Mirza Alakbar Sabir

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Mirza Alakbar Sabir (Azerbaijani: Mirz?

He took a new interest in classical traditions, abandoning well-trodden ways of poetry. In Fuzûl's paintings, the artistic vision of the Azerbaijani people came to its conclusion.

They have been examples of the lyric to this day, as well as the satirical trend in Azerbaijani literature, particularly in poetry.

Life

Mirza Alakbar Sabir was born in Shamakhi on May 30, 1862, into a poor family. Islam was also dominant in the society at that time. Saltanat, his mother, was a fundamental Muslim. Zeynalabdin Tahirzadeh, his father, was a merchant. He had 7 sisters and a brother. He obtained his primary education in a theological academy. Sabir was born in a patriarchal-religious atmosphere. Alakbar attended Seyid Azim Shirvani, a poet and teacher, in 1874, where he was not familiar with traditional schools, general education, as well as Azerbaijani and Russian languages were taught. This school was deemed very progressive at the time. Sabir's aspirations as a poet were largely influenced by his personal acquaintances with the man. Sabir translated Persian poetry and wrote poems in Azerbaijani, inspired by Seyid Azim.

The poet, who took exams at the Baku Province's Spiritual Department, travelled to Tiflis and obtained a certificate for a mother tongue and a Shariah instructor from the Caucasian Sheikh-ul-Islam Office on April 11, 1908. However, after receiving a letter from Gori, he spent some time as an assistant teacher in a Shamakhi school.

Sabir was able to open "Umid" school in September of this year. Around 60 students were in this school. As in other new schools, students are seated on the bench, using electronic aids, and going on short excursions. The mother tongue, the Persian language, geography, and environment, as well as Quran and Sharia lessons were taught at the school.

Mirza Alekper Sabir died on July 12, 1911, during the height of his artistic fame. In the cemetery "Yeddi Gumbez" ("Seven domes") at the foot of the hill, Sabir was buried in his hometown of Shamakhi.

Sabir was impacted by poverty throughout his life. He was supposed to take care of his family's welfare, but he was hardly earning enough money for himself and his family. No time was left for literary pursuits, much more so as the specter of poverty took on more pronounced form. Sabir tried to become a merchant but didn't succeed. Rather, he travelled a lot about Central Asia and the Middle East.

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Career

Mirza Alakbar Sabir wrote his first poem when he was eight years old. His paintings portrayed both positive and negative aspects of life in Azerbaijan. He wrote only lyrical ghazals, elegy, laudatory, and mourning poems in the early years. In 1903, his first work appeared in the newspaper "Shargi-Rus" ("Russian East" (Russian East). Sabir collaborated in many newspapers and journals, including "Debistan" (Sad School), "Zenbur" (Ovod), "Irshad"), "Irshad" (Guide), "Hagigat" and "Hayat" (Life), between 1903 and 1905.

Abbas Sahhat, the young poet who studied abroad, returned to Shamakhi in 1900, where the local intelligentsia often assembled. Sabir attracted Abbas Sahhat's attention, and the two formed a close friendship that continued until Sabir's death. Abbas Sahhat, who is applauding Sabir's abilities, is still encouraged and supported him.

The Russian Revolution of 1905 had a major influence on Sabir's writing, infusing it with a modern attitude. The discovery of political trends throughout the Russian Empire, as well as the emergence of democratic trends in Sabir's literature, marks the start of a new period in the Sabir's literary history. A slew of satirical journals appeared after the shock waves of upheaval. The Molla Nasraddin journal, which was distributed all over Caucasus, Middle East, and Central Asia, had the most popular of them, with Jalil Mammaduzadeh as the publisher. This publication showcases Sabir's best, most mature years. His pen did not miss a single political event, a singular issue for the entire feudal-patriotic Azerbaijani society, and he expressed his views in provoking, thought-provoking photographs. He was instrumental in the journal's success, exposing the cultural roots of the youth in his poems, and adamantly condemning the wealthy people's behavior and conduct. He wrote about the arbitrariness of Tsarist kings, landowners, and beys ignorant of their people, the clergy's backwardness, the down-trodden status of women, and the working people's social situation.

Between 1905 and 1910, Sabir was instrumental in the Iranian and Turkey revolution. He scathingly attacked the poetry of Sultan Abdul-Hamid and Mohammed Ali Shah. Realism, socioeconomic skepticism, and a keen satire are three main features that characterized Sabir's work, who was instrumental in the education of the young generation.

Sabir's poetry earned him the people's respect and admiration while still placing him in a difficult and difficult situation. He was exposed to persecution, assaults, and insults of the authorities, mullahs, and qochus (bouncers), who threatened him with retaliation. This is why Sabir (meaning patience) had more than fifty pen-names such as Mirat, Fazil, Aglar-Guleghen, and others. But even so, it won't help him escape from persecution. “Hop-Hop,” one of his earliest pseudonyms, refers to a species of bird.

Sabir's social satires raised the issue of class oppression for the first time in Azerbaijani literature. The political satires portrayed the dispersion of the State Duma in Russia, the intrigues of autocracy against the liberation movement in the Middle East's countries, as well as the intrigues of foreign reaction. For the first time in Azerbaijani literature, “What do we need?”, “Crying,” “Beggar,” “What do I have to do?”, “Commplaint of the old man,” and others, “What do I have to do?” raised the issue of injustice in society.

His wellbeing was affected by poverty, overstraint, countless cares of his large family, and persecution. He boiled soap for a living and was often sick. Sabir's liver disease took a dramatic turn in 1910, which was unreversible. Sabir wrote regularly even though ill. "I laid my flesh down for my people" he said to his colleagues who stood at his bedside, not long before his death. But if God would give me more time, I would lay my bones down as well."

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