Mutuntarwar Siffa Ko Kira A Wakokin Duniya

Citation: Halliru Abubakar IDRIS (2023). Mutuntarwar Siffa Ko ƙira A Waƙoƙin Duniya. Yobe Journal of Language, Literature and Culture (YOJOLLAC), Vol. 11, Number 1. Department of African Languages and Linguistics, Yobe State University, Damaturu, Nigeria. ISSN 2449-0660

MUTUNTARWAR SIFFA KO ƘIRA A WAƘOƘIN DUNIYA

Na

HALLIRU ABUBAKAR IDRIS

Abstract

This paper examines the different types of personification. Various Schorlars of Literature including Leech (1991), Abrahms and Harpharm (2000), Agyekum (2013), have categorized varieties of personification into three main categories including. Prosopopoeia, Pathetic Fallacy and Apostrophe. A part from the aforementioned, it is the intention of this paper to eximine another variety of personification, ie Mutuntarwar Siffa ko Ƙira (Similarity of Form). The paper further examines how poets in Hausa are harnessing this style as a means of personifying “the world” (Duniya) in their various artistic works. Two corposes from two various artists were set aside as a case study. These are Waƙar Duniya of Yusufu Kantu Isah, and waƙar Duniya Rawar ‘Yammata of Aƙilu Aliyu. The paper found out that personification is an essential element in projecting mundane worldly splendour.

1.1 Gabartawa

Mutuntarwa dabara ce ta adonta harshe da marubuta waƙoƙin Hausa suke amfani da ita na lokaci mai tsawo. Waɗannan marubuta waƙoƙin musamman na ƙarni na 20 zuwa 21 sun rungumi wannan dabara cikin waƙoƙinsu daban-daban saboda matuƙar muhimmancinta wajen isar da saƙo a sauƙaƙe, kuma cikin armashi. Abrams da Harpham (2000) sun bayyana wannan adon harshe na mutuntarwa a matsayin “wata dabara inda ake ɗaukar ɗabi’a ko halayya ko tunani na mutum a ɗora su a kan wani abun da ba mutum ba. Wannan ya ƙunshi abubuwa da ake iya gani, da ma waɗanda ba a iya gani”.

Wannan dabara ta mutuntarwa tana da zurfi da faɗi, tana kuma da sassa ko nau’o’i daban -daban da mawallafa waƙoƙin Hausa kan ɗauka domin cimma burinsu a cikin waƙoƙinsu.

Saboda haka, a wannan maƙala, an ƙuduri aniyyar nazartar dabarar adon harshe ta mutuntarwa, inda za a nazarci mutuntarwar siffa ko ƙira, sannan a ɗora ta a kan waɗansu zaɓaɓɓun rubutattu kuma shahararrun waƙoƙi a kan “duniya”, domin a ga yadda dabarar ta taimaka wajen isar da saƙonninsu cikin armashi da burgewa. Waƙoƙin da za a nazarta dai su ne: waƙar “Duniya” ta Yusufu Kantu Isa da kuma waƙar “Duniya Rawar ‘Yammata” ta Aƙilu Aliyu.

2.1 Mutuntarwa:

Masana daban-daban sun bayyana mutuntarwa ta fuskoki daban-daban: Mathews (2005) yana ganin dabarar mutuntarwa a matsayin “kwatanta abubuwan da ake iya gani, da ma waɗanda ba a iya gani, da mutum, wato ɗan’adam”.

Shi kuma Baldick (2004) cewa ya yi “mutuntarwa dabarar adon harshe ce inda akan mayar da dabbobi ko wani abin da zuciya ta ayyana, ko kuma abubuwan da idanu ba su iya gani zuwa mutum.

Agyekum (2013) cewa ya yi “mutuntarwa dabarar adon harshe ce inda akan ɗauki waɗansu keɓantattun ɗabi’u na mutum kamar hali ko ƙira ko tunani da wayewa, a ɗora su kan dabba ko wani abu mara rai, ko kuma wani abin da ido ba ya iya gani balle ya taɓa. Agyekum, (2013) ya ci gaba da bayyana cewa akan ci nasarar aiwatar da wannan dabara ce ta amfani da waɗansu rukunonin kalmomi ‘yan gidan aikatau, ko wani aiki, da siffatau ko suna, wani lokaci ma har da wakilin suna.

Su kuwa Abrahms da Harpham (2000) cewa suka yi “ mutuntarwa wata dabara ce inda ake ɗaukar dabi’a ko halayya ko tunani na mutum a ɗora su a kan wani abun da ba mutum ba, wannan ya ƙunshi abubuwan da ake iya gani da ma waɗanda ba a iya gani”.

Ta la’akari da waɗannan ma’anoni da suka gabata, za a fahimci cewa muhimman sinadaran gina wannan dabarar adon harshe su ne ɗaukar halaye ko ɗabi’u ko siffofi ko darajoji da mutum ne kawai ya keɓanta da su, a ɗora su a kan wani abun da ba mutum ba, mai rai ko mara rai, haka kuma mai motsi ko maras motsi.

2.2. Nau’o’in Mutuntarwa:

Leech (1991) da Abrahms da Harpham, (2000) da Agyekum (2013) sun bayyana nau’o’in mutuntarwa kamar haka:

2.2.1 Ayyanau (Prosopopoeia):

Wannan dabarar mutuntarwar wani yanayin adon harshe ne inda ake ɗora wata siffa ko wani aiki ko kuma ɗabi’ar magana wanda mutum kawai aka sani da su, a kan wani mutum wanda babu shi a zahiri. Akan ayyana cewar ga mutum yana magana ko wani aiki.

An kira ta ayyanau domin dabara ce da ake ayyana ko riya cewar ga wani mutum wanda a zahiri babu shi a raye, ko kuma babu shi a inda wani abu ke faruwa, amma a ce ga shi, ko dai yana magana ko kuma yana aiwatar da wani aiki.

2.2.2 Haɗin Gambiza (Pathetic Fallacy)

A zarihi idan an ce haɗin gambiza, shi ne a haɗa waɗansu abubuwa da ba su da alaƙa da juna wuri ɗaya.

An bai wa wannan dabara wannan suna ne domin abubuwa biyu, masu ƙira da ɗabi’u daban-daban ake gwamawa wuri ɗaya domin a same ta, misali:

i. Sama ta yi fushi

ii. Tsuntsaye suna gaɗa

Fushi ɗabi’ar ɗan’adam ce, amma aka ce, ga sama ta yi fushi. Saboda haka an haɗa waɗansu abubuwa da a zahiri ba su da alaƙa da juna. Wato an yi haɗin gambiza kenan.

2.2.3 Sambatau (Apostrophe)

Wannan dabara tana da kusanci sosai da mutuntarwa. Dabara ce ta yin magana da wani mutum ko wani abu wanda ido ba ya gani, ko kuma wani abun da ba kasafai za a iya magana da shi ba. Wannan dabara ta ƙunshi yin magana da wani abu mara rai ko matacce ko abin da ido ba ya iya gani, ko ma aljani, saboda haka wannan dabara ce wadda kan mayar da abubuwa marasa rai zuwa masu rai abubuwan da ba a iya gani zuwa waɗanda ake iya gani a ƙarshe ma, har a riƙa zantawa da su tamkar mutane.

i. Akan riƙa yi wa irin wannan adon harshe rakiya da alamar matsin rai, wato (!) misali:

ii. Mutuwa! Me ya sa kika yi mini haka?

An kira ta sambatau/sambatu, domin mai amfani da wanna nau’in mutuntarwar kan riƙa magana ne da wasu halittu da ido ba ya iya gani kamar dodo ko aljanu ko matattu ba tare da tunanin za a amsa masa ba. Wannan ya yi daidai da sambatu da ɗan’adam kan riƙa yi idan ya sami kansa a cikin wani yanayin ƙunci ko baƙin ciki.

3.1 Adon harshe:

Masana daban-daban sun bayyana abun da suka fahimta da adon harshe, da kuma muhimmancinsa a cikin adabi.

“Agyekum (2013) ya kira su “kwatance ne da akan yi a dalilin dangantaka tsakanin kalmomi. Sakamakon kwatancen kan samu ne ko dai ta zuzzurfan tunani, ko ta al’adu, ko kuma ta la’akari da abubuwan da suka danganci muhalli”, Ya ci gaba da bayyana cewa, ana samun adon harshe ne lokacin da mai magana ko rubutu ya zaɓi ya kauce wa wata sababbiyar ma’anar kalma, ko kuma yadda ake amfani da ita, a ƙoƙarin bayani bisa ra’in kansa, a kan wani al’amari. Abrams da Harpham (2000) suna da irin wannan ra’ayi na Agyekum (2013), domin kuwa, cewa suka yin lallai adon harshe na samuwa ne sakamakon kauce wa yadda ake amfani da kalma ko kalmomi, to amma kaucewar ba ta shafar ma’anoninsu na asali.

Shiphley (1972) ya bayyana adon harshe a matsayin “waɗansu abubuwa masu matuƙar amfani. Daga cikin amfaninsu har da kasancewar suna taimakawa wajen yin ƙarin haske, ko karin bayani, su kuma sanya karsashi, suna kuma taimakawa wajen dabarar mayar da abu mai rai zuwa maras rai, ko kuma maras rai zuwa mai rai. Suna samar da alaƙa ko dangantaka, suna sanya dariya da nishaɗi, sannan sukan kasance tamkar kwalliya a rubutu ga mai karatu ko sauraro”.

4.1 Duniya:

Wannan kalma ta duniya tana ɗaukar ma’anoni daban-daban, gwargwadon yadda aka buƙaci a yi amfani da ita. Bargery (1934) ya tabbatar da wannan batu idan aka yi la’akari da yadda ya bayyana ma’anoni daban-daban da ta kunsa. Misali:

i. Duniya ta yi daɗi

ii. Ya shiga duniya

iii. Yana duniya

iv. Duniya ba ta da tabbas

v. Duniya matakin bene

vi. Wane duniya ne

vii. Duniya ta yi sarari

viii. Ɗan duniya/’yar duniya

Ta la’akari da ma’anonin duniya kamar yadda suka gabata, a jumlace, a iya cewa, kalmar duniya na iya ɗaukar ma’anoni da suka haɗa da wuri (bigire), ko yanayin tattalin arziƙin wani, ko matsayin wayewar wani, ko kuma rashin tabbas na ɗorewar wani kyakkyawan al’amari ko yanayi.

Baya ga Bargery (1934), sauran masana ma sun tofa albarkacin bakinsu, domin kuwa Amin (2002) cewa ya yi “duniya wuri ne mai yalwa”. Ya kuma kafa hujja da waƙar ɗan’anace, inda yake cewa:

Duk wanda Ado yab buga shina kwana goma

Yana cikin sararin duniyag ga bai san kowa ba.

Sarari a nan, na nufin sararin Subuhana, wato wani faffaɗan fili, iya ganin mutum.

Shi ma Ayuba (2019), ya kalli duniya a matsayin wuri ko bigire ne. Ya yi ƙarin haske da cewa“tana da sarari ko fili,farfajiya iyakar ganin idon mutum. Sararin duniya, nan ne da’irar rayayyun halittu da mutum yake mu’amala da su a fayyataccen bigire”.

A ƙoƙarin bayar da cikakken adireshin duniya, Ayuba (2019) ya ci gaba da bayyana cewa “bigiren duniya wuri ne da ake kallonsa yana tsakanin ƙasa da sama, gabas da yamma, kudu da arewa. Kuma yana da nasaba da jiya da yau. Ruwa da iska suna cikin halittun duniya, akwai tudu da kwari a duniya”.

Su kuma Lawal da Usman (2021) a maƙalarsu mai taken “Yanayi da halayen duniya a wasu waƙoƙin Alhaji Musa Ɗanƙwairo”, fito da wasu halayen duniya suka yi a zubin ɗiyan waƙoƙin Alhaji Musa Ɗanƙwairo. Masanan sun nazarci yadda Alhaji Musa Ɗanƙwairo yakan fito da maniya da ƙananan saƙonni waɗanda suka dace da yanayi da halayen duniya ta hanyar danganta su da na tsarin zamantakewar al’umma ta yau da kullum. Saboda haka manazartan sun lura cewa Alhaji Musa Ɗanƙwairo yana da fito da yanayin halayen da mutane kan shigaa yayin cuɗanya da kuma gwagwarmaya ta rayuwar yau da kullum, watau yanayi da sauye-sauyen rayuwa ga ɗaiɗaikun mutane da kuma al’umma baki ɗaya. Daga cikin halayen duniya da manazartan suka binciko daga cikin waƙoƙin makaɗin, sun haɗa da: halin ɗauka da ajewa, watau rashin tabbas da halin juyi na duniya. Har-ila-yau sun nazarci yanaye – yanaye na duniya da yadda wasu mazauna duniyan kan samu kansu a cikinta, waɗanda suka haɗa da yanayin samun dama da amfani da ita, da yanayi ko hali na jajircewa, da yanayi na ibada da tawakkali a kan al’amurran duniya, da kuma yanayi na gyara. Manazartan sun kafa hujjoji da ɗiyoyi daban-daban daga waƙoƙin Alhaji Musa Ɗanƙwairo daban-daban domin tabbatar da haka. A gaba ɗaya, kamar yadda manazartan suke tabbatar, Alhaji Musa Ɗanƙwairo ya yi ƙoƙarin fito da matakai waɗanda aka ɗora al’umma a kai, domin samun kyakkyawan yanayi na rayuwa da kuma gamawa da duniya.

Bunza (2012) a waƙarsa mai taken “Duniya a Ma’aunin Bahaushe”, ya dubi duniyar da muke rayuwa a cikinta ne ta ma’aunin Bahaushe na gargajiya inda yay i ƙoƙarin nazartan abubuwan da suke haɗa da sunan duniya na asali a wurin Hausawa. Inda kuma masanin ya gano sunaye

5.1 Munutarwa ta Siffa ko Ƙira.

Bargery (1934) da Newman (2007) sun bayyana kalmar siffa a matsayin “yanayin da wani abu kan yi kama da wani abu. “Bakinsu ya zo ɗaya a kan cewa ba wani abu ne siffa ba illa “Kamanceceniya”.

Har ila yau sun bayyana “siffa” a matsayin wani ɗan taƙaitaccen kwatance a kan wani mutum ko kuma wani al’amari da ya faru.

Ita kuwa ƙira bayyana ma’anarta suka yi a matsayin “sura” ko “tsari” na wani mutum ko wani abu.

Saboda haka, ta la’akari da waɗannan ma’anoni da suka gabata ne, za a auna yadda fasihan suka mutuntar da duniya ta fuskar siffa ko ƙira.

Shi ma Aƙilu Aliyu ya yi amfani da wannan dabara ta mutuntarwa a cikin waƙarsa ta “Duniya Rawa ‘Yammata” domin ya mutuntar da duniya a baiti na 24 ɗango na 1 – 5 kamar haka:

Tsohuwa mai takura,

Mai baƙi mai zanzana,

Mai yawan shan majina,

Ga ta nan ba danagana,

Sai yawan son zuciya.

A ɗango na 1 fasihin ya mutuntar da duniya ta hanyar kiranta kai tsaye da sunan tsohuwa. A al’adance Bahaushe kan kira macen da shekarunta na haihuwa suka haura sama sosai da sunan tsohuwa. Wasu ma wannan suna kan shafe sunansu na asali a tsakanin al’umarsu. Saboda haka ɗaukar wannan suna da fasihin ya yi, ya kuma bai wa duniya mutuntarwa ne.

Har ila yau a ɗango na 4 fasihin ya daɗa mutuntar da duniya domin kuwa ya nasabta ta da rashin dangana. Dangana ko rashinta wata ɗabi’a ce ta keɓanta da mutum. Domin kuwa mutum ne kawai ke da hankali da kuma ɗabi’ar yin haƙuri a kan wani abu maras kyau da ya faɗa masa.

Haka kuma ɗabi’ar yawan fushi ko yin zuciya kamar yadda fasihin ya kawo a ɗango na 5, ita ma ta keɓanta ne da mutum kawai, akan gane yin fushi ko yin zuciya ko dai a fuska, ko ta hanyar kalami ko lafazi, ko kuma ta aiki. Duka waɗannan sinadarai kuwa za a fi gane su ne a jikin mutum fiye da sauran halittu kamar dabbobi ko tsuntsaye. Saboda haka ɗora wannan ɗabi’a ta fushi ko zuciya a kan duniyar da ba ta da rai balle tai motsi, mutuntarwa ne.

Ambaton wannan kalma ta “tsohuwa” ga waɗanda ya dace a kira su da shi alkunya ce irin ta Hausawa, domin kuwa ba kasafai sukan kira manya da sunayensu na asali ba saboda girmamawa.

Dangane da salo kuwa, fasihin ya nuna ƙwarewa sosai idan aka yi la’akari da yadda ya sarrafa waɗansu sinadarai waɗanda suka taimaka sosai wajen bayyana siffa ko ƙira na duniya.

Kalmar “takura” a ɗango na 1 tana bayyana siffar jiki ne na tsohuwa wanda akasari aka sani da takurewa ko tsukewa da kuma tafiya a dudduƙe, ga kuma rashin tsawo saboda shekaru da suka yi mata yawa.

A ɗango na 2 da 3 ma fasihin ya daɗa fito da waɗansu sinadarai waɗanda suka daɗa taimakawa wajen fito da siffa ko ƙira na duniya. Launin “baƙi" da kuma fuska “mai zanzana” siffofi ne na fuska waɗanda suke nuna muni na duniya. Bargery (1934) ya bayyana zanzana a matsayin “ƙananan tabbai da kan bayyana a fuskar mutum sakamakon warkewa daga ciwon agana ko ‘yar rani”.

A ɗango na 4 na fasihin ya daɗa kawo wani muhimmin sinadarin wanda yake nuni da siffa ko ƙira na duniya, wannan kuwa shi ne “rashin dangana”. Wannan siffa ce ta zuciya wadda take bayyana yadda zuciyar mutum take dangana da karɓar ƙaddara. Watau kenan fasihin ya fito da raunin zuciyar duniya. Hausawa na tarbiyyar ‘ya’yansu domin su taso a masu dakakkayar zuciya da kuma yarda da ƙaddara a kowane lokaci.

Waɗannan zaɓi na kalmomi da fasihin ya yi, sun taimaka ƙwarai wajen isar da saƙo cikin armashi.

Shi ma Yusufu Kantu Isa ya bi sahun Aƙilu Aliyu wajen daɗa mutuntar da duniya a baiti na 7 ɗango na 1 – 5 kamar haka:

Bari in kira ta mu ɗan bata,

In ɗan ji ma ra’ayi nata,

Ke ya ki mai shan ambata,

Ga maza jiki duka ƙwarƙwata,

Kuma babu kayan kwalliya

A ɗango na 1 fasihin ya mutuntar da duniya ta hanyar “kira” da ya ce zai yi wa duniya. Mutum ne kaɗai akan yi amfani da kalamai wajen kiran sa. Haka kuma a ɗango na 1 dai fasihin ya yi amfani da wata kalma, watau “bata”, wannan wata tsohuwar kalma ce wadda Bargery (1934) ya ce na nufin ‘hira’ saboda haka a nan ma fasihin ya daɗa mutuntar da duniya, domin kuwa ya ba ta daraja irin ta mutum, wadda za a zauna a yi hira da shi.

A ɗango na 2 fasihin ya daɗa mutuntar da duniya ta hanyar ɗora mata daraja ta mutum wanda yake da ra’ayi nasa na kansa. “Ra’ayi wata baiwa ce da sai mai hankali da natuswa yake iya mallaka. Dabba kamar sa ko rago ko zaki ba su mallaki wannan hankali ba. Saboda haka neman jin ra’ayin duniya da fasihin yake son ya yi, mutuntarwa ce ga duniya, domin ita fili ne ko kuma sarari maras iyaka.

Dangane da salo kuwa, fasihin a ɗango ne 4 da 5 ya yi amfani da waɗansu muhimman sinadarai waɗanda suka taimaka matuƙa wajen bayyana siffa na duniya. A ɗango na 4 fasihin ya bayyana duniya a “mai jiki duka ƙwarƙwata”. Wannan siffa ce ta ƙazanta, mai bayyana duniya a cikakkar ƙazama. Domin kuwa ita ƙwarƙwata ba ta samun wurin zama, har ta yi ‘ya’ya da jikoki, sai a jikin ƙazami. A ɗango na 5 kuwa fasihin ya daɗa bayyana ta da cewa, ba ta mallaki kayan kwalliya ba. Wannan ma ga mace, siffa ce ta ƙazanta da kuma talauci. An san mace da tsafta da kuma yin kwalliya a kodayaushe domin ta burge maza. Amma ita duniya sai fasihin ya siffanta ta da ƙazanta da kuma talauci.

A cigaba da mutuntar da duniya da Yusuf Kantu Isa ya yi a cikin waƙarsa ta “Duniya”, baiti na 9 ɗango na 1 – 4, fasihin cewa ya yi:

Ke ga ki ƙararra kike,

Ke ga ki ramamma kike,

Ke ga ki watsattsa kike,

Kika wa maza ban fiffike.

Fasihin ya cigaba da mutuntar da duniya kamar yadda ya faro tun a baiti na 7. Kalmomin siffatau da fasihin ya yi amfani da su waɗanda suka haɗa da “ƙararra” a ɗango na 1 da “ramamma” a ɗango na 2 da kuma “watsattsa” a ɗango na 3 duk sun fi dacewa ne wajen siffanta mutum. Ɗora su da fasihin ya yi a kan duniya, mutuntarwa ce domin kuwa ita ba mutum ba ce, ƙarewa ma ita duniya ba ta da jiki domin kuwa ita fili ne ko sarari.

Hatta “ban fiffike” da fasihin ya ce duniya na yi wa maza, shi ma mutuntarwa ne. bisa ma’ana ban fiffike na nufin “saki reshe, kama ganye”, watau a kai mutum a baro, ko kuma a yaudari mutum, yaudara kuwa da ma ɗabi’a ce ta mutum kawai. Saboda haka ɗora wannan ɗabi’a a kan duniya, mutuntarwa ne a gare ta.

Ta fuskar salo kuwa, fasihin ya nuna ƙwarewarsa matuƙa wajen sarrafa waɗansu sinadarai masu nuni da ƙira ko siffa na duniya. Kalmar “ƙararra” siffa ce ta lalacewar jiki. “Ramamma” kuwa ita ma siffa ce ta lalacewa da kuma yanƙwanewar jiki. Yayin da “watsattsa” siffa ce ta rashin natsuwa da kuma lalacewar ɗabi’ar zuciya. Duka kalmomin uku daga gidan siffatau ‘yar aikatau suke, domin kuwa aikatau ne ke samar da su kamar yadda Sani (1999) ya tabbatar.

Baya ga haka ma a tsakanin ɗango na 1 da na 3 fasihin ya yi amfani da dabarar adon harshe na maimaitau inda ya riƙa maimata wakilin suna na “ke” a farkon kowane ɗango. Da ma dai Baldick (2004) ya bayyana wannan adon harshe a matsayin dabarar “maimata wata kalma ko yankin kalma akasari daga farkon saɗaru a cikin baiti”.

Haka shi ma Aƙilu Aliyu ya daɗa yin amfani da wannan adon harshe na mutuntarwa a waƙarsa ta “Duniya Rawar ‘Yammata” a baiti na 67 ɗango na 1-5 in da yake cewa:

Tsohuwa mai dunduƙe,

Mamunanta a mammaƙe,

Sai ka ce an dankaƙe,

Babu nama ko laƙe,

Sai ƙashi sai jijiya.

Tun a ɗango na 1 fasihin ya mutuntar da duniya ta hanyar mayar da ita mace, kuma tsohuwa, kamar dai yadda ya kira ta. A ɗango na 2 ya daɗa mutuntar da ita ta hanyar mayar da ita mace wadda take da halittar nono ko mama, wanda kuma mata kan riƙa shayar da ‘ya’yansu da shi. Duk da yake sauran halittu irin su tumaki ko awaki su ma suna da nono ko mama, amma a wannan bigire, mutuntarwar da aka yi wa duniya a ɗango na 1, shi ne ya tabbatar da cewa nonon mace ake nufin a ɗango na 2, wanda kuma yake daɗa tabbatar da cewa duniyar aka mutuntar.

Dangane da salo kuwa, fasihin ya yi zaɓi na kalmomin da suka dace a ƙoƙarinsa na siffanta duniya. Kalmar “dunduƙe” na ɗango na 1 na bayyana siffar tsufa da “yanƙwanewa” da duƙewa ne. yayin da kalmar “mammaƙe” ke bayyana siffar “yamutsewa”, “ƙafewa” da “maƙalewa”. Yayin da kalmar “dandaƙewa” a ɗango na 3 ke bayyana siffar “maƙewa” da “bushewa”.

Har ila yau fasihin ya daɗa nuna gwanintarsa wajen sarrafa kalmomi a wannan baiti, domin idan an lura da kyau, sai a ga cewa su dai waɗannan kalmomi guda uku, watau “dunduƙe” da “mammaƙe” da kuma “dandaƙe” duk kalmomi ne na aikatau ‘yan aji na biyu masu gaɓa uku-uku, masu kuma tsarin gaɓa Ƙasa-Ƙasa – Sama (Ƙ-Ƙ-S). Dukkan waɗannan sinadarai da fasihin ya yi amfani da su, suna nuni ne da siffa ko ƙira na duniya.

Shi ma Aƙilu Aliyu ya yi amfani da wannan dabara ta mutuntarwa a waƙarsa ta “Duniya Rawar ‘Yammata” a baiti na 2 ɗango na 1, 2 da 5 kamar haka.

Mai ido ba tozali,

Babu kyau ba kyan hali,

Ta yi muni duniya.

Sanya tozali a ido ɗabi’a ce ta jinsin mutane kawai. Dabba ko tsuntsu ko wata halitta daban, ba ta da wannan ɗabi’a ta sanya tozali. Mata kan sanya shi domin ado da gyaran ido, yayin da maza kan sanya shi domin gyaran lafiyar idanu. Saboda haka cewa duniya ta sanya tozali a ɗango na 1 mutuntarwa ne a kan duniya, domin ita duniya ba ta da idanu kamar mutum, ita sarari ne kawai ko fili maras iyaka.

Hatta “kyawun hali” da fasihin ya ambata a ɗango na 2 ya fi siffatuwa ne da jinisn mutum. Mutum ne aka sani da mallakar halayya mai kyau da maras kyau, akan so a kodayaushe ya riƙa aikata ayyuka na ƙwarai maimakon munana. Ayyuka masu kyau da akan so mutum ya aikata, sun haɗa da kyauta da zumunci da jin tsoron Allah da dai sauransu. Ɗaukan ɗaya daga cikin waɗannan halaye a nasabta shi da duniya, mutuntar da duniya ne, domin kuwa a zahiri ita duniya fili ne ko sarari maras iyaka.

Dangane da salo kuwa, cikin ƙwarewa kai tsaye fasihin ya bayyana siffa da ƙira na duniya a ɗango na 2 da kuma ɗango na 5. Rashin kyau a ɗango na 2 da fasihin ya ambata siffa ce ta muni na ƙirar jiki wanda ya haɗa tun daga fuska zuwa launinta da zira’inta. Sai kuma a ɗango na 5 inda fasihin a jimlace ya taƙaita siffarta da ƙirarta, ya kuma yanke mata hukuncin cewa mummuna ce.

Yusuf Kantu Isa ma ya yi amfani da dabarar adon harshen mutuntarwa a cikin waƙarsa ta “Duniya” a baiti na 58 ɗango na 1-5 kamar haka:

Fuska gare ta baƙi ƙirin,

Ba inda duk take mai fari,

Zambarta ta buga tambari,

An ji shi duk a gari gari,

Birni da ƙauye gaba ɗaya.

Tun a ɗango na 1 fasihin ya mutuntar da duniya ta hanyar nasabta ta da fuska irin ta mutum. Duk da yake sauran halittu irin su dabbobi da tsuntsaye da ƙwari su ma sun mallaki fuska. To amma a wannan bigire fasihin na nufin fuskar mutum ne. Tabbacin haka na a ɗango na 3 inda fasihin ya daɗa ɗora wa duniyar wata ɗabi’a ta mutum, watau “Zamba”. Bargery (1934) ya bayyana zamba a matsayin “yaudara ko damfara ko ha’inci”. Waɗanda duk ɗabi’u ne na mutum, amma ba wata halitta ba. Saboda haka ɗora ta a kan duniya mutuntarwa ce, domin ita duniya fili ne ko sarari kawai.

Ta fuskar salo kuwa, fasihin ya nuna ƙwarewarsa wajen iya sarrafa kalmomi waɗanda suka taimaka ƙwarai wajen bayyana duniya dangane da siffa ko ƙira. “Baƙar fuska” kamar yadda fasihin ya ambata a ɗango na 1 siffa ce ta muni. Yayin da “Zamba” kamar yadda ya kawo ta a ɗango na 3 siffa ce ta rashin ingancin zuciya.

Wata dabara da fasihin ya yi amfani da ita wajen ƙawata salo a wannan baiti shi ne amfani da salon kamanci. A ɗango na 3 fasihin ya yi amfani da kamanci na fifiko inda ya kamanta zamba da kuma tambari, amma sai fasihin ya fifita zamba bisa tambari.

Fasihin ya mutuntar da duniya ta hanyar ɗora mata tsarin tsayuwa wanda ya keɓanta da ɗan’adam a ɗango na 1. Irin wannan tsayuwa da ƙafafu biyu ake yin sa, akasin na sauran dabbobi da sauran halittu da sukan yi da ƙafafu haɗu ko fiye. Tabbacin cewa irin tsayuwa na ‘yan adam fasihin ke nufi, shi ne yadda a ɗango na 1 ya bayyana cewa ta yi tsayuwar ne da babban ciki, watau kwatankwacin irin na masu tsananin ƙiba.

A ɗango na 2 fasihin ya daɗa mutuntar da duniya ta yadda ya nuna cewa ta lulluɓa tsohon jiki, watau kenan ta yi amfani da wani nau’i na tufafi kamar mayafi ko gyale ko hijabi wajen rufe jikinta. A duka halittun da ke zube a doron ƙasa, mutum ne kawai yake da hikima da ɗabi’ar amfani da tufafi wajen rufe jikinsa. Saboda haka cewa duniya ta lulluɓe jikinta da tufafi mutuntar da duniya ne.

Har ila yau huska ko fuskar da mawallafin ya ce tana ƙyalli a ɗango na 3, fuska ce ta mutum wadda mawallafin ya nasabta ta da duniya. Babu shakka dabbobi da sauran halittu dangogin tsuntsaye da ma ƙwari duk sun mallaki fuska. To amma fuskar mutum ta sha banban da tasu, domin kuwa shi Allah ya ba shi hikimar gyara tasa fuskar, ta hanyar yi mata shafe-shafe da ma kwalliya har ta kai ga yin ƙyalli kwatankwacin irin wadda fasihin yake batu a ɗango na 3. Ita kuwa duniya wani fili ne ko sarari maras iyaka. Saboda haka cewa ta mallaki fuska mai ƙyalli mutuntar da ita ne.

Ta fuskar salo kuwa, fasihin ya nuna matuƙar ƙwarewarsa wajen sarrafa Hausa ta yadda har ya kawo waɗansu kalmomi waɗanda suka kasance tamkar sinadarai masu nuni da alƙiblar waƙar.

Babban ciki “kamar yadda fasihin ya ambace shi a ɗango na 1 yana nuni ne da muni. Duk inda mace ta kai ga kyau matuƙar aka ce tana da tumbi, to kuwa lamari ya lalace. Shi kuwa “tsohon jiki kamar yadda fasihin ya kawo shi a ɗango na 2, siffa ce ta rauni da kuma gajiya. Yayin da ƙyallin fuska ke nuni da yaudara ko shirin damfara ko ha’inci. Duka waɗannan sinadarai da fasihin ya yi amfani da su, sun taimaka matuƙa wajen fito da alƙiblar baitin waƙar, watau kwatanta duniya dangane da siffa ko ƙirarta.

Kammalawa

A gaba ɗaya maƙalar ta nazarci dabarar mutuntarwa ta siffa ko ƙira da tasirinta a rubutattun waƙoƙin Hausa, inda aka ɗora dabarar a kan waƙoƙin fasihai guda biyu, watau Aƙilu Aliyu da kuma Yusufu Kantu Isah. Dabarar ta taimaka ƙwarai wajen riƙe tunanin mai karatu ko sauraro da kuma isar da saƙo cikin armashi da burgewa. Haka kuma dabarar ta nuna gwanancewar fasihan wajen sarrafa harshensu. Sannan kuma maƙalar ta gano cewa ashe lallai wannan dabara tana da matuƙar tasiri tamkar ko wane nau’in adon harshe wajen gina waƙoƙi daban-daban masu jigon duniya, masu kuma cike da ilmantarwa da wayar da kan al’umma a kan halayen duniya. Har ila yau, maƙalar ta gano muhimmancin dabarar wajen adonta saƙo domin ya isa cikin annashuwa da burgewa da kuma rashin gundurarwa ga masu sauraro ko karatu.

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