaelitism practised by poets such as D. G. Rossetti and William Morris in the 1870s and the aestheticism of the 1890s".Jordan Kistler, Arthur O'Shaughnessy, a Pre- Raphaelite Poet in the British Museum (Abingdon: Routledge, 2016) p.
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383–384 One poem, titled Ars poetica (Latin for "The Poetic Art"), is described by the same critic as evidence of Caragiale's Parnassian affiliation, and, although written in imperfect Romanian (verses in line with "cadence", but not "in agreement" with Romanian grammar), similar to the purist approach of the nominally Symbolist author Mihai Codreanu. He also notes that the implicit aestheticism of this credo creates a natural link between Luca and Mateiu, opposing them both to their more practical father. The poem reads: This series of poems offers insight into Luca Caragiale's lyrical perspective on nature. According to Cioculescu, Dintr-un oraș de munte and other nature-themed poems show that Luca had inherited his father's feelings of despair in front of bad weather, that they both found autumn rains to be unbearable.
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After a brief stopover at his father Lord Allendale's estate, where Laurence reveals his new profession to his family, Temeraire and Laurence arrive in the covert of Loch Laggan. Here Laurence meets Celeritas, the dragon training-master; Catherine Harcourt, the young female captain of the Longwing Lily (Longwings, the only acid-spitters in Britain, insist on female captains), whose formation they will join; Berkley, the captain of the Regal Copper Maximus; and Rankin, a captain of noble family, and his abused Winchester Levitas. Temeraire sees his first action when Victoriatus, a Parnassian, is injured in combat and must be carried back to base. Laurence and Temeraire also adopt their flight and ground crew, headed by Lt. John Granby; Granby, a friend to Dayes, showed initial hostility to Laurence, but the two overcome their difficulties during the mission to aid Victoriatus.
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137, 153 This evolution also touched his image of the past: Davidescu initially demanded the revival of Symbolism as a Neoclassical tendency (an ideal stated in his polemic with Fondane during the 1920s), and, in the process of editing a 1943 anthology of fin de siècle poetry, substituted the term "Symbolist" for "Parnassian".Cernat, p.12, 153, 171, 406 Symbolist aesthetics made an uncharacteristic comeback in official art under the authoritarian King Carol II, who commissioned works from Ivan Meštrović, the Croat master of Secession sculpture. Erwin Kessler, "Carol călare pe Mihai (Nebunul)", in Revista 22, Nr. 948, May 2008 During World War II, the antisemitic regime of Conducător Ion Antonescu banned the Jewish Symbolists, alongside many other Jewish writers; this approach was notably resisted by George Călinescu, whose 1941 study of Romanian literature featured ample coverage of Jewish contributions.
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His poetry was written within the post-modernist Latin American movement, which broke with the Symbolist and Parnassian schools of Rubén Darío’s modernism. The poetry of Pezoa Véliz constituted a conscious use of language as a basis for a new vision of the world and in particular a novel way of observing the cultural and psychological roots of all things Chilean. Pezoa Véliz could be considered a founding poet and fundamental figure in the history of Chilean poetry – which has given the world of literature figures like Pablo Neruda, Gabriela Mistral, Gonzalo Rojas and Nicanor Parra. During his lifetime his body of work was published in journals and periodical publications which were compiled in 1911 - four years after the poet's death - by Ernesto Montenegro under the title of Alma Chilena (The Chilean Soul) – the name of one of Pezoa Véliz's most renowned and cited poem.
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In Plânsetul lui Adam and various other pieces, Panait Cerna (called a "reflexive poet" by contemporary critic Ilarie Chendi) sought to reconcile poetry and philosophy, thus creating a hybrid form of conceptual poetry. Eugen Lovinescu proposed that, although praised by Cerna's contemporaries, this goal was "mediocre", and that the literature it produced "does not express and does not suggest profound spiritual states, but, on the contrary, it expresses by means of rhetorical dialectic not only that which can be expressed, but also that which can be proven." Paul Zarifopol, who notes that Cerna particularly treasured the classicist poets Friedrich Schiller, Louise-Victorine Ackermann and Jean-Marie Guyau, as well as the Parnassian Sully Prudhomme, recounted their disagreement when it came to Caragiale, whom Cerna enjoyed only for his power of "observation", but whom he argued lacked "concepts". For Zarifopol, this statement, made with "a fanatical and dogmatic pathos", evidenced a moment of "academic foolishness" in Cerna's career.
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Tevfik Fikret (1867–1915), poet and editor of Servet-i Fünun Journal of Servet-i Fünun, edition of 24 April 1908 The Edebiyyât-ı Cedîde, or "New Literature", movement began with the founding in 1891 of the magazine Servet-i Fünûn (ﺛﺮوت ﻓﻨﻮن; "Scientific Wealth"), which was largely devoted to progress—both intellectual and scientific—along the Western model. Accordingly, the magazine's literary ventures, under the direction of the poet Tevfik Fikret (1867–1915), were geared towards creating a Western-style "high art" in Turkey. The poetry of the group—of which Tevfik Fikret and Cenâb Şehâbeddîn (1870–1934) were the most influential proponents—was heavily influenced by the French Parnassian movement and the so-called "Decadent" poets. The group's prose writers, on the other hand—particularly Halit Ziya Uşaklıgil (1867–1945)—were primarily influenced by Realism, although the writer Mehmed Rauf (1875–1931) did write the first Turkish example of a psychological novel, 1901's Eylül (ايلول; "September").
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