Her poetry is notable for its spirited defence of her independence, using the established structure of the ashiq verbal contest to broaden her expressive potential as a woman.
She has been described as "a model of a strong, independent woman from within Azerbaijani culture"[1] because, in her duels with male counterparts, she rebuffed their advances while maintaining her honour and modesty, always performing solo without requiring a man's guardianship.
The majority of the information available comes from the observations of the Russian orientalist historian Adolf Berge who journeyed across the Caucasus for an anthropological investigation in the early 1800s and met Peri.
[4] According to Anna C. Oldfield, a professor of world literature, the majority of references indicate that Peri died in 1848, but do not provide any details on the cause or circumstances of her death.
Oldfield suggests that this was indicative of a "rising Azerbaijani national consciousness", with Peri being "among those who championed her native language and poetic traditions".
[8] Her poetry is characterised by its wit and playfulness, often adopting a mocking tone towards her fellow mejlis members and conveying an impression of command and competence.
[9] Her poetry is notable for its spirited defence of her independence, using the established structure of the ashiq verbal contest to broaden her expressive potential as a woman.
[1] Tuğba Bayraktarlar, a modern scholar of Turkish literature, describes Peri as one of the most significant representatives of ashiq poetry in the 19th century.
[6] In 1984, the first association of female ashiqs and poets was established in the Azerbaijan Soviet Socialist Republic and it was named Aşıq Pəri Məclisi (lit.