Hâmid discerned similar problems between critical interpretations emergent in the late 19th century on Classical Ottoman poetry which reduce poetry to religious allegory and at the same age Namık Kemal and his circle’s projects secularizing poetry with their political language in order to overcome this kind of allegory. Especially with his Makber, he had carried out the first poetic-based breakthrough, made Turkish poetry gain its autonomy from religious and political language. Thus he brought to the fore poetry’s relation with imagination, revealed dilemmas of the rational-referential totality project, enables allegorical correspondences and poetry’s creativity dimension, imply this instrumentalization problem of poetry and language. The struggle of showing poetic language's difference from other language forms can not solve with approach that poetry is the spontaneous overflow of powerful feelings, but seeking expression in language that person's external world effect his/her imagination and inner feelings. Through this struggle, basic being problems, is covered by religious and politic language but at the same time make it possible to individualisation, is made again visible and readers experience place of possibilities which come with poetry. Ultimately, in Hâmid, concept of poetry that searches expression of emotions in the language as place of possibilities, is very critic function, helping poetry to gain its autonomy from religion and politics