The Ottoman poems, of which we give the only English translation extant, that by E. J. W. Gibb, reveal the high rank taken by Turkish verse in the poesy of the East. The Turkish metres were many and varied, and the flexibility of the language lent itself to intricate forms of composition. In imagination and passion these Ottoman poems will hold their own in any company. “The Rose and the Nightingale” of Fasli, which has been for the first time translated into English in the present volume, is the elaboration of an ancient Persian myth with regard to the loves of Gul and Bulbul. There are numberless allusions to this beautiful fable in such works as “The Divan” of Hafiz, as for instance where he says: In blossom is the crimson rose, and the rapt Bulbul trills his song, A summons that to revel calls you, Sufis, wine-adoring throng. The author of this Turkish poem, Mohammed Fasli, “Black Fasli,” as he was called from his swarthy complexion, was the son of a saddler of Constantinople, and early became a pupil of the poet Sati. He soon attracted the attention of the Court, and was made secretary to the Divan by Prince Mustapha, who, as we have seen, was himself a poet. Fasli wrote several poems of the same character as the present one, which is, however, his best and ripest production. He died in 1563. “The Rose and the Nightingale” is a brilliant and gorgeous example of oriental poetry, whose charm is rather increased than diminished by the repetition and prolixity which characterize it. The poet gives it in his closing passages a profoundly mystical meaning, which has been so far developed by other writers that an Armenian Christian author says that the Springtime of Fasli means the Creation, the Rose is Christ, the Rose-garden the Church, the Brook is Baptism, the South Wind is the Inspiration of the Gospel, the Nightingale, the Soul full of ardent faith, and so on. This reminds one of Pico Mirandola reconciling Moses and Homer. The drama, “The Magistrates,” which is here for the first time translated into English, is the work of Mirza Feth-Ali Akhoud-Zaidé. He is the most original native dramatist whose works have appeared in Constantinople. Up to a comparatively recent period the theatres of Turkey were dependent for their comedies on translations from French, sometimes even from German or English comedies and farces. The Turk is fond of witnessing the exertions, the excitements and perturbations of others, while he himself remains indolent and imperturbable; hence his passion for story-telling and for the representations of the stage. In the dramas of Feth-Ali he sees the life of Turkey vividly reproduced. Love rules the scene, Eastern cruelty comes in with the bastinado, Eastern duplicity and fraud are vividly portrayed in the law-court scene. The arrangement and development of the play are good, and the _dénouement_ is natural and satisfactory.