Yazar/sanatçının duyuş, düşünüş ve hadiseleri değerlendiriş yönünden; dar anlamda mensubu olduğu toplumun/ulusun, geniş anlamda insanlık âleminin bir üyesi olması hasebiyle eserlerinde bunun izlerini, yankısını göstermesi olağan bir husustur. İki yönden olağandır: Hem müktesebatı itibariyle zorunlu bir sonuçtur hem de ürünlerini onlar için ortaya koymaktadır. Sartre, edebiyat "sizi bir kavganın içine atıverir" diyor Edebiyat Nedir?'de... Burada 'edebiyat' kelimesi sanatçının ortaya koyduğu ürün olarak da okunabilir. Yazar/sanatçı ait olduğu çevreyle bağlantılı olarak ortaya koyduğu ürünlerinde onların sevinç ve tasalarında yanlarında olacaktır. Bu, umumi felaketlerde yahut 'milli' hususlarda daha çok böyledir. Herkesin/her kesimin kendince çözüm aradığı bir felaketle karşılaşma zamanında elbette sanatkâr da - duygusal açıdan hassasiyetini bildiğimiz bir kesim - bir çözüm sunacak, çareler arayacak; hiç olmazsa dikkati yoğunlaştırmak, problemi belirgin kılmak için çaba harcayacaktır. Bunun en çarpıcı örneklerinden birini, Kurtuluş Savaşında oluşturmaktadır. ney üfleyerek cepheye giden Konyalı neyzenler Yahya Kemal'in "Süleymaniye'de Bayram Sabahı"nı, Mehmet Akif'in "Ağzım kurusun yok musun ey adl-ilahi" mısraıyla bilinen şirini ve Halit Ziya'nın "Hazin Bir Cuma"sını - benzer konuları işlediklerini düşündüğümüz için - karşılaştıracağız. Adı geçen edebî metinler sosyolojik perspektiften değerlendirilmeye çalışılacaktır. Vurgulanan husus, sanatkârın kendine has duyarlığı ve kanaat önderliğidir

As the author/artist is a member of a society/nation in the narrow sense and a member of the humanity in the broad sense, it is normal to encounter the traces and the echoes of his/her perception, thought and way of interpretation at his/her works. It is normal in both ways: it is a compulsory outcome because of his/her body of knowledge and the artist creates for the sake of his/her stance against the world, as well. “The literature would lend you into a fight” says Sartre in “What’s Literature?”. Here, the word “literature” could be read as the literary work that the artist revealed. The author/ artist, in relation to the environment he/she belongs to, would be with the society in their joy and sorrow with the products that is put forward. It is more often seen in this way either at public disaster or in ‘national’ occasions. In times of facing a public disaster in which every one/every group tries to find his own solution, of course the artist – a group as we know has the emotional sensitivity would serve a solution, seek remedies; would endeavour for focusing the attention and making the problem clear at least. One of the most striking example of this phenomena is the flute players (neyzen) of Konya who went to the front in the War of Independence. The matter that should be considered in terms of both the artist and the audience is to stand decisively against art’s being engaged or reduced to a tool of propaganda. However, the particular artist would success as art both liberates the artist and the society as well. Yahya Kemal’s “Bayram Morning at Süleymaniye Mosque” (Süleymaniye’de Bayram Sabahı), Mehmet Akif’s poem that is known with the line of “Where have you been O God of Justice, get my mouth dry” (Ağzım kurusun yok musun ey adl-ilahi) and Halit Ziya’s “A Sad Friday” (Hazin Bir Cuma) will be analysed in this essay comparatively as they have similar content. These works will be criticized from sociological perspective rather than literary aspect. The artist’s sensibility and his/her opinion leadership will be emphasized It is accepted that artist is superior to other people about feeling and transmitting this feeling in different societies and geographical regions of the World. Therefore, an artist who realizes his communication with people by using the poetic function of language is given a leading position in terms of adopting common values. This is a position that covers and exceeds the political and administrative pioneering. Quality of truth turning into a literary work and being visible emerges in artist’s figure. What makes an artist distinguished is his awareness. His awareness is because of feeling before his contact in consciousness and emotional level. Topics that an artist deals with may belong to ontological nature of human being, and his unchanging aspects, the era he lives in, and the ongoing changes around him. According to his ability and nature, an artist presents events phenomenally, temporary one with permanent one, presents one with eternal one to his contact by making it visible. This study aims to show the common points of two poets and a raconteur who we thought were performing similar topics. We are going to try to evaluate from a sociological perspective by comparing Yahya Kemal’s poem called “Süleymaniye’de Bayram Sabahı”, Mehmet Akif’s fifth poem which takes place in his third book called “Hakkın Sesleri” known as the lines of “Ağzım kurusun,Yok musun ey adl-i ilahi”and Halit Ziya’s story named Hazin Bir Cuma. We can analyze the Yahya Kemal’s poem Süleymaniye’de Bayram Sabahı in roughly four categories in terms of social bases: religion, culture/art, history and heroism. It is useful to express it immediately: Mentioned matters are categorically apart from each other, otherwise it is unimaginable that these are unconnected and noninteractive sociological events from each other. It can be easily predicted that Bayram is one of the religious festivals which is also the title of poetry is a conscious preference to be mentioned. Culture/art is the another social theories that performed in the poem. In the poem , in addition to beauty and perfection of Süleymaniye which symbolizes art at the peak point are emphasized, an architectural horizon and a goal are pointed at by the poet. Beyond being a symbol of the beginning of Turks taking place in Anatolia, an artist both consoles them and tries to find consolation in himself with Malazgirt war that is in poem by reminding the nation that have longed for victory for the last 300 years . There are concrete examples recorded in the national language memory and used in this poem which has been worked on as art or language and will probably be worked on after that. Mehmet Akif Ersoy’s literary work is the fifth text in “Hakkın Sesleri” which is the third book of Safahat. Because there is no title in poem. It is more commonly known with the lines of “Agzım kurusun,Yok musun ey adl-i ilahi”.It is poem that reflects Akif’s mind and faith World significantly. This poem that tells the meaning of uprising and wailing is not the only poem of Akif who is widely known to be a religious person defending the necessities of religion in his personal and social life. He has other poems like this. The presence of such dangerous and similar expressions from the point of teller indicates that Akif shared the trouble of his nation and internalized it in the poem that we are going to talk about. We know via poem in Safahat and in other works that Akif gives priority to social problems by benefitting from the opportunities of poem and seeks a solution for them by neglecting the his poem in terms of renouncing his art. The most predominant feature of this poem that began with a deep despair is to express the desperation of society which he lives in with an equal intense feeling including that deepness by feeling the poet’s problem deeply. The intense emotion that continuous all along the poem almost looks like madness. Desperation continues all along the poem. When Süleymaniye’de Bayram Sabahı and Mehmet Akif’s poem are evaluated in the context of history and nation, altough both of them includes religious context, it is seen that Yahya Kemal gives priority to Turkish nation and history but Mehmet Akif gives priority to community of Muslims. Halit Ziya’s story resembles to Mehmet Akif’s poem in a way and in other way it resembles to Süleymaniye’de Bayram Sabahı. Narrator comes to Eyüp Sultan from the Şişli Okmeydanı route by dinghy on Friday and he goes into the mosque a bit early top pray. The rest of the event consists of his impressions, emotions, dreams, hopes and worries. Three important aspects predominate to event in Halit Ziya’s story: refuge (religion), feeling of sharing pain and misery by expressing them, common destiny of those who share the same belief. There is more common aspects between this story and both of previously mentioned poems than common aspects of two poems. The story is like the reflection of Akif’s question “Bu uğursuz gecenin yok mu sabahı?”and it consists of despair. This despair is also understood from the adjuncts and noun phrases used to describe the misery and deprivation of people during a few paragraph. Halit Ziya gives an exact picture of the need for a refuge in his story. The expressions which reflected with familiar verse of Yahya Kemal such as “Duyulan gökte kanat,yerde ayak sesleridir or kimi yerden kimi gökten üşüşüp her kapıya”,in Halit Ziya’s verses it is seen as a portray of divine light which covers the whole oppressed mankind. A close relationship is seen here in desired and undesired cases such as intuition and feeling with an outlook on objects and events and the obtained result. It can be detected that while expressing them regarding to diction it shows a parallelism or familiarity. It is clear without doubt that although one of them wrote a poem and the other one wrote a story, they thought in the same way about using language in a poetic way. Halit Ziya prolongs the geography of oppressed people, symbolized with the Eyüp Sultan community to East Turkestan and Indonesia by keeping it wider than Yahya Kemal. There are adjuncts that resemble Mehmet Akif’s poem when talking about the names of the countries in this geography and the oppressed people who live there. That is, we encounter people who came out of Akif’s poem. On the occasion of reflecting common cosciousness, mentality, perception and his prescience; an artist both is one of the effective factors in the society where he lives, and he performs an important task. As people who feel before the nation, in three of these abovementioned artists’ work places to be refuge or boasted are the mosques or its hinterlands. Yahya Kemal perceives the mosque both as a refuge and a place to be boasted that reflecting the lucky history. The mosque is a refuge for Halit Ziya,too. God which he heads towards with questions is a refuge for Mehmet Akif. If art charges the people who obey the rules of itself, in other words, if it charges the people who choose art as a tool of communication, with a duty above-mentioned artists fulfill this duty properly in the context of discussed texts. In this sense, it is seen in three of these artists that an artist is the public conscience when it is necessary. If art is something mirrors the society, the thing that seen in Yahya Kemal’s mirror is honor and greatness. Wailing and the place where that wailing is presented is the reflection in Mehmet Akif’s mirror. In addition to reflecting the pain and despair, Halit Ziya’s mirror reflects the hope that is in silence given by pain.