Remembering the kinship of Turkish literature to the Arabic and Persian, it would not be difficult to surmise that woman would hold no insignificant place in the literature of Turkey. While there are as many as twenty-five different written languages used in the Empire, the literary language is a product of the original Tartaric tongue and strong Persian and Arabic elements. Very much of the romantic material that goes to make up the Turkish literature is drawn from such early stories as the great Persian epic _Shahnamah_. The romance of _Laili and Majnun_ has made a deep impression in Turkish literature. Fuzuli of Bagdad, one of the greatest of Turkish poets, has reproduced the strong love of these characters of old Persian legend, besides giving to the nation's literature many _ghazels_ in which fondness for the virtue of woman is presented with characteristic Eastern passion. The Persian lady also figures in the work of Kemal Bey, who was regarded in his lifetime as "a shining star in the Turkish literary world," and one who did much to arouse the Turks to enthusiasm for their native country. He was the author of a trivial novel _Tzesmi_, of high repute in Turkish literary circles, in which a Turkish warrior of poetic talent and a Persian princess figure. There are numerous love ballads of Moorish origin that are highly prized and have greatly influenced Turkish literature, such as _Fatima's Love, Zaida's Love, Zaida's Inconstancy, Zaida's Lament, Guhala's Love_, and the like; also much Moorish romance, as _The Zefri's Bride_. So we find Turkish poems breathing of love and womanly charms. Among such productions is that of Ghalib, whose _Husn-u-Ashk_, or _Beauty and Love_, is regarded as one of the finest productions of Turkish genius. It must be remembered, however, in reading Turkish poetry of love that there is often, if not indeed generally, beneath what seems to be a sensuous and even voluptuous song or romance an allegorical or mystical significance. God is the Fair One whose presence the heart craves, and whose veil the suitor would see cast aside that his perfect beauty may be revealed to the worshipper. Man, therefore, is the lover; the tresses are the mystery of the divine character; the ruby lip is the sought-for Word of God; wine is the divine love; the zephyr is the breathing of His spirit; and so on. And yet, that many Turkish, as is true of many Arab and Persian, poems are upon a low moral level of human passion, and are revolting to the ethical sense of the more sensitive natures, is not to be disputed. Fame in poetry has not been unknown to Turkish women. Notable among these literary women of Turkey is Fatima Alie, daughter of the former state historiographer Dzevdet Pacha, whose history of the Ottoman Empire takes high rank. In Fatima Alie, Turkish womanhood finds one of its staunchest champions.