But the Ottomans did not stop here: in their romantic poems they chose as subjects the favourite themes of their Persian masters, such as Leyli and Mejnun, Khusrev and Shiriri, Yusuf and Zuleykha, and so on; they constantly allude to Persian heroes whose stories occur in the Shah-Nama and other storehouses of Iranian legendary lore; and they wrote their poems in Persian metres and in Persian forms. The mesnevi, the kasida and the ghazel - all of them, so far at least as the Ottomans are concerned, Persian - were the favourite'verse-forms of the old poets.
The kasida and the ghazel are both monorhythmic; the first as a rule celebtates the praises of some great man, while the second discourses of the joys and woes of love.
They set the fashion of ghazel-writing; and their appearance was the signal for a more regular cultivation of poetry and a greater attention to literary style and to refinement of language.
This prolific author copied, and so imported into Ottoman literature, a didactic style of ghazel-writing which was then being introduced in Persia by the poet Sa'ib; but so closely did the pupil follow in the footsteps of his master that it is not always easy to know that his lines are intended to be Turkish.
Apart; the Niger communicates directly through the Benue, Lake Tuburi and the Logone with the Shari; the easternmost affluents of the Shari and the most western tributaries of the Bahr el Ghazel affluent of the Nile are within 20 m.
Moreover, from the confluence of the Ghazel the Nile is navigable (at high water) the entire distance to the Mediterranean.