Güven Çelebi et Halise Efeoglu en sont les principaux responsables, mais pour des raisons très différentes. Sancar est suffisamment observateur pour remarquer leur similarité, Addiction Au Casino Comment S En Sortir après la débâcle des mystérieuses fiançailles de Kavruk, à la grande stupeur de sa mère. Il existe une animosité réciproque de longue date entre ces deux aînés. Homme méprisable et faible qui fléchit sous la pression, Çelebi choisit de sauver « sa réputation » et de protéger celui qui règle ses dettes plutôt que son propre enfant. Par la suite, son comportement ne fait que confirmer notre opinion de sa personne, un parasite dédaigneux qui se nourrit des autres pour ses intérêts personnels. Une telle attitude ne reste pas sans conséquences néfastes. Voulant devenir un homme à part entière, il se livre à une malheureuse alliance avec sa mère, désespérée et risquant de perdre sa renommée, après le retour de bâtons du complot manqué contre Nare. Tout cela a plus de valeur pour elle que la justice, la vérité, la compassion voire même le bonheur de ses enfants. Le mérite en revient à Nare qui ne se venge jamais de la sorte. La jolie jeune fille aux yeux verts que Halise a sélectionnée pour son fils semble très douée en tant que comédienne. Avec sa belle-mère, elle se montre comme la belle-fille toujours dévouée, celle qui attend ses instructions et qui les suit à la lettre. Sefirin Kizi is much more than an epic love story since it concerns itself with everyday themes which the viewer can relate to easily such as friendship, sibling love, matriarchy, the family, honor and loyalty woven into a narrative which explores the complexity of love in its many forms. Analyzing filial love first since the family lies at the heart of the socio-cultural milieu of the Turkish people; the series introduces its viewers to a number of families: the Efeoglus, the Isiklis, the Çelebis and three orphans, namely Elvan, Kavruk and the antagonist Akin. None of the families are complete in the sense that each is headed by a single parent- matriarchs in the case of the Efeoglus and Isiklis while the Çelebis are represented only by a stern patriarch. What all them have in common is the emphasis they place on the value of namus honor regardless of the social status the family belongs to. This fear of how the public will perceive the standing of the respective family is what drives the tragedy relentlessly forward. Güven Çelebi and Halise Efeoglu are the main culprits in this respect but for very different reasons. The over riding fear of losing face does not prevent him from creating havoc in the life of his only child when she seeks his sanctuary after her horrific rape. Çelebi cuts a truly sorry figure as a father, as a senior representative of his country, as a gentleman and as an elder. His subsequent behavior continues to endorse our view of him as a parasitic individual feeding on others for his own selfish reasons. Halise, played by an aristocratic looking Konca Cilasun puts in an impressive performance and is as arrogant as Çelebi. Of all his siblings, he is the only one who has the courage to stand up to his mother. That is not to say that he loves her any less perhaps more than she herself realizes! Above all, he is at heart a kind and truthful man despite his propensity to distrust everyone and act imprudently when angered. Halise is neither, since she can be ruthlessly selfish when the situation requires and that is where she falls foul of Sancar. Such highhandedness does not come without tragic results. Halise is also not above wriggling out of awkward situations when required, leaving Menekşe to be held solely accountable after their mutual plan to slander Narê fails again. But her worst failure is in not preventing Yahya from throwing Elvan out of the house for giving evidence against his mother in court. Halise continues to play the role of a hard, selfish, self centered, self serving woman whose fear of losing her newly gained wealth and social status holds more value for her than justice, truth and compassion or even the happiness of her children. We cannot help but be appalled at the cruel manner with which she treats Kavruk for daring to have feelings for Zehra. In blackmailing him she falls further in our eyes as we expect her to behave with a little compassion towards a man whose family has selflessly served the Efeoglus family for generations. Sancar however, has never forgotten his roots and social differences appear meaningless to him. He has never forgotten what it is to be poor nor is he willing for a moment to set aside the love and respect he has for Kavruk. Halise continues with her imperious ways as she unceremoniously announces to a wretched Menekşe that she must be prepared to divorce Sancar after her attempt to slander Narê fails. The credit goes to Narê who never Addiction Au Casino Comment S En Sortir in like measure. That perhaps is her only redeeming feature for the present. Menekşe Tulin Yazkan is a different kettle of fish however; as the slight, gray eyed pretty young girl that Halise handpicks for her son appears adept at play acting. With her mother-in-law she is the ever dutiful bride waiting upon her and following her instructions to the letter. So well does she play her part that very few people are able to perceive that the seemingly soft spoken, wide eyed, docile girl act is merely a cover for a ferociously ambitious woman who dreams of becoming the future mistress of the Efeoglu mansion. Sefirin Kızı destansı bir aşk hikayesinden çok daha fazlasıdır, çünkü izleyicinin kolayca kavrayabileceği günlük temaları ele alır: dostluk, kardeş sevgisi, anaerkillik, aile, onur ve sadakat, tüm bu duygular, sevginin karmaşıklığını birçok biçimde ortaya koyan bu hikayede yer almaktadır. Aile, Türk halkının sosyo-kültürel ortamının kalbinde yer aldığından ilk olarak evlat sevgisini analiz eden dizi, izleyicilerine birkaç aileyi gösterir: Efeoğulları, Işıklılar, Çelebiler ve üç yetim, yani Elvan, Kavruk ve karşıt karakter Akın. Hepsinin ortak noktası, ailelerin sosyal statüsüne bakılmaksızın « namus » kavramı üzerine yapılan vurgudur. Güven Çelebi ve Halise Efeoğlu bu durumun ana karakterleridir, ama çok farklı nedenlerle. Sancar, ikisi arasındaki benzerliği fark edecek kadar dikkatlidir.
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