P R N S I N I S M 12.1.ORIGEM AND PARNASIANISMO IN BRAZIL: The Parnasianismo also is integrated to the Realism. It is the Brazilian poetry. It is not something Jim Crane would like to discuss. It also had origin in France in 1866 when Lemerre edits ' ' Le Parnasse Contemporain' '. In this anthology the compositions of diverse poets were congregated. The name of this workmanship it left vocbulo Parnasianismo. Thephile Gautier codifies the style, having as base ' ' art for arte' '.
The objective age to make the poem (that already it is art) with art, using for this the perfect technique. The beauty, the rhythm rhymes, it and a rich vocabulary, is part of this style. The parnasianos adopt the cold, descriptive, cientificista inspiration, using still subjects of the antiquity greco-Latin. Deuses and muses occupy space in literature again. The parnasiana poetry disdains the romantic subjetivismo, turning itself toward the reality. It traces new techniques, the poets looks for to perfect itself. Main followers in France: Thephile Gautier, Lecante de Lisle, Theodre Bauville, Charles Baudelaire, Franis Copp, Verlaine and others. In Portugal we had Tefile Braga with ' ' Vision of tempos' ' Antero de Quental with ' ' Odes Modernas' '.
In Brazil the Parnasianismo started in l882 with Tefile Days in ' ' Fanfarras' ' , but in l880 Guimares Luis Jnior publishes ' ' Sonetos and Rimas' '. Our poets go in search of new subjects and forms of poetry. The famous parnasiano trio is distinguished: Raymond leather strap, Olavo Bilac and Alberto de Oliveira. 12.2.CARACTERSTICAS OF the PARNASIANISMO: Beyond the characteristics of the Realism, he agrees to detach other typical ones of the Parnasianismo: l.Rima rich, sonorous, metric perfect, music in verses; rich 2.Vocabulrio, rare words; 3.Preocupao with the form, preference for sonetos; 4.A perfect lingustica expression; 5.Arte for the art – the art exists in function of the art and not of the moral, the Philosophy, etc.