Sakkwatanci: Gudummawarsa Da Tasirinsa A Waƙoƙin Narambaɗa

    TAKARDAR DA AKA GABATAR A TARON ƘARA WA JUNA SANI NA ƘASA DA ƘASA, A KAN MAKAƊA IBRAHIM NARAMBAƊA TUBALI, WANDA SASHEN NAZARIN HARSUNAN NIJERIYA DA SASHEN NAZARIN ILIMIN HARSUNA NA JAMI’AR BAYERO SUKA SHIRYA. DAGA 15 ZUWA 17 GA SATUMBA, 2019.

    www.amsoshi.com

    Sakkwatanci: Gudummawarsa Da Tasirinsa A Waƙoƙin Narambaɗa

    DAGA

    NASIRU ABUBAKAR
    SASHEN NAZARIN HARSUNAN AFIRIKA (ƁANGAREN HAUSA)
    JAMI’AR AL-ƘALAM DA KE KATSINA (AUK)
    A KAN TITIN DUTSIN-MA, P. M. B. 2137,
    JIHAR KATSINAR NIJERIYA
    www. nahamar. blogspot. com

    nahamar2013@gmail. com
    (+234)08068322950

    Abstract

    This paper is going to discuss the maximum contributions given by Sokoto dialect (Sakkwatanci) to the style of Maka]a Naramba]a singing. However, the paper will analyze the reflections of some Sakkwatanci words which Naramba]a used in some verses and its importance and influence in deliberation of his message. For examples: “Sarki kakanka ya yi, Sarki tsohonka ya yi…” and “…Wa]anga mazaizai na yau,          Babu mai imai.” Sakkwatanci is wider than other dialects in Hausa that is why all Hausa singers have been using it in their singing to make their messages better and special.           The method would be adopted in this research is transcribing of some Naramba]a songs and review of some relevant documents. However, the research would be carried out with adoption of Synchronic Linguistic Theory Framework.    

    Keywords: Contribution, Importance, Sakkwatanci, Influence, Words, Style, Song

    1.0  GABATARWA

    Sakkwatanci na ɗaya daga cikin kare-karen harshen Hausa. A wasu lokuta masana kan kalli Sakkwatanci da dangoginsa, su yi masu bugu ɗaya. Inda sukan kira su da Hausar Yamma. Bugu da ƙari, shi irin wannan nua’i na karin harshen na Hausar Yamma, ana jin cewa ya fi sauran kare-karen harshen Hausa yalwatar kalmomin da ke ba wa mawaƙa damar wakitawa, su ɓarje guminsu a harshe Hausa, a yayin da suke gudanar da waƙoƙinsu. Abin nufi a nan shi ne, nau’in Hausar Sakkwatanci ita ce kan iya ba mawaƙi ko makaɗi damar sarrafa harshen Hausa, kuma ya malƙwaya shi yadda yake so a cikin salo, yayin da yake isar da saƙonsa.

    Kamar yadda muka sani, makaɗa Ibrahim Narambaɗa na ɗaya daga cikin manyan shahararrun mawaƙan Hausa, waɗanda suka fito daga ɓangaren Hausar Yamma. Kasancewarsa ya naƙalci wannan nau’in Hausar, ya ba shi damar sarrafa harshe sosai,     a cikin waƙoƙinsa. Alal misali a waƙar Sardaunan Isa yana cewa, “Ai shigefa babu azara babu ginshiƙi ka san sai ta tuɗe…” A nan, za a ga waɗannan kalmomi guda uku, sun ba shi damar sarrafa harshe matuƙa. Inda ya aiwatar da salon kambamawa da habaici cikin raha a lokaci guda. Abin lura a nan, ba wai kawai don Narambaɗa ya fito daga karin harshen yamma ba ne, yake iya sarrafa harshe da Sakkwatanci ba. A’a, duk mawaƙan Hausa suna amfani da wannan Karin harshen domin su inganta salailansu. Ba don komai ba, sai don kasancewarsa faffaɗa kuma mai yalwatattun kalmomi.

    1. 1 KARIN HARSHE

    Karin harshe yana nufin ‘yan bambance-bambancen lafazi da na kalmomi da jumloli tsakanin rukunan al’umma ko shiyoyin ƙasa mai harshe ɗaya. A ƙasar Hausa an lura da cewa, kusan kowace tsohowar daula ko masarauta tana da irin waɗannan ‘yan  bambance-bambance. A taƙaice, kowace masarauta tana da karin harshe daban da na ‘yan’uwanta. Hasali ma, sunan masarautar shi ke zama laƙabin karin harshen. Misali: Dauranci daga Daura, Kananci daga Kano, Katsinanci daga Katsina, Zazzaganci daga Zazzau (Zarruƙ 2006:9).

    Karin harshe, shi ne harshe wanda ake amfani da shi takamaimai a wani ɓangare ko sashe na ƙasa. Ana gane shi ta wajen lafazin kalmomi da jumloli tsakanin mutane (Wurma 2011:36).

    Karin harshe a taƙaice, nau’i ne daga nau’o’in harshe guda wanda ake amfani da shi musamman a wani sashe na al’umma. Alal misali, a Hausa akwai karorin harshe da dama kamar Kananci, Sakkwatanci, Katsinanci, Dauranci, Zazzaganci, Bausanci, Haɗejiyanci da sauransu a tarayyar Nijeriya. Kuma kowannensu ya danganci sashe ne na al’ummar Hausawa inda ake amfani da shi (Sani 2009:2).

     Saboda haka dai, za a iya cewa karin harshe ba wani abu ba ne, illa kawai ‘yan bambance-bambancen lafuzza da ake samu tsakanin al’umma masu amfani da harshe iri ɗaya (Abubakar 2019). 

     

    1. 1. 1 IRE-IREN KARIN HARSHE HAUSA

    Hausa tana da kare-kare masu yawa saboda yawan masu magana da ita, da kuma bambancin wurin zama na masu magana sakamakon ƙaura. A kan haka, ya sa za a raba kare-karen zuwa gida biyu. Akwai kare-karen Hausa na Nijeriya, da kuma waɗanda ke akwai a Jamhuriyar Nijar. Alal misali:

    A Nijeriya                       A Jamhuriyar Nijar

    Kananci    =>  Hausar Kano             Damagaranci  =>  Hausar Damagaram

    Katsinanci  =>  Hausar Katsina            Gobiranci     =>  Hausar Gobir (Tsibiri)

    Sakkwatanci =>  Hausar Sakkwato          Adarci       =>  Hausar Adar (Tawa)

    (Wurma 2011:36 in Abubakar 2019).

     

    Ainahin ƙasar Hausa ta raba ƙafa ne, ɗaya a Nijeriya ɗaya a Nijar. Wasu kare-karen ma, kamar Dauranci da Katsinanci da Gobiranci, suna giciye ne a kan iyakar ƙasashen biyu. Saboda haka, kafin a ce ga kare-karen Nijeriya ga na Nijar, wajibi ne a dubi inda cibiyoyinsu suke. Cibiya dai tana nufin masarauta ko fadar masu wannan karin harshe. Ga misalin waɗanda cibiyoyinsu suke Nijeriya:

     

    Cibiya          Karin Harshe

    Bauchi             Bausanci

    Daura              Dauranci

    Kano               Kananci

    Katsina             Katsinanci

    Sakkwato           Sakkwatanci

    Zazzau (Zariya)      Zazzaganci   

    (Zarruƙ 2006:10 in Abubakar 2019).

     

    Waɗannan kare-karen harshen Hausa da ke Nijeriya, akan sami wasu ‘yan bambance-bambancen lafuzza da na kalmomi da na jumloli tsakaninsu. A wannan jadawalin da ke ƙasa, mun zayyana wasu kaɗan daga cikin kalmomin kare-karen harshe daban-daban da ke Nijeriya, kamar yadda Sani (2009) da Wurma (2011) da Zarruƙ (2006) suka bayar da misalai a bayanansu. Har wa yau, a waɗannan ‘yan misalan, a kowane karin harshe mun raɓa yadda ake furta kowane lafazi a daidaitacciyar Hausa. Misali:  

            

    Kananci

    D. H.

    Gobirci

    D. H.

    Katsinanci

    D. H

    Sakkwatanci

    D. H.

    ebe

    ɗebe

    shibci

    shuci

    wan’in

    wannan

    dibi

    duba

    iya

    yana

    dutci

    dutse

    hwaɗi

    faɗi

    arme

    aure

    waye ye?

    wane ne?

    bultsa

    burtsa

    zabbi

    zabi

    wagga

    wannan

    wa’yanda

    waɗanda

    shiggaba

    shugaba

    kwaɗɗo

    kwaɗo

    mina na?

    mene ne?

    Dauranci

    D. H.

    Zazzaganci

    D. H.

    Haɗejiyanci

    D. H

    Zamfaranci

    D. H.

    ban na

    ba ni

    ƙarke

    ƙarshe

    aya

    haya

    ƙahwa

    ƙafa

    hyara

    shara

    bubba

    babba

    mayi

    mai

    lema

    laima

    hehu

    shehu

    matana

    matata

    bokati

    bokiti

    macce

    mace

    kamri

    kauri

    kadan

    Idan

    kwalɓa

    kwalba

    tamna

    tauna

    1. 2 SAKKWATANCI                    

    Sakkwatanci yana nufin nau’in Hausa da ake magana da ita a shiyar Sakkwato. Amma a wannan takarda idan muka ce Sakkwatanci, muna nufin karin harshen yamma. Wanda ya ƙunshi Sakkwatanci da dangoginsa. Kare-karen harshen Hausa masu dangantaka da Sakkwatanci sun haɗa da: Kabanci da Zamfaranci da Katsinanci da Gobiranci da Adaranci da Arewanci da Kurfayanci da sauransu (Zarruƙ 2006:12).

     

    Wannan nau’in na Hausa, ya kasance mai yalwar kalmomi fiye da sauran nau’in karin harshen Hausa. Ba da ka wannan takarda ta doki ƙirjin faɗar wannan zance ba, domin akwai dalilai da dama da za su tabbatar da haka. Alal misali, gujiya a Sakkwatanci a kan kira ta da kalmomi daban-daban, sakamakon yanayin da aka sarrafa ta. Misali:

    Ƙwaruru: Akan kira ta da wannan kalma idan tana ɗanyarta, kafin a sarrafa ta.

    Shaɓulta: Wannan kalmar da ake kiranta kenan, idan aka dafa ta da kwalfarta.

    Lubbatu: Kalmar da ake kiranta da ita kenan, idan aka cire mata kwalfa sannan aka dafa ta.

    Ƙwaras-ƙwaras: Ana kiranta da wannan kalma idan aka cire mata kwalfa, aka busar da ita kuma aka soya ta (Abubakar 2019).

    Har wa yau, idan aka lura da al’amarin adabi, za a ga cewa waƙa ita ce babbar taska ko mu ce ma’adanar kalmomi. Saboda haka, a kowane harshe ana ganin cewa, duk karin da ke iya ba mawaƙi dama ya wakita ya yi budumbuduma a cikin kogin harshe, to shi ne karin da ake ganin ya fi yalwar kalmomi. A nan kuwa, babu mai jayayya da ni idan na ce, babu wani mawaƙin Hausa ko a da, ko a yanzu, da zai iya rera waƙarsa, ba tare da ya sa Sakkwatanci ba, muddin dai ta karɓa sunanta na waƙa! (Abubakar 2019).

    2. 0 NARAMBAƊA

    Makaɗa Ibrahim Naramɗa Tubali na ɗaya daga cikin shahararrun mawaƙan baka na Hausa waɗanda Sakkwatanci ya zame musu ado, a wajen isar da saƙo a waƙoƙinsu.

    Naramɗa ya rayu a ƙarni na sha-tara zuwa na ashirin (19-20ƙ). Wato, daga 1875 - 1963 An haife shi a grin Tubali na ƙaramar hukumar Isa da ke Jihar Sakkwato a yau. Mahaifinsa Malam Maidangwale, shahararren ɗan kokowa ne. Har wa yau, Narambaɗa ya tashi a matsayin haziƙin mutum mai basira, kuma tarihi ya nuna cewa, Ibrahim Narambaɗa Tubali ya yi karatun azure wajen wani malami Malam Shehu. A fagen karatu har ya sauke Al-ƙur’ani Maigirma ya kuma ratsi littafan kratun sani gwargwado (Bunza 1998).

    Kamar yadda Gusau (1996) ya bayyana, tun Narambaɗa yana ɗalibi malaminsa ya yi hasashen cewa, duk sana’ar da ya shiga zai ɗaukaka a cikinta. Inda har ya ce idan Narambaɗa ya shiga harkar kiɗa, ko’ina sai an ji shi. Haka kuwa abin ya tabbata, domin a lokacin da Makaɗa Narambaɗa yake lokacinsa, amonsa ya danne amon duk wani mawaƙI a ƙasar Hausa.

    An ce Narambaɗa ya fara kiɗin sarauta ga sarkin ƙauyensu Tubali, sai dai bai yi fice ba sai a shekarar 1927, lokacin da Tudu Muhammadu Na’ammani ya ci sarautar Sarautar Gobir na Isa, Narambaɗa ya je ya taya shi murna. Daga wannan lokaci ne aka tabbatar da Narambaɗa ya isa ya zama mawaƙin sarki ko a ina. Daga nan ya zama makaɗin Sarkin Gobir Muhammadu Na’ammani Isa (1927-1935) bayan rasuwarsaata makaɗa Narambaɗa ya koma makaɗin Sarkin Gobir Ahmadu Bawa (1935-1975) har zuwa rasuwar shi Narambaɗa a shekarar 1960 (Bunza 1998).

    2. 1 GUDUMMAWAR SAKKWATANCI GA WAƘOƘIN NARAMBAƊA

    Karin harshen Sakkwatanci yana kan gaba daga cikin manyan abubuwan da ke ba da gagarumar gudummawa, ta fuskar salon isar da saƙo a waƙoƙin Makaɗa Ibrahim Narambaɗa Tubali. Babu shakka yadda Narambaɗa yake rutata Sakkwatanci a waƙoƙinsa, ya taimaka ainun, wajen gina salailansa kuma ya ƙara wa waƙoƙin kwarjini da armashi da ɗanɗano da ƙima a idon al’ummar Hausawa da masu jin Hausa.           Daga cikin ‘yan ababen da wannan takarda ta hasaso shi ne cewa, Narambaɗa ya sami gudummawar Sakkwatanci sosai wajen aiwatar da salailan waƙarsa, waɗanda suka haɗa da:

    2. 1. 1 SAKAYA ZANCE

    Sakaya zance yana nufin a ɓoye wata magana ba tare da an fito fili an ambaci zancen ɓalo-ɓalo ba. Wataƙila saboda alkunya ko kuma don sarrafa harshe. Sau da yawa Narambaɗa yakan yi amfani da irin wannan salon a waƙoƙinsa. Misali:

    Jagora: Sarki kakanka ya yi,

          Sarki tsohonka ya yi,

          To kai ko ka yi sarki,

    Yara:  Gidan Basharun Ummaru sun sani

          Ko da ba ka nan su ka yin sarki.

     

    A wannan ɗan waƙar za mu ga cewa, maimakon Makaɗa Narambaɗa ya ce sarki babanka ya yi sai ya ce tsohonka ya yi. A Sakkwatanci duk wani mutum mai ƙima a idonka, ba za ka iya yin ƙememe ka ce masa babanka ya yi kaza ba. Sai dai ka yi alkunya ka ce tsohonka ko makaifinka. Wannan ma shi ya haifar da alkunyar da Sakkwatawa ke yi, idan aka raɗa wa yaro sunan maigida, sai a ringa kiransa tsoho mace kuma tsohuwa.

     

    2. 1. 2 DAIDAITA KARI

    A nazarin waƙa an yarda mawaƙi ya saɓa ƙa’idar harshe domin ya daidaita karin waƙarsa. Wannan shi ya sa bai zama dole ga mawaƙi ba, a ce sai ya yi amfani da daidaitacciyar Hausa. Ba kawai Makaɗa Ibrahim Narambaɗa ba, dukan mawaƙan Hausa suna amfani da karin harshen Sakkwatanci a waƙoƙinsu domin inganta salailansu. Narambaɗa kuwa, kasancewarsa ɗan asalin karin harshen, ya ba shi damar wakitawa sosai don ya daidaita karin waƙarsa da shi. Misali:

    Jagora: Ai da takobi da garkuwa da mashi,

    Yara:   Mai sulke Dambo ho! Da yaƙi,

                Ƙurya akwai mazan faɗa da arna,

                Masu gari mazan gabas tsayayye,

                Sarkin Rwahi ya wuce a rammai.

     

    A nan, za mu ga yadda Narambaɗa ya yi amfani kalmar gaisuwa irin ta Sakkwatanci (ho!) domin daidaita karin waƙarsa. Saboda duk wata kalmar gaisauwa da aka yi amfani da ita a nan ba wannan ba, Karin waƙar zai kare.

     

    Jagora: Sarkin Gobir na da Doki,

    Irin Dokin ga da yay yi suna,

    Yara:  Ga talitta komiy yi suna,

                Ana tilas shagalin ganinai,

                …………………………. .

    Kalmar talitta da ganinai duk Sakkwatanci ne. Duk Makaɗa ya yi amfani das u ne ya tada karin waƙarsa. Alal misali, da ya ce ana tilas shagalin ganinsa to da karin waƙarsa ya kare, kuma da raujinsa za ya sulluɓe. Saboda haka sai ya yi amfani da Sakkwatanci ya tada karin waƙarsa.

    Jagora: Maganag ga ta doki da nib biyo,

    Yara:  Ita ce taka kai wa ta birkito,

                Sardauna tsayayye na shamaki,

                Ƙi fansa na malam tsakin tama.

     

    A nan ma, Narambaɗa ya rambaɗa Sakkwatanci ne, inda ya ce ita ce taka kai wa ta birkito. Wanda ma’anarsa a jumlar, ita ce take kai da komo. Wanda kuma faɗar hakan, zai wargaza masa karin waƙarsa.

     

    Jagora: Riƙa dai kak ka sake,

    Yara:   Inda dud Alu ya kai ga riƙo kai kakai.

     

    A nan ma, wani luguden Sakkwatanci ne Narambaɗa ya yi, domin ya tada karin waƙarsa. Da cewa ya yi; riƙa dai kar ka sake, duk inda mulkin Alu ya kai, naka ma za ya kai, da salon karin waƙarsa ya rushe baki ɗaya.

     

    2. 1. 3 SARRAFA HARSHE

    Mawaƙi yakan yi amfani da zalaƙarsa da fasaharsa ya sarrafa harshensa, a yayin isar da saƙonsa a waƙa. Sakkwatanci shi ne karin harshen tilo da ke yi wa mawaƙa wannan gatancin, inda yake bas u dama su wakita su wataya a cikin kogin harshe, su amayar da basirorinsu.

    Makaɗa Ibrahim Narambaɗa Tubali, ya ƙware kuma ya zam kangaran a wannan ɓangaren, domin duk mahalukin da ke sauraren waƙoƙinsa, ya san cewa, ya yi ado da Sakkwatanci sosai wajen sarrafa harshe. Misali:

     

    Jagora: Da a ce ku gaida ɗan Maitaru,

                Gwamma a ce Maitaru,

    Yara:   Kwak kashe kihinai sai ya nasa goranai

                Na riƙa ka da girma Audu ƙanen Maidaga,

                Kanda mu san kowa kai munka sani Sardauna.

     

    A wannan ɗan waƙa Narambaɗa ya yi amfani da Sakkwatanci ne ya yi wa ‘yan sarauta shaguɓe. Inda ya yi amfani da kalmar maitaru wadda ke nufin sarki ruwa amma kuma shaguɓe yake yi wa ‘yan sarauta cewa, da a kira ka ɗan sarki ƙara a kira ka sarki. Sai kuma ya ce, Kwak kashe kihinai sai ya nasa goranai. Ma’ana kowa ya yi wa kansa yaƙi.

     

    Jagora: Amadu ganɗon ƙasar Isa,

                Ban sarkin ƙasar Isa,

                Hakimman ƙasar Isa,

                ‘Yan sarkin ƙasar Isa,

                Dud da ɗiyan dud da ƙannai,

                Ku bi shi ku bar kissa,

    Yara:   Wallahi in ganɗon yah hwashe,

                Ba ku jin daɗi.

     

    A nan kuma za mu ga Narambaɗa ya yi amfani da wasu kalmomin Sakkwatanci, ya sarrafa harshensa, ya kambama ubangidansa. Ganɗo shi ne madatsa. Alal misali, yadda ake zagaye matattarar ruwa (dam) ko yadda mai kwaɓin ƙasa ke tattare ruwa a tsakiya ya zagaye su ta yadda ba su iya fita, don ƙasar ta tsima ta yi sauƙin kwaɓi, duk ana kiransa ganɗo. Don haka da zarin wannan ganɗo ya fashe, to rowan za su yi ɓarna.

    Narambaɗa ya kwarzanta ubangidansa da cewa, shi ganɗo ne ga dukan masu hannu ga sarauta Isa. Saboda haka su yi masa biyayya yadda zai ci gaba da zama cikin aminci, in ko ba haka ba, to fushinsa zai kais u ga shiga matsala kamar irin wadda ake shiga idan ganɗon matattarar ruwa ya fashe.

    2. 2 TASIRIN SAKKWATANCI A WAƘOƘIN NARAMBAƊA

    Kamar yadda bayani ya zo a Ƙamusun Hausa (2006), tasiri yana nufin muhimmanci ko dangantaka ko ƙarfi. Ma’ana ƙarfin wani abu a kan wani ko dangantakarsu ko kuma muhimmancin da wani yake da a kan wani, shi ake kira da tasiri. Saboda haka, ta wannan ɓangaren takardar za ta kalli irin yadda Sakkwatanci ya yi katutu a waƙoƙin Narambaɗa, tare da tasirin da Nahawu Taciya yake da shi a kansa.

    2. 2. 1 TASIRI TA FUSKAR NAHAWU                                      Nahawu hanya ce ta bayyanin Ilimin Tsarin Sauti (phonology) da Ilimin Ginin Jumla

    (syntaɗ) da kuma Ilimin Ma’ana (semantics) a wani harshe na musamman (Generatiɓe Grammar Wikipedia in Abubakar 2016). [1]

    Nahawu Taciya kuwa, nazarin ne na ƙwaƙƙwafi da ke fayyace ƙa’idoji da tsare-tsaren kowane harshe (Amfani 2004).

    A nazari irin na Nahawun Taciya, kowace jumla ko kalma ko sauti suna da ƙira ta baɗini (deep structure DS) da kuma ƙira ta zahiri (surface structure SS).

    A dokokin Nahawun Taciya, Chomsky (1957) ya bayyana cewa:              

     i.  Kowace Jumla tana da ƙira ta baɗni kuma tana da ƙira ta zahiri.

    ii.  Dokokin samar da jumla (phrase structure rules) su ke haifar da ƙira ta baɗini.

    iii. Wasu iyakantattun dokoki (finite set of elements & rules) su ke samar da jumloli     marasa iyaka.

    Amfani (2004) ya yi baynin cewa, sauya wa tsarin jumla fasali (transformation) a Nahawun Taciya, wani sauyi ne wanda ba ya haifar da canjin ma’ana. A nan, ana nufin fasalin jumla ko kalma ko sauti ne kawai ake sauyawa, amma ma’ana da suke ɗauke da ita ba za ta taɓa canjawa ba.

    Hanyoyi Huɗu da ake Bi, Domin Sauya wa Jumla Fasali (Four Process of Transformation)

    A Nahawun Taciya akwai wasu hanyoyi guda huɗu da ake bi domin sauya fasalin jumla ko kalma ko sauti, ba tare da ma’anarsu ta canja ba. Hanyoyin sun haɗa da:

    1. Ƙarawa ko Tsarmawa (Addition/Insertion), wato a ƙara wa jumla wata kalma ko a ƙara wa kalma wani sauti daga ƙirarsu ta baɗini ba tare da ma’ana ta canja ba.

    2. Shafewa (Deletion), wato a shafe wa jumla wata kalma ko a shafe wa kalma wani sauti daga ƙirarsu ta baɗini ba tare da ma’ana ta canja ba.

    3. Ɗagawa daga Wani Wuri zuwa Wani Wuri (Re-arrangement/Moɓement), wato wata kalma ta ɗaga daga wani muhalli a cikin jumla zuwa wani daban. Ko kuma sauti a cikin kalma ya ɗaga daga wani muhalli zuwa wani ba tare da ma’ana ta canja ba.

    4. Musaya (Copying/Substitution), wato musanya wata kalma da wata a cikin jumla ko musanya wani sauti da wani a cikin kalma, ba tare da ma’ana ta canja ba.

    Saboda haka idan muka yi la’akari tsarin Nahawun Taciya za mu ga yana tasiri sosai a Sakkwatancin da Narambaɗa ke rutatawa a waƙoƙinsa. A nan, za mu kalli tasirinsa a kan wasu kalmomin waƙoƙinsa da kuma jumloli.

     

     

    2. 2. 2 KALMOMI

    Kamar yadda aka gani Nahawun Taciya canja fasalin jumla ko kalma yake yi, ta hanyar tsamawa ko shafewa ko musanyawa ko kuma canja muhalli. Saboda haka ba ya taɓa canja ma’ana. Idan aka yi nazari da kyau, za a ga waɗannan dokoki suna tasiri a kan kalmomin Sakkwatanci da Narambaɗa amfani da su. Misali:

     

    Jagora: Duniyag ga ko bango nawa ta,

                Inda dud mutum yake mai girma,

    Yara:   Ya san Iya ɗan toron giwa.

     

    A layin farko na wannan ɗan waƙar, kamata ya yi mawaƙin ya ce Duniyar nan ko bango nawa ce, amma sai amfani da Sakkwatanci ya janyo musayar ɗafin nasaba na /r/ da sautin /g/ kamar yadda ya haifar da musayar wakilin suna nunau (nan) da kalmar harafi (ga). Har wa yau, Sakkwatancin ya sababba musayar kalmar dirka (ce) da kalmar wakilin suna (ta). Banda wannan ma, a layi na biyu an sami musayar sautin /k/ da sautin /d/ a kalmar dud maimakon duk.

     Jagora: Na zaka barka da shan ruwa,

                 Na zaka don in yi godiya,

    Yara:   Wata kyauta tana ba ni shawa,

                 Jikan Hassan dut ta yau ta hi.

     

    Har wa yau shi ma wannan ɗan waƙar, sakamakon amfani da Sakkwatanci ya haifar da ƙari a kalmar aikatau mai gaɓa ɗaya, wadda ta fito a layin farko da na biyu zuwa kalmar aikatau mai gaɓa biyu. Haka kuma a layi na uku an sami shafewar gaɓar da ke tsakiyar kalmar suna inda ta koma shawa maimako sha’awa. Bugu da ƙari, a layi na huɗu an yi musayar sautin /k/ da sautin /t/ a kalmar harafi.

     

    Jagora: Magaji shadawa in hwaɗa maka,

    Kway yi sarauta ta zamani,

                Ba shi yin kurum,

    Yara:   Zan ka magana,

                Kai anka sani,

                Kai anka naɗa,

                An ba ka gidan ga mun ga ka yi shiu.

     

    A wannan ɗan waƙa kuwa, amfani da karin Sakkwatanci ya haifar da sauye-sauyen nahawu daban-daban. Alal misali, a layi na farko an sami musayar sautin /f/ da sautin /hw/. A layi na biyu kuwa, ƙarin sautin /y/ da shafewar sautin /o/ aka samu a kalmar kway wadda a ƙirarta ta baɗini ita ce kowa. Har wa yau, a layi na huɗu da na biyar an sami tsarmin sauti a kalmar wakilin suna anka wadda take a matsayin aka a ƙirar baɗini.

    Bugu da ƙari a layin ƙarshe an sami shafewar sautin /r/ a gaɓar ƙarshe ta kalmar ƙarshe, inda aka yi amfani da Sakkwatanci aka ce shiu wadda a ƙirarta ta baɗini ita ce shiru.

     

    2. 2. 3 JUMLOLI

    A nan, za mu kalli Jumlolin da Narambaɗa yake amfani da su a ciki waƙoƙinsa ta fuska ma’ana. Babban dalilin da ya sa hankalin wannan takarda ya karkata ta wannan ɓngare shi ne, tasirin da Sakkwatanci yake yi a waƙoƙinsa. Wanda a wasu lokutan idan mutum ba Basakkwace ba ne ko mai jin Sakkwatanci, zai iya kasa fahimtar abin da Makaɗa Narambaɗa ke nufi. Misali:

    Jagora: Zama ka san in an daƙile ni,

    Yara:   Don kaina wata ɓanna ni kai.

    Jagora: Baya ga wannan duk ɗan’uwan,

    Yara:   Da yab ɓatan ɓaci nai ni kai

     

    A wannan ɗan waƙa kalmomin zama da daƙile da ɓannan da ni kai da ɓatan da ɓaci duk Sakkwatanci ne. A nan kuwa, duk wanda bay a jin Sakkwatanci da wuya ya fahimci jumlolin nan. Amma a ma’anarsu tab aɗini abin da yake faɗa shi ne:

     

    Jagora: Don ka san in an tauye ni,

    Yara:   Don kaina wata ɓarna nake yi,

    Jagora: Baya ga wannan duk ɗan’uwan,

    Yara:   Da ya zage ni zaginsa nake yi.

     

    Jagora: Bamin kokuwa kodayaushe shi aka shammata,

    Bai iya ba,

    Yara:   Ga wata kokuwa an wuce da shi,

                Karsanai kakkaɓe mishi ƙasa.

     

    Haka kuma a wannan kalmomin bami da shammata da karsanai da kakkaɓe da mishi duk Sakkwatanci ne. Ma’anar waɗannan jumloli a ƙirarsu ta baɗin ita ce:

    Jagora: Wanda bai iya kokuwa ba kodayaushe shi ake ƙwara,

    Bai iya ba,

    Yara:   Ga wata kokuwa an kayar da shi,

                Yaransa ku shafe masa ƙasa.

     

    Jagora: Ai Shigefa babu azara kuma babu ginshiƙi,

                Ai ka san sai ta tuɗe,

                Mi aƙ ƙarfin shigefa ba su ba.

     

    A nan kuma kalmomin shigefa da azara da tuɗe su ne Sakkwatanci, to amma da wahala wanda bai fahimtar karin ya gane abin da Narambaɗa ke faɗa. A ƙirar baɗini ta waɗannan jumloli ita ce:

     

    Jagora: Ai rufin ɗaki babu itace kuma babu ginshiƙi,

                Ai ka san sai ya zube,

                Meye ƙarfin rufin ɗaki ba su ba.

    3. 1 SAKAMAKON BINCIKE

     

    Sakamakon wannan bincike ya fito da wasu muhimman bayanai ta fuskar nazarin harshe da adabi, inda ya karkata ga karin harshen Sakkwatanci a waƙoƙin Narambaɗa. Abubuwan da binciken ya zaƙulo su ne:

     

    Matsayin Sakkwatanci da gagarumar gudummawar da yake bayarwa wajen salon isar da saƙo waƙoƙin Makaɗa Ibrahim Narambaɗa.

     

    Tasirin Nahawun Taciya a kan Sakkwatancin da Narambaɗa ke faman rutatawa a waƙoƙinsa, ta fuskar amfani da kalmomi da kuma tsarin jumlolinsa.

     

    Sarƙaƙƙiyar da ta dabaibaye fahimtar ma’anar jumloli da Narambaɗa yake saƙawa a waƙoƙinsa, musamman ga mutume da ba Basakkwace ba kuma ba mai jin Sakkwatanci ba.

     

    Amfani da Sakkwatanci da Makaɗa Narambaɗa ke yi wajen daidaita karin waƙoƙinsa da sakaya wasu zantuka da kuma sarrafa harshe.

     

    3. 2 KAMMALAWA

    A wannan takarda an tattauna a kan bayanin kare-karen harshe Hausa. Kuma an yi bayanin cewa, karin Sakkwatanci shi ne wanda ya ɗara sauran kare-karen faɗi da kuma yalwar kalmomi, wanda ya janyo kasancewar kowane mawaƙin Hausa yana amfani da shi.

     

    Haka kuma an bayyana cewa Makaɗa Narambaɗa ya kasance yana amfani da Sakkwatanci a salon isar da saƙon waƙoƙinsa. Bugu da ƙari karin ya zama ado a salailansa ta fuskar adabi da tsari nahawun harshen Hausa.

     

    A ƙarshe takardar ta yi bayanin irin rawar da Nahawun Taciya ke takawa a kalmomi da kuma jumlolin da waƙoƙin Makaɗa Ibrahim Narambaɗa Maidangwale Tubali suka ƙunsa.

     

    MANAZARTA

    Abubakar, N. 2019. “Sakkwatanci da Rumbun Kalmomin Hausa” Takardar da aka          

                Gabatar a Taron Ƙara wa Juna Sani, a Sashen Nazarin Harsunan Afirika na  

                Jami’ar Al-Ƙalam da ke Katsina

     

    Abubakar, N. 2016. Harshe da Mawaƙa: Saresarin Nahawu a Bakin Shata. Katsina:

                Takardar da aka Gabatar a Taron Makon Hausa Jami’ar Al-Ƙalam

    Amfani, A. H. 2004. “Lecture note for ALH 207: Syntaɗ in Hausa” Department of       

                Nigerian Languages, Sokoto: Usmanu Danfodiyo University

     

     

    Bunza, A. M. 1998. “Naƙalin Diddigin Jirwayin Rayuwar Narambaɗa Cikin Falsafar   

    Luguden Kalmomin Waƙoƙinsa”. Takarda Sakkwato: Jami’ar Usmanu   Danfodiyo.

     

    Bunza, A. M. 2009. Narambaɗa. Legos: Ibrash Islamic Publications Centre Ltd.  

     

    Chomsky, N. 1957. Syntactic Structures. Paris: Mouton Publishers the Hague.

    Gusau, S. M. 1996. Makaɗa da Mawaƙan Hausa. Kaduna Fisbas Media Serɓices.

     

    Sa'id, B. Ƙaraye, M. and Yalwa, L. Ɗ. (Editoci) 2006. Ƙamusun Hausa. Kano: Cibiyar Nazarin Harsunan Nijeriya, Jami'ar Bayero.

    Sani, M. A. Z. 2009. Siffofin Daidaitacciyar Hausa. Kano: Benchmark Publishers Limited.

    Wurma, A. G. 2011. Daidaitacciyar Hausa da Ƙa’idojin Rubutunta. Kaduna: Olatunde Rasheed Publishing Works.

      Yahaya, I. Y. 2002. Hausa a Rubuce: Tarihin Rubuce-Rubuce Cikin Hausa. Zaria: Northern Nigeria Publishing Company.

      Zarruk, R. M. & Others. 2007. Sabuwar Hanyar Nazarin Hausa. Na 3 Ibadan: University Press Plc

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