Confessional poetry or "Confessionalism" is a style of poetry that emerged in the

United States during the 1950s. It has been described as poetry of the personal or
"I", focusing on extreme moments of individual experience, the psyche, and personal
trauma, including previously and occasionally still taboo matters such as mental
illness, sexuality, and suicide, often set in relation to broader social themes. The
confessional poetry of the mid-twentieth century dealt with subject matter that
previously had not been openly discussed in American poetry. Private experiences
with and feelings about death, trauma, depression and relationships were addressed
in this type of poetry, often in an autobiographical manner.

Literary modernism, or modernist literature, has its origins in the late 19th and early 20th
centuries, mainly in Europe and North America, and is characterized by a very self-conscious
break with traditional ways of writing, in both poetry and prose
fiction. Modernists experimented with literary form and expression, as exemplified by Ezra
Pound's maxim to "Make it new."[1] This literary movement was driven by a conscious desire
to overturn traditional modes of representation and express the new sensibilities of their time

Early modernist writers, especially those writing after World War I and the disillusionment
that followed, broke the implicit contract with the general public that artists were the reliable
interpreters and representatives of mainstream ("bourgeois") culture and ideas, and, instead,
developed unreliable narrators, exposing the irrationality at the roots of a supposedly rational
world.

They also attempted to take into account changing ideas about reality developed
by Darwin, Mach, Freud, Einstein, Nietzsche, Bergson and others. From this developed
innovative literary techniques such as stream-of-consciousness, interior monologue, as well
as the use of multiple points-of-view. This can reflect doubts about the philosophical basis
of realism, or alternatively an expansion of our understanding of what is meant by realism.
For example, the use of stream-of-consciousness or interior monologue reflects the need for
greater psychological realism.

Eliot's own modernist poem The Waste Land (1922) mirrors "the futility and anarchy" in its
own way, in its fragmented structure, and the absence of an obvious central, unifying
narrative. This is in fact a rhetorical technique to convey the poem's theme: "The decay and
fragmentation of Western Culture".[14] The poem, despite the absence of a linear narrative,
does have a structure: this is provided by both fertility symbolism derived from anthropology,
and other elements such as the use of quotations and juxtaposition.[14]

Modernism emerged with its insistent breaks with the immediate past, its different inventions,
'making it new' with elements from cultures remote in time and space.[3] The questions of
impersonality and objectivity seem to be crucial to Modernist poetry. Modernism developed
out of a tradition of lyrical expression, emphasising the personal imagination, culture,
emotions, and memories of the poet. For the modernists, it was essential to move away from
the merely personal towards an intellectual statement that poetry could make about the
world. Even when they reverted to the personal, like T. S. Eliot in the Four Quartets and Ezra
Pound in The Cantos, they distilled the personal into a poetic texture that claimed universal
human significance. Herbert Read said of it, "The modern poet has no essential alliance with
regular schemes of any sorts. He/She reserves the right to adapt his/her rhythm to his/her
mood, to modulate his/her metre as he progresses.
Modernist poetry often is difficult for students to analyze and understand. A primary reason students feel a
bit disoriented when reading a modernist poem is that the speaker himself is uncertain about his or her own
ontological bearings. Indeed, the speaker of modernist poems characteristically wrestles with the
fundamental question of “self,” often feeling fragmented and alienated from the world around him. In other
words, a coherent speaker with a clear sense of himself/herself is hard to find in modernist poetry, often
leaving students confused and “lost.”
Such ontological feelings of fragmentation and alienation, which often led to a more pessimistic and bleak
outlook on life

In traditional poetry, poets describe images in great detail, and then link the images to a philosophical idea
or theme. • In Imagist poetry, the writer does not talk about the themes behind the image; they let the image
itself be the focus of the poem.

1. Direct treatment of the subject. The poem should deal directly with what's being talked about, without
fancy words and phrases to talk about it. 2. Use no word that does not contribute to the presentation. Use as
few words as possible. 3. Compose in the rhythm of the musical phrase, not in the rhythm of the
metronome. In other words, create new rhythms.

II: Divided Self; Detached Speaker: The speaker does not have a unified sense of self,
and the distinct “I” continually disappears throughout the poem, detaching himself
to the point at which the poem’s language, not the speaker, takes center stage.
III: Powerless and Alienated: The blackbird has no clear power/agency; the wind, by
contrast, whirls around the blackbird, creating a sense of futility to the blackbird’s
existence. Additionally, the blackbird is but a “small part” of the silent
motions/gestures of the landscape.
IV: Riddles: Here, the reader is called upon to decipher meaning from this “riddle” or
language puzzle. Meaning is not handed to the reader easily and clearly; instead, he
or she must play language games as well.
V: Playing with Language: The speaker describes the beauty of language and
demonstrates his own playing with language in the last two lines.
VI: Desolate World: Even nature (icicles) is “barbaric.”
Ambiguity: There is ambiguity in “the mood,” which is both ”traced in the shadow”
(hence, unclear) and explicitly “indecipherable.”
VII: Allusive: Reference to information outside the poem: “men of Haddam,” a town
in Connecticut.
VIII: Analytical: Again, riddle-like language.
IX: Fragmentation: From here on out, the poem becomes a series of seemingly
disconnected vignettes. It is up to the reader to piece together meaning from these
disconnected clips.
X: Description is Secondary: Description takes a back seat to play with allusive
language.
XI: Convoluted: Here, the references to blackbirds are becoming convoluted,
demonstrating the speaker’s preference for internal musings rather than clear
descriptions.
XII: Additional disconnected musings/non sequiturs.
XIII: Meaning through Montage: The poem ends with continued play with language,
and the poems comes full circle to the blackbird in the snowy mountains. This
ending positions the speaker as one who has only imagined the poem internally via
language, as opposed to one who has ventured concretely in nature. The reader is
left with more questions than answers and is called upon, like the speaker, to
attempt to create meaning from the poem’s fragments. The question is, “Can
language convey meaning after all?”

salihat-ı nisvandan Saffet Hanımefendi’ye

1- hatırlarım bir akşam bir yokuşa durmuştum

iri atlarınız macardı dantelleriniz alman

2- ne göksuda bülbül dinlemek ne abdülhak şinasi bey

ıpılık bir sevgi geçerdi arasıra içimden o zaman

3- siz ne zaman öldünüz allahaşkına yani ne zaman

kirli karlar bile erimemişti haber yoktu nisandan

4- rüştü paşaydı deli rüştüye çıkmıştı adı osmanlı ordusunda

o zaman hamitti padişah kocamın bıyıkları kocaman

5- o günlerde her şey akıp giderdi biz de şaşardık

hürriyet meşrutiyet otuzbir mart falan filan

6- gemiler de öyle boğazdan aşağı boğazdan yukarı

bıyıklarını burardı umursamazdı paşa kocam o zaman

7- rüştü paşaydı sakallıydı belki sadece sakallıydı

ki sakallar geçmişinde herhalde bir orman

8- bir oğul bir kız iki gelin bir damat isviçre lozan
nasıl ağladığımı ben bilirim bir yangının ardından

9- uykularım bölünüyor artık şu konağı bekliyorum

söyle ey muhabbet kuşunun tüyü söyle ölüm ne zaman

10- hep bir şeylere baktım bir şeyleri korudum kızdım

kızgındı haremi vardı sakallıydı rüştü paşa o zaman

11- hatırlarım bir akşam bir yokuşa durmuştum

iri atlarınız macardı dantelleriniz alman

12-bahriye nazırı tevfik paşa mütarekeler filan

dünya nasıl çekilirdi ayaklarımın altından

13-annemin sonsuz giysileri bir telâşı bileyen tramvay

ben ne güzel çocuktum yalnızlıkların ardından
14- yeniköyde bir yalı fatihte evler ayışıklı bir zaman
rüştü paşaydı adı Yıldız’da ve dömekede kahraman

15- herkes ne zaman ölür elbet gülünün solduğu akşam

aldım anlayamadım öldüm anlayamadım almadığım akşam

16- daha önce hiç ölmedim temmuzum ve incilerimle

göksuyu ışıklarla teşrif ettiğimiz akşam

17- ne zaman gülüm solar ne zaman deniz ne zaman akşam

ne zaman gemilerdi ne zamandı paşa kocam

18- artık başucum dinlendirir bir şamdanın süsünü

söyle ey göksu akşamı hafız burhan ölüm ne zaman

19- mevlûtlar okunur dalgalar kalır bir geminin ardından

öldüm ben saffet hanımefendi salihat-ı nisvandan