Najaf bey Vazirov played an exceptional role in the development of Azerbaijani dramaturgy, enriching its ideological and aesthetic content as well as its artistic qualities, and contributing significantly to the creation and growth of national theater.

Najaf bey Vazirov laid the foundation of the tragedy genre in Azerbaijani literature and was closely involved in the expansion of the enlightenment movement directed against the feudal-patriarchal system in Azerbaijan.

He began his dramaturgical career with the comedies "Ev tərbiyəsinin bir şəkli" (A Form of Home Education, 1875) and "Gəmi lövbərsiz olmaz" (A ship cannot sail without an anchor, 1876).

On March 10, 1873, Vazirov staged Mirza Fatali Akhundov's The Adventures of the Vizier of the Khan of Lankaran and, on April 17, Haji Gara under the guidance of his teacher Zardabi.

In Vazirov’s view, the academy fostered a revolutionary and reformist spirit, which undoubtedly influenced his worldview and political ideas, contributing to his intellectual and ideological development.

The Moscow administration accused Najaf Bey and his fellow students, A. Gorani, M. Alizadeh, and A. Shahtakhtli, of disseminating prohibited literary and philosophical ideas.

[18] Academician Feyzulla Gasimzadeh and Professor M. Mustafayev, who researched Najaf bey’s life and creativity, denied his connection with the revolutionary movement and wrote that he did not participate in political gatherings or organizations.

Returning to his homeland from Moscow, Vazirov was appointed as a forester in the Tartar district of Yelizavetpol (Ganja) province by the State Property Administration under the Caucasus Governorate on November 15, 1878.

Due to his excellent work and service in his field, the State Senate, with its decision dated January 22, 1887, granted Vazirov the title of "real student" in forestry and promoted his position.

[24] His position in the municipality and his advocacy work in the Baku courts provided Najaf bey with a broad opportunity to closely observe and study the life of the Azerbaijani people.

During the jubilee, Azerbaijan’s most prominent intellectuals, including Nariman Narimanov, Jangir Zeynalov, Mahmud bey Mahmudbeyov, Q. Gasimov, A. Rzayev, and Abdulla Shaig, delivered heartfelt speeches addressing the writer.

In the last two years of the gymnasium, Vazirov taught private lessons to foreign students to overcome his family's financial difficulties, noting that he continued his own studies after teaching in the evenings.

[34] The book titled "Najaf bey Vazirov," published in 1913, reveals that the play "Əti sənin, sümüyü mənim" is based on the theme of education.

[34] In September 1874, Vazirov was admitted to the Petrovski-Razumovski Academy in Moscow, where he deepened his interest in theatrical art during his studies, expanding his creative worldview by closely following the works of Russian playwrights.

Zaman Asgerli, who conducted research on Najaf bey’s creativity, emphasizes that the realism and proximity to people's lives found in Ostrovsky's works aligned with Vazirov’s artistic views.

[37][38] In his articles sent to "Akinchi," Vazirov based his moral and ideological critiques on the economic problems existing in society, particularly the outdated customs, methods, and habits in livestock breeding and agriculture.

He emphasized the necessity of persistently and continuously implementing the process of "liberation from the past" and noted the importance of starting this from family upbringing and school education.

Works such as "Daldan atılan daş topuğa dəyər" ("A Stone Thrown from Afar Hits the Heel," 1890), "Sonrakı peşmançılıq fayda verməz" ("Subsequent Regrets Are Useless," 1890), and "Adı var, özü yox" ("A Name Exists, But Not the Person," 1891) are all dedicated to analyzing the various aspects of "Muslim ignorance" that manifest in life and daily activities.

[41][42] Later, Vazirov published his previously completed comedies "Daldan atılan daş topuğa dəyər" and "Sonrakı peşmançılıq fayda verməz" in book form in Shusha.

"Müsibəti-Fəxrəddin" is considered the first tragedy in Azerbaijani literature, while "Pehlivanani-zemane" is the first dramatic work depicting the life of the national bourgeoisie and the merchant-bourgeois figure concerning Baku oil.

His plays written during this period, such as "Vay şəlküm məəlləküm" (1909), "Nə əkərsən, onu biçərsən" ("You Reap What You Sow," 1911), and "Keçmişdə qaçaqlar" ("Fugitives in the Past," 1912), are works that still reflect enlightened aesthetics.

In the final stage of his dramaturgical work, he wrote the plays "Pul düşkünü Hacı Fərəc" ("The Money-Loving Haji Faraj," 1912) and "Təzə əsrin ibtidası" ("The Beginning of the New Century," 1920).

[48] In "Təzə əsrin ibtidası," written in the early years of the Soviet era, Najaf bey Vazirov portrays the landlord mentality and the workers' way of thinking from a new perspective.

Although the influence of the prevailing social and literary trends is clearly felt in the title and content of the work, Vazirov remains faithful to the logical-aesthetic consistency expressed in his artistic creativity up to that point.

In the 1970 book Najaf bey Vazirov, published in Baku by the Ministry of Culture of the Azerbaijan Soviet Socialist Republic, it is stated that "Daldan atılan daş topuğa dəyər" was included in the 1901 collection Təsnifat-ı Nəcəf Vəzirzadə, but the play is not among the five comedies listed in that volume.

Along with four other works (Pəhləvanani-zəmanə, Müsibəti-Fəxrəddin, Yağışdan çıxdıq, yağmura düşdük, and Ev tərbiyəsinin bir şəkli), it was published in the collection Təsnifat-ı Najaf bey Vəzirzadə in 1901 in Baku.

He suggested changing the title from Çəkmə, çəkə bilməzsən, bərkdir fələğin yayı ("Do Not Pull, You Cannot Handle It, the Bow of Fate Is Firm") to Müsibəti-Fəxrəddin ("The Tragedy of Fakhraddin").

[66] In addition to Müsibəti-Fəxrəddin, Vazirov authored other dramatic works such as Vay şələküm məəlləküm, Nə əkərsən onu biçərsən , Keçmişdə qaçaqlar, Təzə əsrin ibtidası, Pül düşkünü Hacı Fərəc, and Mehdi xan Tabasarani.

[74][73] Translations Najaf Bey Vazirov did not confine his artistic career to the literary environment of his own nation but sought to broaden his worldview by reading numerous works in Russian and French.

[75][12] One of Vazirov’s two important translations, Ağa Kərim xan Ərdəbilli (Aga Karim Khan of Ardabil), is considered a significant work in the history of Azerbaijani theater in terms of its theme.