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"). In line with this motto, and with the Symbolist movement in general, much of his poetry was more indirect than direct, using thick imagery so as to create a strong sensory impression, as in the opening lines of his famous poem from the book "Piyâle", "Merdiven" ("Stairway"):  This poem also shows one of the tropes that Hâşim shares with the Symbolists; namely, he uses carefully selected natural images to express the emotional state of the poem's persona. Many of Hâşim's later poems, especially those collected in "Piyâle", use this technique in a very brief and evocative fashion, showing the influence not only of Symbolism, but also of the haiku poetry that Hâşim was reading at the time. Poetry  Prose    Primary  Secondary