Servet-i Fünun literature has taken an innovative role in Turkish literature in order to make sense of the problem of imagination and self-realization of the modern subject with the common nature view it brings. During this period, the themes that were frequently encountered in literature, such as dream-reality conflict, escapism, suicide and illness, were associated with the elements of nature. Although the reflections of a pessimistic psychology in the images of nature created by authors of the period are obvious, the concept of uncanniness as an innovation draws attention. At this point, the water element has a special connotational area. Water images do not show a passive structure, which is not limited to reflecting only the fractures in the inner world of the subject, in Servet-i Fünun. In this period literature where visual and sighting acts are at the forefront, water is positioned both as the subject and object of the viewing. The course of water turns into an uncanny experience in which the hidden is revealed by creating emotions such as anxiety, fear, and forbidden desires. In this period, where melancholia is intensely experienced, elements such as sea, lake and stream are associated with the desire for death. In this respect, the element of water becomes a source of melancholic imagery that reminds the individual of its lack and interdependence. Therefore, it is understood that water is functionalized as an image of fragmentation which deepens and exacerbates the existential crisis in this period literature. In this study, similar narratives were studied referring to images of water in the works of authors of Servet-i Fünun; namely Mehmet Rauf, Hüseyin Cahit, Cenap Şehabettin and Süleyman Nesip, especially Halit Ziya and Tevfik Fikret. In the images of the uninformed water, attention is drawn to the links established with mythological narratives as sub-text. At this point, it is also highlighted that as a feminine element water is uncanny.