Qasim bey Zakir, one of the founders of the Azerbaijani satirical poem, was born in 1784 in Shusha, Karabakh. His original origin is the descendants of Javanshirs, who are well-known in Karabakh. His great-grandfather Kazim Agha is the father of Panah Khan who founded Shusha city.
Zakir first studied in Shusha in a mullah, learning Arabic, Persian, and languages. Knowing these languages gave him an opportunity to get acquainted with works of prominent proverbs such as Firdovsi, Nizami, Sadi, Hafiz in the Middle East. Zakir studied the artistic heritage of artists whose names he read in the mall. The youth and youth of the poet coincide with the period of political and military events in Karabakh.
In 1795 Gajar attacked Karabakh, slaughtered Shusha, defended the town with courage, two years after the murder of Gajar in Shusha, the killing of poet Molla Panah Vagif with his son in Jeddah plain, the brutal shooting of Ibrahim Khan in Karabakh in the early 19th century. his stories of what he was seeing in his teenage years and his first youth. These events have influenced the formation of his outlook.
After passing the Karabakh khanate to the Russian rule, Zakir joined the Caucasian Muslim volunteer horde of the Tsar's army, participated in the Russian-Persian wars of 1806-1813, 1826-1828. He was a member of the gang that fought against the Iranian army led by Abbas Mirza, who was awarded a silver medal in 1828 for his distinguished fights.
In 1829, Zakir's son died sick and died. This incident deeply afflicts the poet, who bravely falsely accuses his poet. In a poem he writes on this occasion, describing his suffering from the death of his son, Zakir says, I am always as sad as Yagub, as I am crazy of Joseph. I burn like a candle, not only at night, but also in the daytime.
The summer season of the year was held in Shusha, and the rest of its seasons were spent in Khindyrystan village (Aghdam region - red), which Mehdiqulu khan gave to him. Tarhan-Mouravov accused Zakiri of holding his detained brother Behbud bey Javanshiri in his home and arrested him. After being detained for one year in Shusha, the poet was exiled to Baku without trial.
Zakir's friends were released from custody with the help of Akhundzadeh, M.Kolyubakin, Gutgashinli and Orbeliani, but remained in custody until the end of his life. Living under control is one of the reasons why the poet lives in the last months of his life. One of them lived in material need.
Since 1857, 36 pence scholarships have been awarded for "his services to the Russian state", taking into account his efforts and his efforts. But when the scholarly paper reached Shusha, the old poet died.
The poet was buried in the cemetery of Mirza Hasan.
Zakir's lines have largely turned against the Tsarist judges and Tsarism's colonial laws and regulations. The most merciless critics on the line of Zakir are those who violate the rights of the weak and the weak. Discrimination, sharp criticism and ridiculous laughter are among the key features of Zakir satiras. He does not just describe public defects, but also expresses his critical attitude, hatred and anger towards them.
In Zakir's story stories, love is described as the noble and noble feeling of man. Loyalty, fortitude and endurance in love, and persistence in commitment, make up one of these stories.
The importance of Zakir's realist creations is exceptionally exemplary. In his published works, he wrote: "The Lion, the Worm and the Jackal", "The Camel and the Donkey", "The Fox and the Worm", "The Dangerous Comrades", "The Fox and the Lion" Loyal Friends "(" Turtle, Crow, Cutaway, Ahu ").
While writing his fables, Zakir used primarily the representatives of the oral folk art and the well-known Indian monument "Calila and Dimne", as well as representations in classical poetry, Nizami, Jalaladdin Rumi and Fuzuli-representations.
Qasim Bey Zakir, a prominent satirist poet of Azerbaijan, was one of the founders of the tactical realism, an expression of the leading ideas and tendencies of his era. The poet, who is a fair person, has always criticized the deformities of the society and has done little to educate the people.
The prominent statesman Nariman Narimanov said about Qasim Bey Zakir: "Zakir" saw in the realm of darkness "where and from whom the evil came from".
Zakir and his contemporaries, A.Bakikhanov, I.Gutgashinli and M.F.Akhundov, considered the satiran to be the most appropriate literary genres to open the eyes of the people. The poet's works have been the heart-shaped and brain-minded satirical poem that has become an independent literary stream.
The factors that led to Qasim Bey Zakiri, Mirza Shafi Vazeh, Baba bey Shakiri, Abbasqulu Agha Bakikhanov, Mirza Bakhish Nadimi and other poets were satirical, arbitrariness and lawlessness in their social environment. Among them, Zakir was distinguished by the founder of the educated satire. The poet's people can not tolerate the deeds and morals of those who keep them in ignorance and shame, and expose and condemn them with their satire.
Speaking about the development of educator and critical realism as a method, Fuad Gasimzadeh wrote: "The realist literature, which was founded by the first educators, started to develop towards the critical realization of Q. Zakir, B. Shakir, M. Nadim, M.C.Miskin and others in those years ..."
In our artistic vision, the 19th century Azerbaijani realism did not merely differ from the realities of the previous centuries, and it was also chosen by its own aesthetic and creative principles as an important stage. This reality is said to be "democratic realism," "enlightened realism," and there is a certain truth in both realisms.
Zakir's realism, along with the advanced Russian democratic idea, was influenced by the powerful influence of progressive ideas in Western Europe. The poet's creativity was also chosen by him to summarize many of the typical features of the life of his life in his realist works and at the same time created new examples of satirical poems, such as letter, conjuncture, history, and representation genres.
The laughter of the great satirist affected the blood vessels in the environment. None of the people who were trying to keep away from the enlightenment of the people, nor the criminals, nor the clergy, nor the other swindlers, who were laughing at the people, could not escape. Zakir worked tirelessly to help open the eyes of the masses and help them advocate. He utilizes his pencil as a bayonet and skillfully used all kinds of laughter against the reactionary forces that kept the people in darkness, satire, mockery, sarcasm, sarcasm and humor.
That's why his life was in the dark, the number of his enemies was increasingly multiplied, he was plundered, he was taken out of civilian hands, his son and his nephew were put to death, and his nephew was killed and buried in the prison walls. He asked for material assistance from poet friend M.F.Akhundov, who lived in need. M.F.Akhundov helped him, as well as from Baku exile.
Zakir's creativity has created a separate stage in the development of educated satire. The poet tried his best to develop society in a healthy way, in particular enlightenment, and to overcome the ignorance and to oppose the officials' arbitrariness. His satirical lines, including the Lions, Wolves and Jackal, Foxes and Wolves, The Dervish and the Dead story, and other articles were published in Tuva's "Mother tongue" in 1888.
The great satirist has seen public and political issues, tried to heal all kinds of wounds, hated "those who oppressed the blood of the oppressed," cutting them, and seeing only the prosperity of the people. The spirit of ruthlessness and struggle against social injustice is one of the peculiarities of the poet's poetic realist and satirical poems.
Satirik's essentially differentiates him from the modernism of the realm of explicit spirit, the intense satire, the proximity to the people's lives in his creativity, his opposition to the mass of science in the feudal rebellious environment, and the deeply ironic attitude to the shortcomings in his environment. It is impossible to deny the poet's friendly influence on the writer M.F.Akhundova and Akhundov's positive influence.
It is interesting that A.Miradzadov wrote: "The friendship between these two writers has had a significant impact on their creativity and, in general, the gradual strengthening of literary, realistic literary and democratic ideas in Azerbaijan."
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