The poetry is the founding memory of Turkish society. It inoculates resistance to social memory with the visible and the invisible. It expands its bed with references to the history and historical. It announces the necessity to refine life and make life livable. It provides the opportunity to look at the present time by keeping the undercurrents of bracketed lives. It is the basis for the behaviors to become crystallized that will re-establish the experience. It builds the sensitivity to not to join with the attitudes of going blindly and marching in vain in the heart. It commands that the aesthetic should be on the side of the useful in man's fight with himself. It calls to be vigilant against impureness. It kneads epics from words that will ignite the will to liberation. It provokes the struggle to be protected against the nihilism. From past ages to the present, the poetry is the fascinating manifestation of the word. While it was traced from heart to heart orally without being written down before, it was embodied in writing in the modern period. However, the oral tradition has continued its functionality until recently. The epics, which are the products of the oral tradition, are the yields of the common memory. As the efficiency of the collective memory, it becomes embodied with the speech and gradually turns into a narrative. It flows from tongue to tongue, throughout the times lived. It creates path for the pathless and shelters of hopes for the weak.

The epics resound as the voice ans speech of the land and the culture they were born into. Although they have the appearance of being formed around a hero, they appear in the form of anonymous structures. They carry the sound texture, emotional texture and living texture of the culture and civilization in which they were born. They teach the lesson of not losing directions in time. Bringing breezes from the lives of exemplary personalities, they undertake the task of pulling people out of the crumbling passages of loneliness, desolation and oppression. They convey the rejuvenating breath of peace and tranquility into the pores of the heart, which turned into rivers of tears. They make a vow to drop amen from heart to heart by being embroidered on the framel of the universal human voice. They carry out the signs of the strong structures of life within us. The epics that weave the legend of the nation have an important function at this point. Because the nations that gave birth to their own heroes shape the history by giving birth to their epics. Those who do not have an epic are those who do not have a hero. In this sense, the history of the Turks is very rich in terms of epics. The epics such as "The Epic of Battal Gazi", "The Epic of Danişmend Gazi", "Hamza-name", "The Epic of Saltuk Gazi", "Müseyyeb-name", "Ebû Müslüm-name", "The Epic of Alp Er Tunga", "The Epic of Oğuz Kağan", "The Epic of Ergenekon" and "The Epic of Dede Korkut" are very rich in terms of narrative possibilities and historical materials. They contain a wealth of materials that can guide us in modern times. They are the source of conveying the values that make us who we are. They indicate what needs to be done so that the social organism does not disintegrate. They lay before us the possibility of the ruined nation's consciousness to turn green.

The modern times are the times of humanity without heroes or epics. Because the devices have taken the place of man. The treacherous plays are planned and staged all over the world. With the show of machines, the wars are lost and the wars are won. The lives are wounded and the fires are extinguished in all respects. Instead of beauty, ugliness is planted in the soil. The man is removed from being a shelter for man. While the machine should be under the command of man, man is turned into a toy of the machine. With the commands loaded on the machines, the conscience of the man is destroyed and the validity of the emotions is stopped. The heart of man is almost made to harbor the circulation of volleys of fire. With the abstract-concrete walls built against the light, the bearings is eliminated. The market of the times that open to murders and applaud mass murders is being created. Man is disassociated from the historical root example.

Despite what has happened, the tradition of telling epics continues in the undercurrents of human memory. The epics have continued to be written by poets with modern narrative techniques. Although the epics in question have artificial features compared to traditional forms, today there are a considerable number of examples with epic features. The modern epics such as Nazım Hikmet'z "The Epic of Sheikh Bedreddin", "The Epic of Liberation War-The Epic of National Militia", Fazıl Hüsnü Dağlarca's "The Epic of the Three Martyrs", "The Epic of İstanbul-Conquest", "The Epic of Çanakkale", Gülten Akın's "The Epic of Maraş and Ökkeş", "The Epic of Seyran", Mehmet Niyazi Yıldırım Gençosmanoğlu's "The Epic of Gençosman", "The Epic of Malazgirt", "The Epic of Alperenler", Cahit Tanyol's "The Epic of Foundation and Conquest" can be given as examples. The mentioned epics consist of an effort to interpret the historical with a contemporary sensitivity by looking at the period in which the language masters lived, and they are among the successful epic/poetry examples of modern Turkish poetry. By reading them in depth, the insightful information can be obtained about the spirit/basic dynamics of the individuals and periods they deal with. Moreover, it is possible to reach information and sensitivity specific to the people and periods in which they center the narrative. In the epic of Maraş and Ökkeş, one of the epics mentioned above, the liberation of Maraş from the British/French occupation is told. Gülten Akın lived in Maraş for a while in the 1960s. The poet, who is a strict observer, builds her poetry by reading what happened in the 'War of Liberation' on the one hand, and listening to live witnesses on the other. Having the opportunity to get to know the people of Maraş closely, the poet witnesses the kindness and the impatience of the people of Maraş as an insider. In the beginning part of his poem, he states that 'The people of Maraş are the ones that flow like water'. According to the poet, the people of Maraş have their hands on pepper, paddy, cotton; they work silver, carve, sew boots, dances sinsin, halay and diz kırma. They always have an occupation and something to do. From the poet's point of view, idleness is not among the characteristics of the people of Maraş. They try, they try all the time. They fulfill the duty of being self-sufficient. The honor and love of the people of Maraş can be read from their eyebrows and their "eyes share the light and the night". They do what they do masterfully. They wear their minds only for their work. When appropriate, they are 'headstrong and haughty'. They are the ones who rebelled against Eastern Rome and escaped from the Mongol front as the Turkmens from the Afşar tribe and came to Maraş.

After the Seljuks, Ilkhanate, Armenians and Mamluks, it became a homeland for the Turkmen tribes. It was able to create a whole state from one tribe by gathering the tribes in its region with the Afşar tribes who unfurled their flags: Dulkadiroğlu. By defying Egypt and the Ottomans, it expanded its borders to Diyarbekir, Kayseri and Hatay. They hearded their sheeps in Kırşehir plain. They gave sultans such as Devlet Hatun, Ayşe Hatun, Emine Hatun and Sitti Hatun to the Ottoman palace. Yavuz, who was born to Ayşe Hatun, gave Maraş as homeland to Doğu Beyazıt Lords. From then on, the people were divided, one part counted Dulkadir, while the other counted Skanderbeg. The blood has fallen to the middle now. However, the people of Maraş always maintained their fondness for freedom.

‘Yüzüğüm mühür benim
Çektiğim kahır benim
El oğlunun yüzünden
Yediğim zehir benim’

they said. With the remnants of migrations and fights, they made Maraş their homeland and undertook to defend it. The Maraş, on whose mountains the francolins and partridges sing, thyme, crocuses, as well as all kinds of flowers bloom, is fertile piece of land where rice grows in its plain. It is famous for its plains that make a mountain out of a molehill It has important conveniences in providing what is necessary for living. It is an art center as well as being a stopover for caravans in history. In summary, it contains the features that will be fought for. Due to the listed characteristics, the eyes of the British and the French remained in Maraş. They sought the opportunity of occupying this place at the appropriate time and making it a homeland. And they invaded when they had the chance. When the Ottoman became a sick man and was shared among the invaders of Anatolia, they got what they wanted. They tried to come here from the direction of Antep. Their only crossing place is Aksu bridge. Of course, they have to prevent the passage of the enemy. It is necessary to hold the roads, to block the paths. It is necessary to be alert even for the whitish cloud rising from the Mediterranean. They cannot stand doing nothing. Aksu bridge needs to be demolished. The bridge is demolished and Aksu does not allow passage. However, the destroyed Aksu bridge is rebuilt by the British and they enter Maraş. The Armenians become partners of the British. There are also Indian Muslims among them. They convince the Indian Muslims to the lie that they will protect the caliphate by saving Maraş from occupation. Finally, with the understanding of the lies that cannot be hidden in the sheath, the Indian Muslims stand by the people of Maraş. They carry weapons from the arsenals of the British to the Muslims. Thus, the deception of the collaborating Armenians is exposed. Ökkeş who witnessed the situation closely says,

‘Akdeniz’den kopan bir akça bulut
Varıp parçalandı Maraş üstünde
Nemi bana kaldı
Antep’ten kopan İngiliz
Narlı’yı geçip yürüdü
Gamı beni aldı
Ben bu gamı taşıyamam
Ben bu gamı taşıyamam.’

In order to prevent the British occupation he says,

‘Çal köprüye yıkılsın
Geçit verme İngiliz’e
Ne köprü kalsın ne gam’

and he wishes to demolish the Aksu bridge, which is the crossing point from Antep to Maraş. In this way, it is thought that the British will be prevented from entering Maraş. He expresses his pain, his sorrow, about it. He turns his sorrow into a drum and make the Turkish and Turkmen hear it. The sorrow is expressed as follows,

‘Ökkeş, bir kocaman davul yaptı gamını
Çaldı Türk’e Türkmen’e
Aksu köprüsünü alıp attılar
O zaman Ökkeş’in yüreği
Büyüdü dağlar kadar
Kaynadı kazan gibi
Maraş’a bir tek gâvur
Sokmamaya andiçti
Andiçti, ola ki girerse
Ölesiye vuruşmaya,’

with a decisiveness so as to make everybody hear it. Then, the geographical conditions of Maraş, the economic situation of the people, and the productivity of the Maraş plain are explained in the poem. It is said that

‘Kuzeyde bol sulu Ahır dağları
Batıda Amanos, Gâvur dağları
Bitektir Maraş ovası
Bire yüz verir
Ve dünyada bütün benzerleri gibi
Halkının azı çok zengin
Çoğu, çok fakir
Ya bir inişi inerler
Ya bir yokuşu çıkarlar’

Established at the foot of the Ahır Mountains, Maraş is surrounded from the west by the Amanos Mountains and the Gavur Mountains. The plain begins where the mountains end. The smiling face of the cultivated lands welcomes you. In fact, as a necessity caused by geographical conditions, Maraşlı either descends or ascends the slopes. Those who live in Maraş have no other choice than this. The people of Maraş living in Hittite, Assyrian, Roman, Arab, Seljuk and Ottoman periods, by establishing his own bazaar with what he inherited from these civilizations, he gained the mastery of processing copper, gold and silver with his dexterous hands. ‘The masters in the Maraş bazaar;

‘Hitit’in toprak boyunluğundan
Bakır muskaya, demir idollere geçmiştir
Başlıkta kalkanda kılıçta
Altın işlemiştir, demir üstüne.’
Demonstrating his skills with a grand mastery;
‘Sonra gümüşü kullandı
Simden dallar, sırmadan sular
İşlikler cepkenler bindallar
Ağelleri elvan elvan nakışlı kızlara
Ağca ceylan, ablak sığın sekişli kadınlara
Sarhoş yürüyüşlü, şahan bakışlı delikanlılara
Kur’an kaplarına ceylan derisi
Sedef kakma konsollarda lambalıklarda
Ve bir eyer vurdu Arap atına
Arap ellerinde vurulmamıştır.’

He made embroideries with an elegance that cannot be found in other lands. The people of Maraş, who put their unique understanding of beauty into effect, showed their appreciation on their embroideries with masterful embroideries. They knew how to make what they touched with their hands special for themselves. The masters reflected the handiwork and the brilliance of the people of Maraş with what they did. Gülten Akın, in her Epic of Maraş and Ökkeş, deals with what happened in the city in the twenty-two days between February 22, 1919, and February 12, 1920, the date of liberation from the British/French occupation. First, the British come to Maraş. Next to them are Armenians from Zeytin, and in front of them are the band of Transanta priests. They are greeted with flowers in Şeyhadil and applause in the government area. Then they shout in unison:

“Hurra, hurra, kahrolsun
Türkler, yaşasın Fransa!”
What is said evaporates where it is said.
The people of Maraş do not lose;
with its Turks, Turkmens!
Waits for the day of the watch.
When the war begins, the reality,
‘Kahrolmadı Türkler
Kahrolmadı, Türk’ü Türkmeni’yle Maraşlı
Düşündü başını önüne eğip
Birleşti, kocaman bir yürek oldu’, shows its face.

After the British, the French come to Maraş. There are also Algerians in the French regiment. The game partners of the French will also be Armenians. The joint actions of the Armenians and the French bring about a hellish life in Maraş. Ökkeş's wife and all mothers continue to raise their children with lullabies. However, after that, the pain of the invasion also permeates the lullabies. On OCTOBER 31, 1919, people from Maraş wake up to a bloody Friday. The Algerian soldiers and French conscripts are seen marching through the streets. Not a single one of the oil pots, molasses pots, woven woolen saddlebags and white sacks are sold in the bazaar. The people of Maraş continue their silent, patient wait. The shutters of the bazaars are lowered, the day turns to evening in Uzunoluk. While the invaders are in joyful tunes and happy laughter, Turkish neighborhoods are in grief. While returning from his job, Mehmet, son of Nasır, is besieged by Armenians in Şeyhadil. He is killed without a reason. He is covered in blood and mud. Thus, he becomes the first martyr of Maraş. On the same day, women leaving the Uzunoluk bath are taunted. The women are asked to open their veils. French soldiers;

‘-Burası Fransız kenti
Açın, açmalısınız yüzlerinizi Diyerek
Peçelerine el attı.
Tepindi çığlıklar, kahkahalarla küfretti.
“Doğru yoluna git” dedi Maraşlı “Doğru yoluna git, yoksa...” dedi Çakmakçı Said.
El attılar silahlarına
Akşam iki yaralı çıkardı dereden
İngiliz devriyeleri

One of them is Çakmakçı Said. Sutcu Imam sees what is going on from his shop. He cannot stand against what happened. He takes his Karadağ gun and fires it to the one who shot Said. After that, Sütçü İmam runs away and is chased. First Cancık Cave, then Bertiz. He prays 'Show me the Liberataion, take my life'. Kadir from Tiyek is shot on the Antep road. On the same day, Ökkeş son of Mustafa is also shot. Now is the day of anger and the time has come to confront the enemy.

‘The revenge of the blood falling on the ground
Should be taken one by one’

‘On November 1919, they surrounded the telegraph office to cancel the communication. They do not leave the telegraph officer İsmail's side. İsmail is brave, courageous, smart. From now on, it is the wires' turn to show their skills. Born to a Turkmen woman between Maraş and Binboğa, Ökkeş grows into a man. The gifts ara given, the tables are set, and the feasts are celebrated. They dance sinsin, halay. The wedding takes place. He marries with the bride, Eşe. While Ökkeş was descending to Narlı, while he was demolishing the bridge, while looking at the unfaithful from the Maraş castle, he leaves his bride, Eşe at home and goes. He dresses like he's going to a wedding. While his first baby is in the cradle, before the the henna on his hand fades, undeterred by the fight, he gathers his comrade and brother together and gathers his gang in a place close to Maraş. He walks into the middle of the fight that will continue until liberation. On November 1, 1919, the last British forces leave the city without a flag, band, applause, or ceremony, with the change of the master of the local unfaithful. The tension in the city reaches its peak. The people of Maraş asks the French to make the unfaithful Ellik leave the city. The situation becomes more and more sensitive. The danger has released its approaching scent in all directions. On November 24, 1919, Governor Andre is sent to Maraş. Andre is met with outrageous demonstrations. The French completely settles in the city. By breaking the seal of the arsenals, the Armenians take up arms. In the middle of the night, they shoot Suphi, the police. The heart swells up like a mountain. The French, who wake up and go from order to order, sent another battalion of Tunisian Muslims to the city.

'NIGHT OF 13-14 NOVEMBER', new orders are applied. Turkish youth are provoked with weapons. After having lunch at Kadir Pasha's mansion, Governor Militer Andre goes to Hırlakyan Agop's house. The people of Maraş have an eye from head to toe and spy on the enemy, who is not secretly hidden. The situation is reported to Mustafa Kemal. Andre calls the noble and rich Turks. The governor behaves timidly. The people gather early at Boğazkesen Mosque. They make the decision not to answer the call of Andre. In the face of this situation, Andre, Hırlakyan Agop and his sons Osep and Setrek get angry. They open the bits of cruelty and oppression. The Turks cannot pass the Akdere. A Turkish patrol is fired upon from the house of Hırlakyan Avadis in Kuyucak. Governor Andre settles in the government house. The government is ordered to lower our flag from the bastions of the castle. By expressing the sensitivity of the Turks about the flag, the governor asks for a few days' respite by expressing the kindness of the situation. By declaring that the flag should not be touched, he states that he will fulfill their requirements. Unable to endure the threats and blackmail, he finally sends word to the gendarme commander and has the flag lowered. The flag falls and becomes ember. It gets pierced and becomes porous. And the heart grows a little more. That night, when he wants to dance with Virgin, the daughter of Military Governor Andre Hırlakyan, he gets the following answer,

‘-In the castle of Maraş
While the Turkish flag is still waving
I can't dance with you, commander. When the gendarmes in the castle order the flag to be lowered from the bastions, Virjini dances with his master. In Maraş;

‘Haddeden geçirip altını
İpek teline sararlar
Kılaptan olur
Altın yaldızı vururlar
Ak gümüş üstüne ince elleri
Barışta ağıtlar gibi yumuşak
Çağ gelir kavga kurulur
Silahı sim kemerinde
Al kanat küheylân olur.’
The people of Maraş;
‘Romalı Dakyus’tan bu yana
Kaç hayın, kaç zalım görmüştür
Kaç kıya, kaç yıkım görmüştür
Çekilir sabır mağarasına
Yedi uyurlardan olur’

'On NOVEMBER 28', 1919, it's time to act. But they wait patiently. They will not fight when it is not the time. Even if women's veils are taken and their brothers are shot, they remain silent and wait for the day. There comes the Friday. When the hearts fire, they agree on the following idea,

‘Ey millet-i necibe-i Osmaniye, denildi
Saklı bildirgelerde
Yenilecek misin düşmana
Bayrağın yerde mi kalsın
Kaldırmayacak mısın
Kölesi mi olacaksın korkunun
O Cuma, camilerde namaz kılınmadı
Bağırdı halk
Bayraksız namaz kılınmaz
Tutsağın namazı kabul olunmaz’.

The people march and the shutters of the whole bazaar are lowered. The Armenians cover down in their homes and turn into a black lump. Running from the slopes, crossing the bastions, the people pile up on the castle plain one by one. The unfaithful, who fall in the relentless fears, cannot draw their arms. In the face of the gravelled infidels;

‘Corporal Osman, who was the first to surpass the bastions, lifted the flag from the ground and kissed it and hung it on its pole.
And the people whose eyes dried with grudge
Cried for the first time
Swore loudly for the first time:
‘Before Maraş becomes our grave
It cannot be a garden for the enemy!’

It's the coldest time of winter. The old people, the weak, the children, whoever has a buckboard, horse-drawn carriage, starts to flee towards the distant mountains, towards the far villages, with the relentless war. According to the children, the game/war played with holy flags; it's a bit of a handkerchief game and a bit of a prisoner's base. For the elderly, it's mostly poverty, famine, hunger, and fear. Because the warehouses of the mountain villages, where nothing was put in the summer, were empty, and hunger took over the management. While the children cry with a dull roar, the dogs bark desperately. The escape reigns its kingdom: Towards mountains, distant villages. Andre tells the people he talks to in the bazaar that these places are given in return for the debts taken by the Istanbul government. So he expresses his rightness and strength at every opportunity. Ökkeş thinks that if the Istanbul government had sold themselves out, could they have word on us? The owner of our land cannot be anyone but ourselves. The unfaithful cannot take a single inch of it without trampling on our death. The Military Governor Andre; never speak to the public again. He gathers the notables of the city and says,

‘-Biz ki Avrupa’nın uygarlığını
Getirmek istedik yurdunuza
Mutluluğunuz için neler yapacaktık
Nedir, bir parça bez için
Kopardığınız bunca kıyamet’. Then he spreads his arms and asks the following question,
‘Şu kolum zulümdür, öteki yardım
Hangisine sarılırsınz
Savaşmak mı dilersiniz, bağışlanmak mı?’
In an immediate answer, they say,
‘-Devletiniz, saldırgan Fransa devleti
Dört yüz yıl önce padişahımız
Kanunî’nin kanadına sığınmıştı.
Sizin vardığınız uygarlığı
Maraş birçok kez yaşadı
Biz kendimiz yaparız yollarımızı
Halk kimseye düşürmez dulunu, yetimini Memurlara aylık verecekmişiniz.
Aylığından hangi memurumuz yakındı Hem siz
Söyler misiniz, hangi iradeyle geldiniz.
-Bunu kendi padişahınızdan sorunuz
-Yetkinizi kabul etmiyoruz
Gidin burdan
Yetti zorbalığınız, kıyalarınız
Bozdunuz, yıktınız, yaktınız
Eksik olsun bize getireceğiniz Uşağınız Ermenileri çekiniz
Halkımız adına duyuruyoruz.’

The commander Andre, who is sent to Antep on DECEMBER 4, 1919, will never return to Maraş. The new commander is Keret. Maraş enters a complete battle order. They collect their weapons and establish their governance. A connection is established with the scattered gangs in the region.
Keret is informed that they do not comply with the agreements and disregard international principles. The people of Maraş say that they will tell what they cannot explain with words, with their strength and with their arms, so that the addressee does not forget. In return for General Keret's four thousand soldiers composed of Senegalese, Algerians, French and Armenians;

‘For Maraş, everything is a weapon.
Everyone is a soldier'.
The people of Maraş use fire as a weapon to destroy the enemy's nest, sometimes burning their own houses. The telegraph office is moved to Maksutlu.

On January 2, 1920, the French forces in Maraş are supported by a significant number of soldiers brought from İslahiye. However, Maraş gangs under the command of Muallim Hayrullah Bey defeat the enemy on Bababurnu and seize their weapons and ammunition. The Bertiz and İmalı gangs under the command of Zafer Bey attack together and melt the new forces of the French like snow. It is reported by the French commander that the Turks walking around with weapons will be shot. In fact, it is added to the explanations that two Turks will be hanged for every French dead, that the streets will be randomly blazed with machine guns, and that the officers will be fired with lottery. On January 20-21, 1920, Cennet Ali from Nedirli village defeat a French battalion with his ten-man gang. Descending from Bertiz to İncebel with his gangs, Ceneviz Mustafa fights valiantly against the French in the north of the city. The Imam of Keşfili Mosque, Yahya Efendi, also silences the machine guns that drove bullets on the city. As the Ahır Mountains are hit by the French machine guns, the interior of the city consists of fire, smoke and ruins. 'On February 1', when the French set the bazaar on fire, the Mevlevi lodge, municipality, shops, churches, mosques, houses are burned to ashes. The smell of death and the heavy smell of burns mixes with the air of the city. On 'February 6', an enemy reconnaissance plane hovers over the city skies. They reach the conclusion that new aid will come to the French. The French unit, consisting of a mountain battery with 300 infantrymen, settles on the shore of Erkenez Stream. The cannons directed towards Maraş are responded to from the castle. The French, caught between two fires, take the Mercimek Tepe. In the face of the fierce hunger that descended on Maraş, Aslan Bey gives hope and calls the people of Maraş to endure. An oath is made to anyone who agrees with the enemy that the weapons will be turned. When the Kümbet and Protestant churches, Kaledibi, Şekerdere, Tekke, and Kırklar are taken down, those who are driven to Abarabaşı, churches, Eytamhane and barracks one by one, suffer heavy losses, leave the city and flee, except those who are exhausted, desperate, and perished from hunger and cold. The news spreads in the city that the French has fled. The news spreads from the city to the mountains. When the news of the first victory flows from place to place, it becomes an epic. Mister Layman pleads for mercy from the Turks. The Armenians surrender. Maraş is liberated now. The liberation became an example to the oppressed nations. It has become the first epic of the War of Liberation. The first war veteran. The first hero. ‘The Epic of Maraş and Ökkeş’ has been written for it. Maraş is liberated and the heart of Ökkeş calms down. He has begun to feel tired, cold, and sleepless. One day, after sleeping one night, he gets up and dances halay accompanied by drums and horns. When Ökkeş finally returns to his village, he begins to talk about his experiences as he speaks. But keeps in mind that they should be alert! While speaking:

‘-Asıl sonrasını dinleyin kardaşlar
Kapılacak nemler vardır
İşler vardır bellenecek
Bir kez yenilmeyle gider mi düşman
Döner gelir, yine gelir, yıllar sonra gelir
Dostluk suları yürütür aramızdan,’ he says.

If the enemy extends the hand of friendship with excuses such as helping those who saw the doom, repairing the destroyed places, he will take the heads in return. Being aware of the situation, the people of Maraş did not extended their hands, when the enemy came for the second time, he knew how to say take your help and go to hell.
According to Ökkeş, there are still things to be alert about and roads to be walked. It is necessary not to lay down the arms, to come to the rescue of the neighbors. For him, the people of Maraş are as follows:

‘Maraşlı, elini vermemesiyle
Silahını bırakmadı
Yetişti komşularının yardımına
Antep, Haruniye, Osmaniye, Adana
Savaşa yeter demedi
“Ya İstiklâl ya ölüm”
Bütündedir gerçek kurtuluş çünkü
Ancak kurtulduğunda bütün vatan Bıraktık silahımızı.’

The people of Maraş laid down their arms when the country got liberated from the invasion.