The Parnassians - Philosophical Concept | Alexandria
The Parnassians, a mid-19th century French literary movement, emerged in reaction to the perceived excesses of Romanticism, championing instead impersonality, classical ideals, and a devotion to "art for art's sake." Were they merely aesthetes, or did their polished surfaces conceal deeper currents? The movement, sometimes conflated with Symbolism, invites a closer look.
The seeds of Parnassianism were sown in France during the tumultuous years following the 1848 Revolution. Individually, poets such as Théophile Gautier had already been articulating these principles, but the movement gained cohesion with the publication of Le Parnasse contemporain, an anthology of new verse, in 1866. This collection, featuring poets like Théodore de Banville, Leconte de Lisle, and Sully Prudhomme, boldly presented an alternative to the emotional outpourings of their Romantic predecessors. France was undergoing rapid industrialization and social upheaval. Could their detachment be an unwitting commentary on this world or simply an escape from it?
The Parnassians' emphasis on form and objectivity significantly influenced subsequent literary movements, most notably Symbolism. Figures like Charles Baudelaire, though not strictly Parnassian, shared their commitment to aesthetic perfection and exploration of beauty, however dark. The impact of Gautier's Emaux et Camees cannot be overestimated in setting the scene for perfection of formal beauty in both the Parnassians and the Symbolists. The Parnassians turned often to classical mythology and historical subjects providing an opportunity for remote, objective presentation. Later anthologies maintained this aesthetic until 1876; the movement had run its course. Did they inadvertently pave the way for a more introspective brand of poetry?
The Parnassians are still studied today, their verse admired for its technical brilliance and evocative imagery. Although often overshadowed by the more enigmatic Symbolists, their influence resonates in contemporary discussions about the role of art in society. Their work asks: can beauty truly exist independently of emotion? Or does art for art's sake ultimately reflect something deeper about the human condition?