#nihal

[ocherednoe-dno]

Nihil and Nihal

[alwaysright27]

“Hindley lifted her from her horse, exclaiming delightedly, ‘Why, Cathy, you are quite a beauty! I should scarcely have known you: you look like a lady now.”

(Wuthering Heights, Chapter 7)

“When Nihal stopped on the last stair, as if afraid to take another step, Behlül said, ‘oh, who is this? Who is this little, slender, elegant lady? I assure you, I do not recognise her…’”

(Aşk-ı Memnu, Chapter 5)

@princesssarisa

[gloriaglorheart]

Nihal and the Sorcerers!

OK SO THE TIME HAS COME!!! Since IDK who to ship Nihal with... I'm gonna have YOU ALL VOTE FOR IT!!! I'm gonna show the ship art, then I'm gonna explain the ship names! (Note: There isn't any of her and Alpheratz, since he is shipped with my sona in my lore)

Nihal is a star in the bunny constellation, and Vega is associated with snow a lot. On top of Vega's constellation is Lyra, Nihal is a magician, a performer. So I thought Melodic Hibernation would fit that well!!

Nihal, so far in my rewrite on Wattpad and Ao3, is a part of the dragon riding team with her yellow dragon named Goldie. Spica's family provides the school with the dragons used for dragon riding, plus he canonically likes the texture of dragon scales. I also think the gold in the name ties in well to Nihal's eyes and Spica's hair So we have Golden Scales

Since Arcky is a shepherd and Nihal is from the bunny constellation, I thought it would be cute to have a connection to the farms with their shipname. I consided the idea of connecting their eyes and hair to think of something cute and warm. Sunset Farmlands is here!

So this one was the hardest one to think a name for!! I wanted to keep in mind that bunnies are good luck, and that black cats, which Pollux is associated with a lot, are unlucky BUT can be VERY luck in other cultures!! I decided something that was similar to candy sounding to match Nihal's sweet personality and Pollux's love for them. Thus we have Fortune Swirl!

And last but not least!! This was actually the FIRST ship art I made!! Since Sirius is a dog (technically I think his constellation is a hunting dog? I may be wrong) and Nihal being a bunny, I wanted to use the dynamic of hunter and prey for them! And like I said previously, Nihal is a magician, so I wanted to associate the theater since Sirius is an actor!

So we have Stage Hunt!

And those are the ships!! ^^ So now, who do you liked Nihal being with more?

Who should Nihal be shipped with?

Melodic Hibernation (Vega x Nihal)

Golden Scales (Spica x Nihal)

Sunset Farmlands (Arcturus x Nihal)

Fortune Swirl (Pollux x Nihal)

Stage Hunt (Sirius x Nihal)

Voting ended onApr 26

[moonsingh]

Bihter and Nihal in Aşk-ı Memnu (1975)

The first meeting of stepdaughter and stepmother.

@his-own-kingdom I know you will love this ❤️

[elvenwomen]

[princesssarisa]

@moonbeamlightning

Here's a lyric excerpt from Wicked that reminds me of Nihal's ending.

That's why I couldn't be happier No, I couldn't be happier Though it is, I admit The tiniest bit Unlike I anticipated But I couldn't be happier Simply couldn't be happier Well, not "simply" 'Cause getting your dreams It's strange, but it seems A little, well, complicated There's a kind of a sort of, cost There's a couple of things get, lost There are bridges you cross you didn't know you crossed Until you've crossed And if that joy, that thrill Doesn't thrill like you think it will Still With this perfect finale The cheers and ballyhoo Who Wouldn't be happier? So I couldn't be happier Because happy is what happens When all your dreams come true Well, isn't it? Happy is what happens When your dreams come true!

Wicked, "Thank Goodness"

“Not a single, solitary word had been exchanged on either Behlül or Bihter between father and daughter. They were avoiding that unfortunate memory, and seemed to have forgotten the past few years. At rare moments, in one or two words, they dreamt of the future.

Adnan Bey had written the old governess a long letter, and received a short reply: Mlle de Courton would come at the beginning of winter; Şakire Hanım and her husband, having married off Cemile, would leave the two lovebirds in peace in their nest, and spend the last years of their life at the yalı; Bülent would not board at the school. There would once again be long chases around the garden, there would be deserts prepared among the shiny pots of the little kitchen, following recipes discovered in books. Life would once again be an endless holiday for them, now that the father had returned to his daughter, and the daughter to her father.

Only Beşir was missing. ‘Oh, poor Beşir!’ Nihal would say, and then, not wishing to dwell on this awful memory, she would continue, ‘isn’t that so, papa? How we will laugh, you remember, the way we used to laugh…’

And trying to find one of the happy laughs of her happy days, she would throw her arms around her father’s neck with a dry, broken laugh that caught with a sob of agony, would pucker her lips, and kiss him right there, on the bare, beardless spot under his chin.”

From Aşk-ı Memnu (Chapter 22)

[literatureismyentirepersonality]

Literary Isolation: The Heart of Charlotte Brontë

@faintingheroine answered an ask about Nihal’s isolation in Aşk-ı Memnu and by a series of tangential jumps in my brain, it made me realise that because Charlotte Brontë discourse can often focus very much on Jane Eyre, people don’t necessarily consider just how key a theme isolation, specifically intellectual isolation is in her work, as well as the wider work of women writers of the time.

The most famous example is of course in Villette, where Lucy Snowe is ‘alone’ at the pensionnat over the holidays and becomes ill, mirroring many episodes in Charlotte Brontë’s own life. This is the novel where Charlotte explicitly set out to confront female isolation.

Yet, in this particular instance there are several things to remember, the most mind-boggling being that neither Lucy nor Charlotte were literally alone. There were servants and other lower-class individuals around her who she was unable or unwilling to befriend. The issue is one of a supposedly intellectual difference, but realistically, a class-based difference.

As a governess in English homes and as a teacher/student at the Pensionnat Heger, Charlotte identified that she was operating in a liminal class space. She was neither as lowly thought of as a servant, nor as highly thought of as her employers/students. Even when the holidays were over and she had pupils and other staff members to associate with, Charlotte created false animosities between those who she perceived as above or below her in status, i.e., convincing herself that Madame Heger hated her because she knew of Charlotte’s feelings for her husband (she likely hadn’t a clue), convincing herself that all of her employers hated her (tellingly, reasons less clear). These apparently imagined animosities served to justify the sense of class isolation Charlotte felt and the feelings of isolation, the lack of equal friendships became key elements of her drawn-from-life style.

This isolation from ‘equals’ wasn’t just something Charlotte experienced when away from home, though her sisters and brother certainly supplied the lack. When Maria Brontë, wife of Patrick Brontë was alive, they were social creatures, often visiting and receiving visits from their friends/family in the local clergy, but after Maria’s death, Patrick alienated his female friends by asking them to marry him and, having removed to Haworth not long before Maria’s death, was at a distance from his friends/her relations in the clergy who had their own busy parishes to attend to.

Distance from these friends and business in the parish meant that the young Brontës were mainly in one another’s society; within Haworth itself, the other inhabitants were of a different class and that was a barrier only Branwell was content/able to cross, and not until he was of an age to frequent the public houses. School should have been an opportunity for more socialisation, but after the disaster of Cowan Bridge (the school that inspired Lowood, as repeatedly confirmed by Patrick Brontë and Arthur Bell-Nicholls), Patrick was tentative about sending the girls to their next school, and Anne and Emily both struggled with their health while they were away from home. Charlotte, however, made a few friends, and that she recognised their value can be seen in her handling of isolation in Shirley.

Shirley presents us with a heroine who is also in a liminal class space. She does not belong to the slightly bourgeoise class of new money industrialists, nor wholly to the respectable clergy because of her mother’s past. Yet instead of presenting her with a class equal, Charlotte Brontë presents her with an intellectual equal. Shirley transgresses class to end Catherine’s isolation, but also to end her own isolation as the only woman of status in the area.

One could argue that the Brontës are a unique case, but this is simply not true. There were many isolated parishes in England and no doubt many clergy daughters who grew up without being exposed to other children, and may not have been able to afford to go to school.

Much as Charlotte Brontë likes to distance herself from Austen, the same problem occurs in Emma, when Emma is left as the only woman of her class in Highbury and therefore must either live in complete isolation or associate with those who society believes beneath her. She cannot socialise as an equal, and no doubt there were other young women in Emma’s position, isolated only by their status.

In Wuthering Heights Cathy Linton is isolated in this same way, as were Isabella and Catherine before her. I suspect this is also part of Nihal’s isolation: she is of a particular status and is therefore mostly at home and alone. Those she might associate with are not accessible to her except in public places and until Bihter connects the family with the Melih Bey set, she does not have access to these public places. Yet Cemile is right there! But Nihal is separated from her by status and by false extension, intellect.

The loneliness that these women felt must have been very real, but it’s also difficult for us as modern readers to grapple with the fact that they were very much not alone. They were surrounded by people; the only thing between them and the social pleasure they desire is class structures and false intellectual superiority.

I think my end point is that isolation was a major problem for women of the period and one that is very pressed in literature, particularly the work of Charlotte Brontë. But that problem was not a simple one, and when viewing these works through a modern lens it’s important to recognise the unspoken aspects of these issues.

[julyzaa]

Calling one of my puppies Nihal after the Aşk-i-memnu character because everything bad happens to her and she loves her dad.