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 feelingand transmitting this feeling in different societies and geographicalregions of the World. Therefore, an artist who realizes his communicationwith people by using the poetic function of language is given a leadingposition in terms of adopting common values. This is a position thatcovers and exceeds the political and administrative pioneering.Quality of truth turning into a literary work and being visibleemerges in artist’s figure. What makes an artist distinguished is hisawareness. His awareness is because of feeling before his contact inconsciousness and emotional level. Topics that an artist deals with maybelong to ontological nature of human being, and his unchangingaspects, the era he lives in, and the ongoing changes around him.According to his ability and nature, an artist presents eventsphenomenally, temporary one with permanent one, presents one witheternal one to his contact by making it visible.This study aims to show the common points of two poets and araconteur who we thought were performing similar topics. We are goingto try to evaluate from a sociological perspective by comparing YahyaKemal’s poem called “Süleymaniye’de Bayram Sabahı”, Mehmet Akif’sfifth 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 HalitZiya’s story named Hazin Bir Cuma.We can analyze the Yahya Kemal’s poem Süleymaniye’de BayramSabahı 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 itis unimaginable that these are unconnected and noninteractivesociological events from each other. It can be easily predicted thatBayram is one of the religious festivals which is also the title of poetry isa conscious preference to be mentioned.Culture/art is the another social theories that performed in thepoem. In the poem , in addition to beauty and perfection of Süleymaniyewhich symbolizes art at the peak point are emphasized, an architecturalhorizon and a goal are pointed at by the poet.Beyond being a symbol of the beginning of Turks taking place inAnatolia, an artist both consoles them and tries to find consolation inhimself with Malazgirt war that is in poem by reminding the nation thathave longed for victory for the last 300 years .There are concrete examples recorded in the national languagememory and used in this poem which has been worked on as art orlanguage and will probably be worked on after that.Mehmet Akif Ersoy’s literary work is the fifth text in “HakkınSesleri” which is the third book of Safahat. Because there is no title inpoem. It is more commonly known with the lines of “Agzım kurusun,Yokmusun ey adl-i ilahi”.It is poem that reflects Akif’s mind and faith Worldsignificantly. This poem that tells the meaning of uprising and wailing isnot 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 hasother poems like this. The presence of such dangerous and similarexpressions from the point of teller indicates that Akif shared the troubleof his nation and internalized it in the poem that we are going to talkabout. We know via poem in Safahat and in other works that Akif givespriority to social problems by benefitting from the opportunities of poemand seeks a solution for them by neglecting the his poem in terms ofrenouncing his art.The most predominant feature of this poem that began with a deepdespair is to express the desperation of society which he lives in with anequal intense feeling including that deepness by feeling the poet’sproblem deeply. The intense emotion that continuous all