Özet:

Tenkit is a method of examination that has long existed in the West. With this study, the tangible understanding of Tanzimat literature has been tried to be revealed by movement from the artists of the period and from the critical works in this stage. In the first stage, the Turkish and Western literature concepts and the meanings expressed by these concepts were explained. In the Western literature until the twentieth century, the classical tenk, which covers the ancient Greek and Roman epochs, includes the ideas of Aristotle and Eflaton about art, and the first methodical tenk, which is the basis for Aristotle’s present tenk understanding. From the Middle Ages to the 17th and 18th centuries, the effect of the Neoclassic Tencid appears only in the 19th century. In the century, the concept of Romantic Tencit, which is a reaction to Neoclassicism and developed by Herder and Goethe, is adopted. As in Western literature, it is also in the Divan literature. In classical literature, it appears that the tenkide is more practical than the Nazari tenkide. The most important reason for this is the existence of a number of rules of Divan literature created on the basis of Arab and Persian literature, which is considered unchanged, the belief in the holiness of the artists and works of this period. One of the most important factors that direct the literature of a culture, developing it, is a constructive and innovative conception of the tint. The artists of Tanzimat literature, which are based on more subjective thoughts, have based on social utility as well as in literary concepts. The artists of the second period of Tanzimat, however, have made their critical understanding more objective and western than the artists of the first period, based on certain criteria. In this context, Recaizade Mahmut Ekrem had an important place with his works named Takdir-i Elhân and Talim-i Literature. His theoretical views have a great importance on the perception of the tint as well as about the art. Mr. Ekrem, who is important to have Nazari opinions, is concerned with French criticism and is based on his opinions on this line. The first biography to our literature, Beşir Fuat, also appears to be objective as Ekrem. The five-year-old, who has been in the midst of the world, and who has been in the midst of the world, and who has been in the midst of the world, and who has been in the midst of the world. It develops the understanding of "word criticism", which is a new style by standing on the wrong and simple use of the word. Therefore, it appears that Naci often stands on linguistic specificities and formal specificities in literary terms. The Shinashi, who gives the first example of the tenk that can be considered in the new literature and defends the new against the old, often reveals his tenk with his works. Namik Kemal, who has taken responsibility for social utility in literature, is our first great fan. This critic, who believes in the necessity of a new and simple language, points out that the sensitivity of the language in his article, entitled "Some Talk About the Literature of Lisân-i Osmanin" is clear and clear, in "Mukaddeme-i Celâl" the meaning of the language should be properly and solidly understood. Namık Kemal, who expressed the differences between the old and the new writers with interesting comparisons, attracted attention with strong criticisms. Ziya Pasha believes that the poetry should be filled with innovations, but in the literary understanding he lives the old-new duality. It is possible to see this situation in the article "Poetry and Construction" and in the Anthology of Harabat. The second generation of Tanzimat attracts the text more to the work and literature level, so it approaches the objective.

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