Matsayin Waka a Adabin Sinawa

Citation: Yakasai, S.A. (2024). Matsayin Waƙa a Adabin Sinawa. Ginshiƙin Nazarin Salon Waƙoƙin Hausa, 47-53. www.doi.org/10.36349/djhs.2024.v03i01.006.

Matsayin Waƙa a Adabin Sinawa 

Salisu Ahmad Yakasai, FLAN
Sashen Koyar da Harsunan Nijeriya
Jami’ar Usmanu Ɗanfodiyo, Sokoto
(+234) 08035073537
syakasai2013@gmail.com

Tsakure: Confucius masanin falsafar nan na ƙasar Sin, shi ne ya bayyana adabi a matsayin rumbu na hikima. Ya faɗi haka ne a lokacin da yake nazarin irin dangantakar da take tsakanin adabi da hikima da kuma ƙumshiyar kowanne domin ci gaban al’umma. Wen tana nufin ƙirƙirarrun ayyukan adabi, a yayin da dao take nufin hikimomin da suke ƙumshe a cikin irin waɗannan ayyuka. Marubutan ƙasar Sin sun yi ittifaƙi cewa adabi rumbu ne na hikima, tamkar mota ce mai ɗauke da kaya. Wato hikima ita ce kayan da babu mai ɗaukarsu face adabi. Ƙumshiyar wannan maƙala ita ce tsokaci a kan matsayin waƙa a adabin Sinawa. Domin cimma wannan manufa, an karkasa maƙalar gida biyar. Kashi na farko da na ƙarshe, shimfiɗa ce da naɗewa. A kashi na biyu an waiwayi ma’anar waƙa da karin waƙa da zubi da tsari cikin yabo da zambo da kuma matsayin waƙoƙi gama-gari. Kashi na uku kuwa ya taɓo ƙa’idojin rubutun zube ne da waƙa, wato fasaha a cikin manufofin waƙa da kuma amfani da adon harshe a waƙa. Kashi na huɗu misalai ne na yanaye-yanaye da waƙoƙi sukan bijiro kamar saƙon zuci da kaɗaici da baƙin ciki da kishin zuci da kuma tarihin al’umma.

Fitilun Kalmomi: adabi, Sinawa, hikimomi, waƙoƙi, ƙa’idojin rubutun

Gabatarwa

Sinawa kamar Hausawa sun aminta da maganar hikimar nan da ke cewa waiwaiye adon tafiya ne. Saboda haka, bari mu fara waiwayar shin ina ne ƙasar Sin, sannan daga baya mu ɗora da sanin al’adar Sinawa a matsayin sharar fage. Zhongguo wato ƙasar Sin, ana amfani da wannan kalma ne domin bayyana wuraren da suke daura da tsakiya da kuma ƙasan Rawayen Kogi, inda al’ummar Huaxia ta dauri ko kuma al’ummar Han suka zauna. Tun farko dai wannan kalma tana nufin dukkan wannan yankin da kuma al’adun al’ummar da suke zaune a wurin. Su al’ummar Huaxia sun zauna ne a daura da wannan Rawayen Kogi. A tunaninsu wannan wurin da suka zauna shi ne tsakiyar duniya, kuma shi ne dalilin da ya sa suka kira wurin da Zhongguo (wato tsakiyar ƙasa ba kamar waɗanda suke kewaye da ita ba). Daga baya kuma sai aka koma ana amfani da Kalmar da nufin sararin ƙasa na tsakiyar arewacin ƙasar Sin da kuma al’ummar da suka zauna a wurin. Tun daga zamanin Daular Qing, ana amfani da kalmar Zhonggou ne da nufin dukkan iyakacin ƙasar Sin da ikonta. A yanzu ana amfani ne da kalmar a matsayin taƙaitaccen sunan tarayyar al’ummar Sin.

Ta ɗaya haujin kuma suna amfani da kalmar Zhongua (wato al’ummar Sinawa da al’adarsu). Shi wannan suna taƙaitacciyar ma’anar gamaɗen kalmar da aka ƙirƙira ce daga Zhongguo da kuma Huaxia. A nan kalmar hua tana nufin fure ko fulawa, wadda aka yi amfani da ita cikin adon harshe domin bayyana kyakkyawar al’ada. Kakannin al’ummar Huaxia su ne suka zauna a daura da Rawayen Kogi, wanda suka ɗauka cewa nan ne tsakiyar duniya (zhong), kuma wurin yana ƙumshe da kyawawan al’adu (hua) don haka suka kira shi da zhongua. Wannan wuri cike yake da ƙabilu daban-daban, waɗanda kuma al’ummar Huaxia suka mamaye. Daga baya ne yankin da suka faɗaɗa ya zamo cikin zhonghua, wanda a zamanin yanzu ake wa laƙabi da al’ummar Sinawa da al’adunsu. Al’ummar Sinawa suna da karamci (wato zhongyong). Ita wannan kalma Confucius ne da almajiransa suka aminta da ita a matsayin ƙololuwar nagarta. zhong na nufin sanin yakamata a cikin nagarta da aiki. Da yake komai yana da iyaka, to ba a son ƙaranta ko kuma wuce gona da iri a kowane al’amari. Yong na da ma’ana guda biyu, ɗaya daga ciki ma’ana ce ta kara-zube, ɗayar kuma ba ta canjawa. Sanin yakamata lamari ne da za aiya ɗabi’antuwa da shi a tsawon lokaci a zamantakewar rayuwa. Don haka zhongyong tana nufin ƙololuwar karamci da mutum zai nuna a cikin mu’amalarsa da sauran mutane a rayuwa ta yau da kullum.

Mece ce Waƙa?

Waƙa tsararriyar magana ce ta hikima. Zubinta ƙirƙira ce a cikin haɗakar tsarin adabi da kiɗa da kuma rawa. Bambancin kiɗa da waƙa a zamanin Sinawan dauri shi ne, a yayin da guda ana sanya kiɗa, to a ɗayar kuma babu. Wato akwai bambanci a tsakanin waƙa mai ɗauke da da kiɗa da kuma wadda aka rera kawai. Ita wadda aka yi kiɗa tana tafiya da hawa da sauka na murya da aka tanada mata, amma a ɗayar babu. Ga misali kamar a waƙar Taka a Sannu ta daular Han ko kuma waƙar Chile a zamanin daulolin arewaci. Sai dai kuma akwai waƙoƙin masana irin su Li Bang (Matsananciyar Guguwa) da Li Bai (Waƙe-waƙen al’ummar Wu) suka rubuta. Saboda haka waƙoƙi suna daga cikin fasahohin Sinawan dauri, waɗanda kuma ake kassafawa a matsayin yuefu na Sinawan dauri. A wannan zamanin ana ɗaukar su a matsayin wani ɓangare na waƙa kawai.

Dangane da karin waƙa (qu) kuwa, kalma ce ta adabi da ta samu bayan waƙa. Kalmar tana nufin salailan Karin waƙa na arewaci da kuma kudanci da aka ƙirƙiro a daulolin Song da kuma Jin. Asalin kare-karen waƙoƙin arewaci an yi su ne a arewacin ƙasar Sin, kuma aka aiwatar da su a cikin karin harshen arewa. Su kuma kare-karen waƙoƙin kudanci an yi su ne cikin karin harshen kudanci. Tunda qu ta samu karɓuwa a daular Yuan, sai aka ci gaba da kiranta Yuan qu ko kuma Yuan opera. Hasali ma ita qu tana da kamanni da ci a cikin zubi da tsari, amma sun bambanta a cikin tsarin jumla da kuma amfani da harshe. Akwai qu iri biyu, wato zaju na arewaci da kuma chuanqi na kudanci. Irin wannan qu ana kiransu da xiqu ko kuma juqu. Ɗayan kuma shi ne sanqu ko kuma qungqu. Kamar sauran zubi da tsari na waƙa, sanqu yana bayyana yanayi ko al’amari ko sosuwar zuciya ne a waƙe, amma babu sassa daban-daban da za a furta a magance. A gaskiya ma dai salon da ake amfani da shi a dauri ya fi yin tasiri fiye da na sanqu. Zamanin daular Yuan an samu bunƙasar waƙoƙin Sinawa. Ga misali, akwai marubuta fiye da tamanin a wancan lokacin. Mutane irin su Guan Hanqing da Bai Pu da Ma zhiyuan da kuma Zheng Guang sun wakilci salailai daban-daban na yin waƙoƙi a Yuan opera. Haka kuma an ɗauke su a matsayin manya-manyan gwanaye guda huɗu da duka jagoranci rubuce-rubuce a Yuan opera. Ita wannan Yuan opera tana da tsari na musamman, wato ta haɗakar daulolin Tang da Song da Ming da kuma Qing, tsarin ya samar da muhimmin tasiri a cikin bunƙasar adabin Sinawa.

Ta fuskar zubi da tsari da suke kira gediao kuwa, kalmar tana ɗamfare ne a cikin ƙumshiyar jigon waƙa. Haka kuma tana da nasaba da hikima da zalaƙa a cikin tarƙen waƙa. Ge tana nufin cika ƙa’idojin da aka tanada domin arulin (ma’aunin) waƙa, a yayin da diao take nufin hawa da sauka na murya a cikin waƙa. Wasu masana tarƙen waƙa na daulolin Tang da Song sun ƙarfafa muhimmancin zubi da tsarin hawa da sauka na murya a cikin waƙa, domin inganta martabar waƙa. A wasu ɗiyan waƙa, Mengyang yana cewa:

Idan kana son zama bahari,

to ka naƙalci ƙa’idojin zubi da tsarin waƙa,

Idan kuma kana son dacewa,

to ka bibiyi dokokin hawa da sauka,

na murya a waƙa.

(Li Mengyang, 2020).

A daulolin Ming da Qing kuwa an ƙarfafa muhimmancin ra’in zubi da tsari da murya ne, a matsayin wata hanya ta bibiyar tafarkin Confucius. Ta haka ne suke bayyanar da hikima da zalaƙarsu cikin waƙa. Ga misali, waƙoƙin Jiang Kuis suna ɗamfare ne ga jigon nagarta. Sai dai kuma duk da cewa a wasu lokuta ana danganta su da kaɗaici da baƙin ciki, to amma kuma ingancinsu ya kai mizanin dacewa (Chen Tingzhuo, 2020). Daga baya ma an yi amfani da kalmar domin bayyana wasu nau’o’i na adabi.

Ta fuskar yabo da zambo a cikin tarƙen waƙa (meici) kuwa, ana amfani da waɗannan kalmomin fannun adabi a cikin waƙa domin a yi yabo ko zambo dangane da halayen sarakuna. Waɗannan halaye sun haɗa da nagarta da tsarin shugabanci da dokoki da kuma himma da ƙwazo a wajen jagorancin al’umma. Hususan dai, ana amfani da waƙoƙi wajen yabon sarakuna da kuma kwarzanta ayyukansu nagari, domin su ci gaba da irin waɗannan ayyuka. Ana kuma yi wa sarakuna zambo domin su gyara kura-kuran da suka aikata (Zheng Xuan, 2020). Confucius shi ne mutum na farko da ya fara faɗakarwa cewa, za a iya amfani da waƙa domin gyaran hali, kamar dai yadda ya bijiro da muhimman ayyukan waƙa a cikin littafin Diwanin Waƙoƙin Sinawa. A wajen mabiya Confucius na daular Han, muhimman ayyukan waƙa guda biyu su ne yabo da zambo (Cheng Tingzhuo, 2020). Ga misali, a daular Han an yi amfani da waƙa ne a wajen yabo da kwarzanta ayyukan sarakuna. A cikin gabatarwar littafin Diwanin Waƙoƙin Sinawa da Mao ya yi, an rubuta ayyuka guda biyu a kan ra’in waƙa, da aka yi amfani da su a daular Han wajen yabo da zambo. Daga baya kuma mawaƙa da marubuta sun yi ta amfani da wannan salon a matsayin wata dabara ta shiga harkokin siyasa da kuma tasiri a rayuwar al’umma. Wannan al’amari yana daga cikin muhimman ƙumshiyar ayyukan adabin al’ummar Sinawa.

A bisa doron waɗannan ma’aunai ne Sinawa suka yi ittifaƙi, dangane da matsayin waƙoƙi gama-gari da na bukukuwa da kuma na bauta (fengyasong). A ikin mashahurin littafin na Diwanin Waƙoƙin Sinawa, an karkasa ƙumshiyarsa zuwa manyan rukunai guda uku. Kashi na farko ya ta’allaƙa ne ga waƙoƙI gama-gari (feng), kashi na biyu ya karkata ga waƙoƙin bukukuwa (ya), wato manya (daya) da kuma ƙanana (xiaoya). Kashi na uku kuwa ya danganci waƙoƙI ne na bauta da ibada (song), waɗanda ake ta kwarara yabo ga ayyukan da iyaye da kakanni suka aiwatar a zamuna da suka gabata. Bugu da ƙari waƙoƙin bukukuwa da na bauta, su ne suke ɗauke da babban jigo, a yayin da waƙoƙi gama-gari suke ɗauke da ƙaramin jigo. Saboda haka waɗannan kashe-kashe na Diwanin Waƙoƙin Sinawa, baya ga bayanin salo da hawa da sauka na murya, to an kuma karkasa jogon waƙoƙin zuwa manya da ƙanana. Daga baya kuma sai aka faɗaɗa ma’anar fengya ta ƙumshe duk wani abu mai kyau da ƙayatarwa. A taƙaice littafin yana ɗauke da muhimman batutuwa ne guda shida, wato waƙoƙi gama-gari da na bukukuwa da bauta da labari da sharhi da kuma dangantaka.

Manyan jigogi na littafin, wato na labari da sharhi da kuma dangantaka su ne ƙashin bayan waƙa. Wato idan babu waɗannan batutuwa, to ba za a kira ta da waƙa ba. Idan babu labari a cikin waƙa, to dole a yi amfani da sharhi. Idan kuma babu sharhi to dole a yi amfani da dangantaka. Waƙoƙi gama-gari da na bukukuwa da kuma na bauta, duk suna ƙulla zaren jigo ne a waƙoƙi. Saboda haka, tun da waƙoƙin suna ƙumshe da labari da sharhi da kuma dangantaka a matsayin jigo, to shi ya sa ake kiran waƙoƙi gama-gari da na bukukuwa da kuma na bauta a matsayin ‘yan rakiya (Zhu xi, 2020).

Ƙa’idojin Rubutun Zube da Waƙa

Tanƙwaruwa a aikin adabi yana nufin mutum ya girmama ƙa’idojin rubutun zube da waƙa ba tare da ɗamfarewa a gare su ba. Wato ana so a riƙa ƙarfafa samun canji da ƙirƙira. Kishiyar tanƙwaruwa a aikin adabi ita ce tsaurarawa a aikin adabi, wato yanayin da marubuci yakan kwaikwayi zubi da tsari irin na tsohon alƙawari ba tare da ƙirƙira ba. Ɗaya daga cikin hanyoyin samun tanƙwaruwa a aikin adabi ita ce ta samun izna da ƙarfin gwiwa daga ayyukan magabata, da kuma tsotsa daga hikimarsu ba tare da ɗamfarewa ba. Wato mutum ya kasance ya dogara ga kansa cikin ƙirƙira sababbin salailai da dabaru na sarrafa harshe. Masana tarƙen adabi na daular Song sun tasirantu da ayyukan Chan na amfani da matsakaiciyar tanƙwaruwa, kuma daga bisani suka ɗauke shi a matsayin wani mizani na auna rubutun waƙa da na zube.

Waɗanda suke bukatar su koyi yadda ake rubutun waƙa, to yakamata su naƙalci yadda ake tanƙwaruwa a aikin adabi. Wato baya ga sanin dukkan ƙa’idojin waƙa, to kuma mawaƙi ya zurfafa wajen samar da canje-canje a waƙoƙinsa ba tare da watsi da dokokin ba. Ƙa’idar wannan hanya ta rubutu ita ce samuwar dokoki a matsayin jagora kawai, ba tare da ɗamfarewa ba. A yanayin kuma da babu dokoki, to a samar da dokokin, Haka kuma mawaƙi yana iya tattauna lamarin tanƙwaruwarsa a ayyukan adabi tare da sauran mutane, matuƙar dai sun fahimci yadda tsarin yake (Lu Benzhong, 2020). Ta ɗaya haujin kuma, a yayin rubutun zube akwai bukatar a tabbatar da lamarin tanƙwaruwar adabi. Idan mutum ya ɗamfare ga tsohon alƙawari, to ba ƙirƙira sababbin ayyuka ba, kuma wannan yanayi shi ake kira da tsaurarawa a ayyukan adabi. Wato tsaurin yana nan tattare da kwaikwayon ayyukan waɗansu ba tare da kawo sabuwar hikima ba. A tanƙwaruwar aikin adabi kuwa, marubuci yana da dama ta cin gashin kansa wajen ƙirƙira ba tare da ɗamfarewa ga na waɗansu ba. Gaskiyar maganar ita ce, tsauraruwa tana kawo tawaya a ayyukan adabi (Yu Cheng, 2020).

Tambayar a nan ita ce, idan tanƙwaruwa tana kawo tawaya a ayyukan adabi, to ina matsayin fasaha a cikin manufofin waƙa (biecai-biequ)? Kamata ya yi kowace waƙa ta kasance tana da manufa ta daban ƙunshe a cikin fasahar mawaƙi. A arewacin daular Song, Huang Tingjian ya ƙarfafa mawaƙa na makarantar Jiangxi da su ɗauki waƙa a matsayin wata kafa ta bayyana ra’ayi dangane da al’amuran da suka shafi rayuwar al’umma. Ta haka suna inganta amfani da salon harshen ƙarfafawa wanda ya keɓanta ga waƙa. A cikin littafinsa na tarƙe a nazarin waƙa mai suna Canglang’s Criticism of Poetry, Yan Yu (2020) na kudancin daular Song ya bayyana ɓacin ransa a bisa aukuwar irin wannan al’amari. Ya jaddada cewa waƙa tana da manufa ta daban da ta bambanta da abin da za a koya a littafi. Haka kuma tana ƙunshe da fasaha ta musamman, don haka ba batu ne na ra’o’i ba.

A ra’ayinsa waƙa tana da maudu’i da manufa, saboda haka ya kamata waƙa ta bayyana abin da yake zuciyar mawaƙi, a maimakon tanadin littattafai cike da ra’o’i daban-daban. Yakamata a isar da jigon waƙa ta irin wannan siga Yaɗa manufar fasaha a cikin manufofin waƙa da Yan Yu ya yi, izna ce daga kudancin daular Song cewa masu tarƙen ayyukan adabi sun amince da salon yadda ake bayyana al’amura a waƙa. Wannan ne dalilin da ya sa kuma suka yi kira da a koma ga amfani da salon da aka ƙirƙira a cikin rubutun waƙa na daular Tang. A muƙaddimar littafin Preface to A Collection of Zhuxi’s Poems, Liu Kezhuang ya bayyana cewa, a tsawon shekaru ɗari uku na daular Song, mutane da yawa sun wallafa ayyuka na adabi, kuma da yawa daga ciki waƙoƙi ne da suke ƙunshe da manufofi daban-daban. A irn waɗannan waƙoƙi, wasu maubutan sun bayyana ra’ayoyinsu, a yayin da wasu kuma suka yi ta rarraba muhawarar da suka gabatar a ilimance. Wasu sun wallafa waƙoƙi guda dubu, wasu kuma dubu goma. Sai dai mafi yawansu sharhi ne kawai na ayyukan Confucius a cikin sababbin manufohi. Gaskiyar maganar dai ita ce, ba waƙoƙi ba ne.

Ta ɗaya haujin kuma akwai batun amfani da adon harshe a zube da waƙa (yinxiu). Adon harshe (ko kuma adon magana), tarin kalmomi ne biyu ko iye da haka da ke da ma’ana wadda ta bambanta da ma’anonin su kalmomin, domin samar da sahihiyar magana (Dikko da Macciɗo, 1991). Ke nan adon harshe (ko adon magana) wata dabara ce ta yiwa magana kwalliya, domin nuna ƙwarewa da balagar harshe domin isar da wata manufa ta wata siga da za ta wasa ƙwaƙwalwar maisauraro. A ra’ayin Guenthener (1975) a cikin aikin Yakasai (2020), nazarin adon harshe (ko adon magana) yana da tasiri wajen samar da cikakkiyar ma’ana a harshe. Wannan magana ta hikima tana nufin cewa, muhimman sassan nan na zube da waƙa suna iya kasancewa ɗauke da adon harshe, a ƙoƙarinsu na bayanin abin da yake kyakkyawa.

A adabin Sinawa, da farko dai wannan magana ta hikimar amfani da adon harshe a zube da waƙa, ta fara bayyana ne a cikin babin wani littafi mai suna The Literary Mind and the Carving of Dragons. A cikin wannan babi, ma’anar wannan magana ta hikima tana ɗamfare da yadda za a siffanta wani wuri ko al’amari a zuciyar mai karatu. Haka kuma adon harshe na bayyana tsabar kyau kamar yadda aka bayyana a cikin matanin da ya fito da tushen ma’ana. Waɗannan halaye dai a kodayaushe tare suke ba sa rabuwa, musamman a cikin ayyukan samar da adabi nagari. Idan da so samu ne, to kamata ya yi kyakkyawan matani ya kasance yana ƙunshe da salailai na sarrafa harshe a tsakanin jumlolinsa.

Wato matanin da aka rubuta ya kasance mai ƙayatarwa, a ƙoƙarin bayyana jigon da yake ɗauke da shi (Liu Xie, 2020). A wani aiki mai taken Notes on Poetry Written in the Pine and Cypress Studio, Zhang Jie (2020) yana da ra’ayin ana samun tsaiko a lokacin da tunani da abin da zuciya take so suka ɓuya a tsakanin jumlolin matani na ayyukan adabi. Wato tabbataccen kyau da ƙaye na bayyana ne a lokacin da marubuci ya yi amfani da adon harshen da yake wakiltar abin da yake cikin zuciyarsa. Duk da kasancewar irin wannan yanayi, ana kuma samun haɗakar waƙoƙi da rubutun zube (zongji). Kalmar zongji tana nufin haɗakar waƙoƙi da rbutun zube na matubu daban-daban a wuri guda. Ita asalin wannan kalma ta bambanta da kalmar bieji wadda take nufin haɗakar ayyukan adabi na mutum guda. Daga cikin irin ayyukan dauri masu nasaba da wannan tsari, wanda kuma akan samu a yanzu ba shi ne na Verses from the Odes of Chu, wanda Wang Yi (2020) na daular Han ya tattara kuma ya tace a matsayin edita. Dangane da ƙunshiyar irin wannan aiki kuwa, masana suna ganin yana iya kasancewa mai yawa ko kuma kaɗan. Hasali ma, kamata ya yi kowane aiki irin wannan ya kasance na tarihi a rubuce ko kuma haɗakar abubuwan da suka faru daga wata daula.

A cikin haɗakar irin wannan aiki kuma ana ya kasa shit a fannoni daban-daban. Saboda haka aikin day a wakilci irin wannan tsari shi ne Selected Literary Works, wanda gamayyar Yarima Xiao Tong (2020) da kuma mashawartansa na daular Liang da ke kudanci suka tattara kuma suka wallafa. Ƙunshiyar aikin ayyuka ne guda 700 da suka taɓo sassa daban-daban na adabi tun kafin daular Qin zuwa zamanin daular Liang. A wannan aiki babu gudummawar jing (ayyukan Confucius) da na shi (tarihi) ko kuma zi (tunanin masanan dauri), face ‘yan tarihe-tarihe da aka taɓo a gabatarwar aikin. Aikin dai ya wakilci abubuwan da suke aukuwa a wannan zamani, kuma yana da tasiri a kan adabin Sinawa a shekaru masu zuwa.

Galibi ana tattara irin waɗannan ayyuka na adabi (wato ci) da kuma na ƙirƙira (wato fu), da kuma ayyuka daban-daban da marubuta suka wallafa. Akan tattara su wuri guda da sunan Litrary Trends and Schools daga Zhi Yu na daular Jin (The History of the Sui Dynasty). An samo tsarin irin waɗannan ayyuka ne daga cikin littattafan The Book of History da kuma na The book of Songs. Daga nan ne kuma aka samar da wasu ayyuka da suka haɗa da Verses from the Oden of Chu da Literary Trends and Schools. Dukkansu dai Wang Yi da Zhai Yu (2020) ne suka tattara sannan suka wallafa su, a yayin da kuma suka biyo baya cikin manufofi da zubi da tsari da kuma harshe gaba ɗaya. Daga bayanan da suka gabata, a fili take cewa waƙa tana da matsayi daban-daban. Wato ana amfani da waƙa domin bayyana halaye da yanaye-yanaye da suke bijirowa a zamantakewar al’umma.

Waƙa a Matsayin Saƙon Zuci

Asalin waƙoƙi suna bijirowa ne daga zuciyar mawaƙi. Lu Jin na yammacin Daular Jin yana cewa: “A fasahar rubutu, wajibi ne mawaƙi ya ji ɗarsuwar abin da yake so a zuciyarsa kafin ya iya ƙirƙira waƙa. Wannan ra’ayi yana da nasaba da na “kishin zuci a cikin waƙa”, kuma ya jaddada muhimmancin ayyukan adabi da bunɗasarsu a zamanin daulolin Wei da Jin. Waɗa a matsyin saƙon zuciya, na wakiltar wani ra’ayi a kan tsarin waƙa da adabi a ƙasar Sin ta dauri. A ra’ayin Lu Ji (2020), kasancewarta wata kafa ta sadarwa, waƙa a matsayin saƙon zuciya tana waƙeda daɗin karantawa. Da wannan ne kuma Liu Xie (2020) yake cewa kowane ɗan’Adam yana da abubuwa da suke ɗarsuuwa a zuciyarsa, kuma yana bayyanawa a waƙe a lokacin day a samu tasirin rayuwa ta yau da kullum, kuma zuciyarsa ta ɗarsu da lamarin. Dukkan waƙoƙi suna bijirowa ne daga yanayi da halayen da zuciya ta sami kanta a ciki.

Idan muka ɗauki kishin zuci a cikin waƙa (wato shi yan zhi), waƙa kafa ce ta bayyana abin da yake ƙumshe a cikin zuciya. A nan zhi tana nufin kishin zuci da tunanin marubuci. Batun kishin zuci a cikin waƙa, lamari ne daya fara bayyana a littafin Confucius mai suna The Book of History, wanda Zhu Ziqing ya yaɗa a matsayin manufar waƙoƙin al’ummar Sinawa. Sannu a hankali kuma, da taimakon ayyukan manazarta tarƙen waƙoƙi, sai aka ɗauki kalmar a matsayin kalmar fannu a cikin ayyukan tarƙen adabin Sinawa. Saboda haka, waƙoƙi suna bayyana kishin zuci daga zuciyar marubuci, a yayin da su kuma kiɗa da waƙa ake rerawa. Hususan dai waƙoƙi suna bijirowa ne a sanadiyar kishin zuci. Kishin zucin da aka ji sunansa kishin zuci, amma kuma a yayin da aka bayyana kishin zuci a rubuce cikin kalmomi, to ya zamo waƙa.

Daga abin da ya gabata, bari mu ɗauki misalan wasu waƙoƙi a matsayin zakaran gwajin-dafi, da suka haɗa da na ‘Rayuwar kaɗaici’ da ‘Waƙoƙin baƙin ciki’ da kuma ‘Waƙar tarihin al’umma’. Rayuwar kaɗaici (beikai) maganar azanci ce da ke bayyana damuwa da ake samu a cikin waƙa. Irin wannan yanayi yana ɗaya daga cikin salailai na waƙa guda ashirin da huɗu (24), da mawaƙin nan na ƙarshen daular Tang, wato Silkong Tu ya kawo a taƙaice, Yanayi ne na damuwa cikin ƙalubalen rayuwa ko kuma ƙololuwar ɗokantuwa da wani lamari da ya auku. A lokacin da mawaƙa suka sami kansu a cikin damuwa da baƙin ciki da fushi da kuma ɓacin rai, to sai ɗuncin yanayi ya jefa su cikin rayuwar kaɗaici da suke bayyanawa a salon rubutacciyar waƙa. Duk da cewa salon yana yin kama da na salon ƙaddara a al’adar nazarin adabi a ƙasar Hausa, amma kuma ya fi tasirantuwa da kaɗaici.

Dangane da waƙoƙin baƙin ciki (chenyu) kuwa, wani irin salo ne a ayyukan waƙa, a inda ake bayyana ra’ayi a cikin hikima. Mawaƙan Sinawa na dauri waɗanda Du Fu ya wakilta, sun fi damuwa da halin dad a al’ummarsu take ciki a kodayaushe. Saboda haka sukan yi ƙoƙarin fahimtar dalilan da suke kawo bunƙasa da kuma faɗuwar ƙasa, sannan kuma su tanadi shawarwarin da za su ceto ƙasa da al’amuranta daa cikin mawuyacin halin da ta samu kanta. A yayin da irin wannan ƙoƙari nasu ya gaza cimma burnsu, to sai sukan bayyana irin baƙin cikin da suka shiga a waƙe. Ta hanyar amfani da zubi da tsari da kuma hawa da sauka na murya, ayyukansu sukan samu kar`uwa ta musamman a wajen al’umma cikin yabo da alfahari da gudummarsu wajen kishin gina ƙasarsu. A yayin da marubuci ya kasance cikin tunani mai zurfi dangane da jigon abin da zai yi rubutu a kansa, to da zarar ya kamala aikin nasa sai ra’ayinsa ya bayyana a fili (Chen Tingzhu, 2020).

Idan uka juya ga waƙar tarihin al’umma (shishi) kuwa, wannan kalma tana nufin waƙar da jigo ko ƙumshiyata ya tattare tsarin zamantakewar al’umma da kuma muhimman al’amuran tarihi da suka gabata. Wasu daga cikin waƙoƙin da ke cikin littafin The Book of Songs sun shafi gaskiyar al’amuran rayuwa na wancan ne, wanda har Confucius ya yi iƙirarin cewa littafin jagoran fahimtar al’umma ne. Wannan yana nufin cewa ya nazarci littafin a matsayin wanda aka yi amfani da waƙa wajen adana tarihi. Haka kuma masana na daular Han sun jaddada muhimmancin waƙa a matsayin kafa ta adana tarihin al’umma. Daga bisani kuma, masana ilimin nazarin waƙa na ƙasar Sin sun yi imani da cewa yakamata waƙa ta ƙumshe zahirin rayuwa, da bayar da nishaɗi da kuma ilimi.

Ga misali, waƙoƙin Tang Du Fu ana kiransu da waƙoƙin tarihin rayuwar al’umma, domin suna ƙumshe da irin gwagwarmayar da ƙasar ta sha a lokacin boren An Lushan-Shi, da kuma ɓacin ran yadda aka bayyana halin da ƙasar ta shiga.amarin ya kuma haɗa da yadda al’ummar suka yi fama da matsananciyar wahala, wata annoba a ƙasar. Du Fu ya yi hijira zuwa lardin Gansu da Sichuan domin gujewa matsalolin da boren An Lushan-Shi Siming ya haifar, sannan ya bayyana abubuwan da suka faru das hi a cikin waƙoƙi.Da yake waƙoƙinsa sun bayar da asalin hoton abubuwan da suku a lokacin, to sun zamo waƙoƙin tarihin al’umma. Su kuma al’umma sun ɗauki waƙoƙin Du Fu a matsayin waƙoƙin tarihi, musamman saboda sun bayyana gaskiyar abubuwan da suka faru a zamaninsa, sannan kuma cike suke da yabo da kuma zambo na al’amuran tarihi. Saboda haka kai tsaye ake kiran waƙoƙinsa da waƙoƙin tarihin al’umma (Wen Tianxiang, 2020).

Naɗewa

Abin da ya gabata a cikin wannan maƙala tsokaci ne dangane da matsayin waƙa a adabin Sinawa. Da farko mun yi waiwaye (wanda masu hikimar magana suke cewa adon tafiya ne) dangane da inda ƙasar Sin take da kuma yadda al’adar zamantakewarsu ta ke. Daga nan kuma sai bayani a kan ko mece ce waƙa da kuma sauran muhimman batutuwa da suke ɗamfare ita. Waɗannan batutuwa sun haɗa da karin waƙa da zubi da tsari da yabo da zambo da kuma matsayin waƙoƙi gama-gari. An kuma kawo ƙa’idojin rubutun zube da waƙa a doron adabin Sinawa. Ƙa’idojin sun shafi amfani da adon harshen waƙa, da kuma fasaha a cikin manufofin waƙa. Daga nan kuma an kawo misalan waɗa a matsayin saƙon zuci da kishin zuci a cikin waƙa da rayuwar kaɗaici da waƙoƙin baƙin-ciki da kuma waƙar tarihin al’umma.

Wani tuntuɓe daɗin gushi, waɗa a adabin Sinawa tana kuma da wata dangantaka ta musamman da wasu al’amura na rayuwar al’umma kamar zane (shi zhong you) da wasan kwaikwayo (danghang). Wannan maganar hikima tana bayyana irin dangantakar da take tsakanin zane da kuma waƙa ne, a matsayinsu na kafafen da suke ƙirƙira al’amura a cikin ingantacciyar siga. Su Shi ne mutum na farko da ya fara gabatar da wannan maganar hikima a cikin littafinsa mai suna Notes to Wang Wei’s Painting of Mist and Rain over Languan. Zane yana bayyanar da al’amura ta hanyar amfani da kalmomi. Wato shi zane fasaha ce da ba ta ɗauke da saututtuka, a yayin da ita kuma waƙa take fasahar da ke da saututtuka amma ba tare da zane ba. A taƙaice, haɗakar waɗannan abubuwa na hikima guda biyu za ta samar da ingantaccen sakamako. Wannan ra’ayi na Su Shi ya yi tasiri a kan ci gaba da kuma bunƙasar ayyukan adabi da kuma na zane a ƙasar Sin. Ta ɗaya haujin kuma an fara amfani da kalmr danghang a cikin nazarin tarƙen waƙa, domin a bayyana dacewa da kuma cancantar waƙa (wato a lokacin da waɗa ta cika wasu sharuɗɗa da aka tanada a matsayin ma’aunin nagarta). Daga bisani kuma sai kalmar ta zamo ta fannu a cikin ra’in ayyukan adabin Sinawa

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