The novels "The Leopard" by Giuseppe Tomasi di Lampedusa and "Memed, my falcon" by Yashar Kemal, both imply past histories of shifts in power, that is, shifts in class systems. Yet each novel is told from a different point of view: The Leopard, from the point of view of the upper-class aristocracy displaced in southern Italy between 1860 and 1880, and Memed, my falcon, from the point of view of Turkish farmer/servant fighting for his rights. . The central romantic love relationships of the two novels strongly reflect this. Di Lampedusa's novel contains a practical relationship, that between Angelica and Tancredi, which will bring status to her and money to him. In contrast, Kemal's novel presents true love between two devoted partners in which the relationship is in total opposition to all these practical considerations. Say no to plagiarism. Get a tailor-made essay on 'Why Violent Video Games Shouldn't Be Banned'? Get an original essay In the central scene of the love story of "The Leopard", of Lampedusa he writes "Tancredi did not realize, or was perfectly aware, that he was dragging the girl into the hidden center of the sensual cyclone" (The Leopard, p. 107), and this is almost all that holds the couple together. We later learn that Prince Fabrizio, Tancredi's uncle and surrogate father, had always known that Tancredi "would go hunting for a rich marriage... like a predatory adventure" (Il Gattopardo, p. 169) as he was an aristocrat in bankruptcy was supposed to induce this beautiful rich girl to secure her status. Angelica, for her part, is looking for Tancredi's title and the social doors it can open. With Memed and Hatché the exact opposite situation occurs, Kemal makes it clear that they are destined for each other since childhood because their destinies are intertwined. Yet both their lives are controlled by their feudal landlord, Abdi Agha, who wants Hatché as a bride for his inexperienced nephew Veli. When Memed finally escapes with Hatché, taking her to a completely secluded part of the forest, they are in effect fleeing the real world and Abdi Agha's grasp. The love scene in "Il Gattopardo" which I have already mentioned, sees the lovers exploring the abandoned wings of the Salina family palace in Donnafugata. Consequently, his eroticism is shot through with forebodings of decadence such as "the scuffle of mice in the ceilings above, or the rustle of some age-old forgotten letter" (The Leopard, p. 108). It also creates a scene of fright and horror, giving the lovers the excuse to physically comfort each other. In "Memed, My Hawk" the night when Memed and Hatché are in the forest, they are, however, forced to take off their clothes and dry them on the fire so as not to freeze to death. Here the erotic imagery is completely free of impurities. Kemal instead suggests "an uncontrollable desire... [as] her (Hatché's) breasts swelled between his fingers [and] little strands of hair curled behind her ears" (Memed, My Hawk, p. 79). Memed's passion for Hatché becomes heartbreaking, next to him there is a woman with perfect shapes, naked, who ran away with him. They both desire each other, but Memed, acting like the strong male of the popular epic tradition, grabs "her wrist so tight it hurts... and starts kissing her. Suddenly she can't resist anymore" (Memed, My Hawk, p . 80).Unlike Angelica and Tancredi, they are overcome by passion and actually have sexual intercourse. Once Memed and Hatché begin to embrace each other, there is no more mention of rain and cold. It is important that Memed and Hatché's wish comes true and that it happens outdoors, among the wild elements, next to a blazing fire. The flirtation of.