Can Yücel’s (1926–1999) translation/adaptation of Shakespeare’s Sonnet 66 is very popular among Turks. Adorning notebooks or walls of teenagers and young adults, Shakespeare’s Sonnet 66 is still part of youth culture in Türkiye for several reasons. One important reason for the popularity of Yücel’s Sonnet 66 is how Turkification heightens the social criticism apparent in Shakespeare’s version, which has been consciously used by left-wing activists. Yücel’s Sonnet 66 is instrumentalized for anti-establishment criticism of social inequality and gender discrimination associated with authoritarian powerholders. The music group Ezginin Günlüğü’s song “Vazgeçtim” (1995), for instance, sets Yücel’s lyrics against their rhythmic music as an ironic witness of the sorrows amid domestic political corruption and the many international humanitarian tragedies like the Bosnian war. Efkan Şeşen’s progressive rock version (2010) that underscores the socially critical aspect of Sonnet 66, in this sense, can be taken as a continuation of the spirit of the sonnet’s reception as part of protest music. Yet, interestingly enough, a shortened version of the lyrics has been used by a conservative singer, Mustafa Demirci (2002, 2015), known for religious music, to comment upon the transience of life. This adaptation might have inspired Haluk Bilginer’s performance of Sonnet 66 in 7 Shakespeare Müzikali (2009–2011) which dramatizes the seven ages of man and concludes it with a recitation of Sonnet 66 while shrouded by fellow performers. While Yücel’s translation of Sonnet 66 initially inspired left-wing social criticism and popular youth culture in song adaptations, it has created bridges between polarized ideologies in Türkiye. Accordingly, this chapter will outline and comment upon a social history of Turkish songs that adapt Can Yücel’s translation of Shakespeare’s Sonnet 66.