During his adolescence, he became a pupil of the distinguished poet Seyid Azim Shirvani, who established a modern institution where various subjects were taught.

Although his father initially wanted him to work in the family grocery store, he eventually accepted Sabir's literary ambitions after the latter's strong opposition, including a failed attempt to flee to Mashhad.

His works covered a wide range of topics, including political satire and social commentary, often criticizing corrupt officials and religious hypocrisy.

During the start of his adolescence, he became a pupil of the distinguished poet Seyid Azim Shirvani, who had established a modern institution where Arabic, Persian, Azerbaijani Turkic, Russian and other topics were taught.

However, he eventually allowed Sabir to continue his literary research, due to the latter's strong opposition, including an attempt to flee to Mashhad by a caravan.

Sabir established close relationships with Shirvan's literary figures, and inspired by Persian poets, especially Nizami Ganjavi, he composed numerous ghazals in their style.

[1] During a time where classical Persian poetry was favored by the elite and writers, Molla Nasraddin used the everyday language of the Turks of the South Caucasus, a practice which was also taking place in other satirical journals.

[5] With an extensive readership spanning the Volga region, Siberia, Anatolia, Iran, and South and Central Asia, Molla Nasraddin had the largest audience of all the Muslim publications of the Russian Revolution of 1905.

Due to the escalation of the opposition against him, he dedicated a poem to the inhabitants of Shirvan, in which he defended his beliefs:[1] I am a Shi'ite, but not in the ways you desireI am a Sunni, but not like the examples you like.

[1] A vast range of topics are covered in Sabir's satirical works, from moments in social and personal life at home to the Japanese victory against the Russians.

"Some verses and phrases that disregard the Turkish language" were corrected by a Hayat copy editor, though it is unknown if these were Persian or informal terms.

The final couplet connects his pen name with the journal's title, appealing to "The Word":[8] Vijdan-ü dil-i Sabirä näshr eylä füyuzin, Ta kim, bitä könlündä räyahin-i kämalat Imprint your graces [füyuz] on Sabir’s heart and conscience So that in his heart, the fragrant herbs of perfection might grow His use of Persian grammatical forms ("ta kim") and classical tropes ("the fragrant herbs of perfection") characterize his Persianate phrasing in this passage.

The distinguished Iranian lexicographer and satirist Ali-Akbar Dehkhoda wrote that "Sabir was a great innovator in Azerbaijani literature.

In a letter dated 17 June 1954, the Iranian-Soviet poet Abolqasem Lahouti wrote to Sabir's biographer Mir Ahmadov the following: "Sabir’s poetry is so simple, fluent, intelligent, brave and well-liked by people and so imbued with a courageous spirit that it leaves a great impression on the minds of people desiring freedom."

[1] Compared to the European avant-garde and its small circle of Turco-Persian followers, Sabir's poetry had a bigger influence on poetic innovation across the Muslim communities of South Caucasus, Iran, and Central Asia.