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The Parnassians were influenced by Théophile Gautier and his doctrine of "art for art's sake".[2] As a reaction to the less-disciplined types of romantic poetry and what they considered the excessive sentimentality and undue social and political activism of Romantic works, the Parnassians strove for exact and faultless workmanship,[3] selecting exotic and (neo-)classical subjects that they treated with the rigidity of form and emotional detachment. Elements of this detachment were derived from the philosophical work of Schopenhauer.[citation needed]
The two most characteristic and most long-lasting members of the movement were Heredia and Leconte de Lisle.[4]
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”.[8] He identified this trend particularly with the work of Alfred Tennyson, citing the poem "Enoch Arden" as an example.[9]
Many prominent Turkish poets of Servet-i Fünun were inspired by Parnassianism such as Tevfik Fikret, Yahya Kemal Beyatlı and Cenap Şahabettin.[10]
Maurice Souriau, Histoire du Parnasse, ed. Spes, 1929
Louis-Xavier de Ricard, Petits mémoires d'un Parnassien
Adolphe Racot, Les Parnassiens, introduction and commentaries by M. Pakenham, presented by Louis Forestier, Aux Lettres modernes: collection avant-siècle, 1967.
