Tsarin Sautin Maimai A Bakin Dauda Kahutu Rarara

Citation: Hudu SALIHU (2024). Tsarin Sautin Maimai A Bakin Dauda Kahutu Rarara. Yobe Journal of Language, Literature and Culture (YOJOLLAC), Vol. 12, Number 1. Department of African Languages and Linguistics, Yobe State University, Damaturu, Nigeria. ISSN 2449-0660

TSARIN SAUTIN MAIMAI A BAKIN DAUDA KAHUTU RARARA

By

Hudu SALIHU

Tsakure

Wannan maƙala ta daddale yadda Dauda Kahutu Rarara yake sarrafa salon maiman tsarin sauti a waƙoƙinsa. Hakan ya sa maƙalar ƙudirtar baje kolin yadda fasihin yake sarrafa salon maiman ƙarangiya da luguden wasula, da kama-rubutu, da kuma kama-sauti. Maƙalar ta yi wa kanta turke a kan waƙoƙin fasihin guda takwas. Wannan bincike an ɗora shi ne a kan ra’in Tsararren Nahawunn Aiwatarwa (Systemic Functional Grammar). Daga ƙarshe maƙalar ta gano cewa fasihin ya ƙware wajen sarrafa nau’ikan maiman sauti. Haka kuma duk da irin waɗannan salailan maimai da fasihin ya sarrafa a waƙoƙinsa bai bata tsarin waƙar tasa ba, hasali ma sun ƙara wa waƙoƙin armashi ne da tagomashin a zo a gani.

1.1 Gabatarwa

Kasancewar salon maimai dabara ce ta jan hankali da ƙarfafa manufa. A kan sami maimaicin wasu harufa ko sautin baƙi, ko gaɓoɓi masu alaƙa da juna a goshi., ko ciki, ko kuma ƙeyar saɗarun ɗangwaye, a ƙoƙarin da fasihi yake yi wajen daddale linzamin azancin ƙarangiya waƙarsa. Ganin ƙwarewar wannan fasihi, wato Dauda Kahutu Rarara yasa maƙalar ɗaura aniyar zaƙulo yadda yake sarrafa cikakke da ragaggen ƙarangiya da luguden wasula a cikin waƙoƙinsa. Har ila yau, aka zaƙulo yadda fasihin yake sarrafa salon kama-rubutu, da kuma kama-sauti a waƙoƙinsa. Wani abin birgewa shi ne yadda duk da irin waɗannan salailan maiman hakan bai kawo wa waƙarsa wata matsala dangane da kari ko tsarin waƙokin nasa ba, wannan ya fito da ƙwarewarsa a fagen naƙaltar harshen Hausa.

An haifi Dauda Adamu Abdullahi Kahutu Rarara a ƙaramar hukumar Ɗanja, jihar Katsina a ranar 10 ga watan Yuni, 1983. Sannan kuma ya yi ƙuruciyarsa ne a garin Kahutu a lokacin da ya fara makarantar Allo, sannan daga baya ya shiga makarantar Firamare a shekarar 1990, a inda ya kammala a shekarar 1996. Sannan ya shiga Sakandire a sheara ta 1996 sai dai bai kammala ba ya tafi makarantar Allo a jihar Kano, a inda yana karatunsa kuma yana neman kuɗi. A wannan lokaci ne ya riƙa koyon waƙoƙi, sai dai ba ya rubuta waƙa. Sannan daga baya ya koma ya ci gabata da karatunsa na Boko ta hanyar komawa Sakandire , bayan ya kammala ne ya yi aure a shekarar 2010.

Fasihin ya fara waƙa ne tun yana karatu a makarantan Allo a Kano, kuma ya kan yi waƙa ne a kan sarauta saboda waƙoƙi ne da suke burge shi. Ya fara rera waƙa ne a kan waƙar Sardaunar Kano mai suna ‘Saraki Sai Allah’ wadda ya yi wa Malam Ibrahim Shekarau a lokacin da yake Gwamnan Kano. Daga nan bai sake yin wata waƙa ba sai lokacin da Atiku Abubakar ya fito takarar Shugaban ƙasa ya yi masa waƙar mai suna ‘Baba Atiku 2007 Nijeriya Sai Ka Yi’ daga nan ne fasihin ya nitsa cikin fagen waƙa (Rogo, 2007:13-4).

2.1 Hanyoyin Gudanar da Bincike

Daɗin gushi Lehtsalu (1973:71) ya ambata cewa akwai salailai da dama a fagen nazarin salon da suke a ƙarƙashin wannan rukuni na maiman tsarin sauti. Haka kuma Short (1996:109) ya bayyana cewa daga cikin salailan maiman tsarin sauti sun haɗa da cikakke da ragaggen ƙarangiya da luguden wasulla, da salon maimai na kama-rubutu da kuma na kama-sauti. An taskace waƙoƙin Dauda Adamu Kahutu Rarara waɗanda aka naɗe su daga yanar gizo da CD, sannan aka juye su a matsayin matani. Har ila yau an daddale waƙoƙin fasihin guda takwas da suka haɗa; waƙar A’isha da Ƙidaya, da Safsisi, da Hafi Badde Hadiza da Sai Bazoum, da Atiku Abubakar Turaki, da Uba Sani Y a Haye, da kuma Uban Abba Zama Daram. ta fuskar yadda fasihin ya sarrafa salon maiman tsarin sauti, wato yadda ya rika amfani da salon ƙarangiya da lugugen wasulla, da maimai na kama-rubutu, da kuma maimai na kama-sauti a cikin waƙoƙinsa ta fuskoki daban-daban. Sannan kuma an ɗora aikin ne bisa ra’in Tsararren Nahawunn Aiwatarwa (Systemic Functional Grammar) Wannan ra’i na ɗaya daga cikin ra’o’in ilimin kimiyar harshe da ya taka rawar a zo a gani a fagen nazarin salo, Tran Huu (2017:209) ya ambata cewa Halliday kamar sauran masana ilimin falsafa ya gina ra’insa ne a kan tubala uku (3) da suka haɗa da: Duniya, da Tunani, da kuma Harshe Dangantakar da ke tsakanin waɗannan tubalai shi ne yake fito da alaƙar da yake taimakawa a muhallinmu na zahiri. Haka kuma wannan dangantaka, shi ne yake bayyana ma’anar harshe. Sannan ya ƙara da cewa al’amura da yawa a duniyar zahiri suna bayyana a tunani ne da farko. Sannan tunaninmu ya ƙulla zaren abubuwan da suke faruwa, mu ƙirƙiri abin da muke tunani, sai mu ba shi ma’ana a harshe. Fahimtar wanan alaƙar da ke tsakanin harshe da tunani da kuma duniya wato, muhallinmu ya sa ya ɗora wannan falsafar a ra’insa na Tsararren Nahawun Aiwatarwa. Bugu da ƙari, an tace bayanan maƙalar ce ta amfani da rariyar Short (1996:107) ta hanyar amfani da matakan da ya kawo a matsayin hanyoyin nazarin maiman ƙarangiya da luguden wasulla, da kama-rubutu, da kuma kama-sauti.

3.1 Ƙarangiya

Ƙarangiya ya shafi batun maimaicin baƙaƙe ne da suka kasance sun fito gida ɗaya, Short (1996:107) ya raba ƙarangiya zuwa gida biyu; a, cikakken ƙarangiya (full alliteration) da ragaggen ƙarangiya (loose alliteration).

3.1.1 Cikakken ƙarangiya

Dangane da wannan salon ana samun maimaicin baƙi ɗaya ne wanda ya kasance sun yi tarayya da junarsu ta fuskar gurbin furuci, da yanayin furuci da kuma matsayin maƙwallato (-+ziza). Baƙaƙen da suka haɗu ta waɗannan sifofin suke suka faɗa gidan cikakken ƙarangiya. Dauda Kahutu Rarara ya ƙara cin moriyar da yake da shi a matsayinsa na mawaƙi ya ya darzo ɗangwaye da suke ɗamfare da baƙaƙen da suke da wannan salon cikakken luguden baƙi kamar yadda za a gani a misalan da suke tafe kamar haka:

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a. Jagora :Wai! wai! wai! wai! wai! wai!

‘Y/Amshi :A’isha

b. Jagora :Wai! wai! wai! wai! wai! wai!

‘Y/Amshi :A’isha (waƙar A’isha, 30/1)

c. Jagora :Ina namu namu

 :Sai ku zo

 :Mu imu imu

‘Y/Amshi :Ƙidaya (waƙar Ƙidaya, 24)

d. Jagora :Ba zai rasa gurgunta ƙasa ba

‘Y/Amshi :Ashe ke gurgunta ƙasarmu

:lalala! lalala! lalala! lalala!

:Tiriti tirititi tititi rititi! (waƙar Safsidi, 19)

Da farko idan aka dubi misali na 1a zuwa na 1b, za a ga yadda fasihin ya yi ta maimaita kalmar wai kaɗai a ɗangwayen, wadda take ɗauke da baƙi ɗaya tal na /w/ (leɗe-hanɗa kusantau/kini wasali mai ziza). Wanna ya tabbatar da cewa waɗannan saɗarun ɗangwaye suna ɗamfare ne da cikakken luguden baƙi. Har ila yau dangane da misali na 1c, idan aka dubi saɗara ta uku wadda aka kaurara, za a ga cewa Dauda Kahutu Rarara ya yi ta maimaita baƙi ɗaya ne na /m/ (baleɓe ɗan hanci mai ziza) ta fukkoki da dama, wannan ya sa aka sami salon maiman cikakken luguden baƙi. Bugu da ƙari idan aka dubi layi na biyu wanda aka kaurara a misali na 1d, a za a ga duk da cewa saɗarun ‘yan amshi ne, amma akwai salon cikakken ƙarangiya a wannan bigiren. An ga yadda aka sami maimaicin baƙin /l/ (bahanƙe ɗan jirge mai ziza), hakan ya tabbatar da ƙwarewar safihin wajen naƙaltar harshe yadda ya kamata.

3.1.2 Ragaggen ƙarangiya

A wannan rukunin na ƙarangiya ana samun ragaggen ƙarangiya ne, idan aka sami ƙarangiya baƙaƙe da suka kasance ba ‘yan gida ɗaya ta kowace fuskar matakan nazarin baƙi. Wato a kan sami wasu kalmomi da suke ɗebi da juna ta wani fuska, a inda za su iya tarayya a gurbin furuci, sai kuma su raɓu ta fuskar yanayin furuci ko matsayin ,aƙwallato. Idan aka dubi misalan da suke tafe za a ga yadda fashin ya yi luguden baƙaƙe a saɗarun ɗangwayen waƙoƙin nasa kamar haka:

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a. Jagora :Ina namu namu

:Sai ku zo

:Mu imu imu

‘Y/Amshi :Ƙidaya (waƙar Ƙidaya, 24)

b. Jagora :Sassaita ƙasa ba da zato ba

‘Y/Amshi :Sassaita ƙasa ba za su so ba

c. Jagora :Tallafi ashe ba shi da riba

‘Y/Amshi :Safsidi ashe ba shi da riba

d. Jagora :Ba zai rasa gurgunta ƙasa ba

‘Y/Amshi :Ashe ke gurgunta ƙasarmu

:lalala! lalala! lalala! lalala!

:Tiriti tirititi tititi rititi! (waƙar Safsidi, 17/19)

Idan aka dubi misali na 2a, za a ga yadda fasihin a saɗarar farko ya yi luguden baƙaƙen /n/ (bahanƙe ɗan hanci mai ziza) da /m/ baleɓe ɗan hanci mai ziza). Duk da cewa waɗannan baƙaƙen sun bambanta da juna, amma suna da alaƙa ta kusa, kasancewar sun bambanta ne kawai ta fuskar gurbin furuci, amma sun yi tarayya ta fuskar yanayin furuci da matsayin maƙwallato. Wato duk ‘yan hanci ne, sannan kuma masu ziza ne. wannan ya tabbatar da cewa suna da tsarin ragaggen ƙarangiya. Haka abin yake idan aka dubi misali na 2b, a nan an ga yadda fasihin ya darzo kalmomi mabambanta guda uku (/s/, da /z/, da kuma /k/), amma duk suna da alaƙa da juna. Da farko idan aka dubi baƙaƙen /s/ da /z/, za a ga cewa sun yi tarayya ta fuskar gurbin furuci, a inda suka kasance dukkansu hanƙawa ne, sannan kuma ta fuskar yanayin furuci dukkansu ‘yan zuzau ne, sun bambanta ne kawai ta fuskar matsayin maƙwallato, a inda /s/ ya kasance mara ziza, shi kuwa /z/ ya kasance baƙi mai ziza. Baƙin /k/ kuwa ya yi tarayya ne da baƙin /s/ ta fuskar matsayin maƙwallato a inda dukkansu suka kasance marasa ziza, amma ya bambanta da su kasancewar ta fuskar gurbin furuci bahanɗe, sannan dangane da yanayin furuci tsayau ne.

Wani abin birgewa shi ne idan aka dubi misali na 2b, zuwa 2c, za a ga cewa fasihin ya buɗe goshin ɗangwayen waƙarsa ne da baƙi /s/ (bahanƙe zuzau mara ziza) da /t/ (bahanƙe tsayau mara ziza). Wannan ya tabbatar da aukuwar ragaggen ƙarangiyar goshi, duk da cewa kalmomin sun bambanta amma sun yi tarayya da juna ta fuskar gurbin furuci, a inda suka kasance duk gaba ɗayansu ‘yan hanƙa ne. Sannan kuma sun ƙara yin tarayya ta fuskar matsayin maƙwallato, abin da ya sa dukkansu suka kasance marasa ziza. Wannan ya nuna cewa an sami ragaggen ƙarangiya a wannan bigiren. Amma idan aka dubi ƙarshen ɗangwayen za a fahimci cewa fasihin ya rufe ƙeyarsu ne da baƙin /b/ (baleɓe tsayau mai ziza) a nan za a iya cewa an sami cikakken ƙarangiya ne, saboda yadda ya yi amfni da baƙi ɗaya a wurin.

Haka kuma idan aka dubi misali na 2d, musamman layi na uku a saɗarun ‘yan amshi, za a ga cewa an sami maimaicin baƙi biyu ne kawai da suka haɗa da /t/ (bahanƙe tsayau mara ziza) da kuma /r/ (bahanƙe ra-gare mai ziza). Dangane da waɗannan baƙaƙe da aka sami lugudensu a wannan saɗara za a fahimci cewa sun yi tarayya da juna ta fuskar gurbin furuci, kasancewarsu hanƙawa ne. Wata ƙila wannan yasa aka sami yin lugudensu. Wannan salo ne na musamman da yake fito da ƙwarewar fasihi.

3.2 Luguden wasali

Har ila yau Wales (2011:35) ya bayyana luguden wasali da salon maimaita wasali a cikin kalmomin masu maƙwabtaka da juna da suke ɗauke da mabambanta baƙake. Shi kuwa Garba (2011:51) ya ƙara da cewa luguden wasali ya sha bamban da amsa-amo domin yayin da ya zama dole baƙaƙe ko haruffa su daidaita a cikin amsa-amo, amma luguden wasulla ko tagwayen wasulla ne kawai za su daidaita. Short (1996:112) ya bayyana cewa, luguden wasula sun kasu gida biyu, wato akwai cikakken luguden wasula (full assonance) da ragaggen luguden wasula (loose assonance).

 3.2.1 Cikakken luguden wasula

A wannan salon ana samun luguden wasula ne da suka kasance ‘yan gida ɗaya ta fuskar matsayin harshe da kuma matsayin laɓɓa a wajen furucinsu. Dauda Kahutu Rarara ya ci moriyar ‘yancin da yake da shi a matsayinsa na mawaƙi a inda ya ɗarzo kalmomi a ɗangwayen da saɗarorinsu suke ɗamfare da irin wannan salon, kamar yadda za a gani a misalan da suke tafe kamar haka:

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a. Jagora :Mamar mamar mamar haka

:Saɗaf! Saɗaf! Saɗaf! Saɗaf! Haka

‘Y/Amshi :’Yar uwar Ilo Darma

b. Jagora :Saɗaf! Saɗaf! Saɗaf! Ah!

‘Y/Amshi :’Yar uwar Ilo Darma

c. Jagora :Ƙyaram! Ƙyaram! Ƙyaram! Haka

‘Y/Amshi :’Yar uwar Ilo Darma

d. Jagora :Wawal! Wawal! Wawal! Ah!

‘Y/Amshi :’Yar uwar Ilo Darma (waƙar Hafi Badde Hadiza, 49/51/52/54)

e. Jagora :Na tarayyan nan

‘Y/Amshi :Sai Bazoum

f. Jagora :Madafar dafa

‘Y/Amshi :Bazoum (waƙar Sai Bazoam, 41/55)

Dangane da misalan da suka gabata, tun daga na 3a, zuwa na 3f, duk ɗangwayen da aka kawo suna ɗamfare ne da salon cikakken luguden wasalin /a/ (wasalin tsaka-tsaki na ƙasa mara kewaya). Wannan ya tabbatar da ƙwarewar Dauda Kahutu Rarara, kasancewar ba kowane mawaƙi ne zai iya darzo ɗangwaye ta amfani da wasali ɗaya, sannan saɗarorin ɗangwayensa su ba da cikakkiyar ma’ana. Wani abin birgewa shi ne duk da amfani da wannan salon maimai na cikakken luguden wasali, hakan bai kawo wani tangarɗa a kan tsari ko karin waƙar ba, sai ma samun tagomashin a zo a gani da suka samu. Wannan ya nuna cewa lalle Dauda Kahutu Rarara gwani ne na gwanaye a fagen waƙa.

3.2.2 Ragaggen luguden wasula

A wannan rukunin salon ragaggen luguden wasulla, ana samun maimaicin wasulla ne da suka kasance suna da alaƙa da juna ta wani fuska, sannan kuma sun bambanta ta wani ɓangaren. Wato zai iya kasancewa wasula da fasihin ya yi amfani da su a cikin ɗangwayen waƙoƙinsa ya kasance sun yi tarayya da juna dangane da matsayin harshe ko matsayin leɓɓa. Ko kuma sun bambanta ta ɗaya daga cikin hanyoyin da ake nazarin wasula. Dauda Kahutu Rarara ya ci moriyar ‘yancin da yake da shi ya darzo wasu daga cikin saɗarun ɗangwayen waƙoƙinsa da suke ɗamfare da irin wannan salon ragaggen luguden baƙi kamar yadda za a gani a misalan da suke tafe kamar haka:

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a. Jagora :Nijeriya ka-kaf kai ne maliya

‘Y/Amshi :Turaki (waƙar Atiku Abubakar Turaki, 9)

b. Jagora :Sanata Uba Sani ya haye

‘Y/Amshi :Uba Sani ya haye

c. Jagora :To ku kamo su kamaye

‘Y/Amshi :Uba Sani ya haye

d. Jagora :A gaskiyar batu sun yi gauraye

‘Y/Amshi :Ina ‘yan baƙin ciki

e. Jagora :To su Zailani suna faɗi

‘Y/Amshi :Uba Sani ya haye

f. Jagora :Auduga a ƙyale wa mai kaɗi

‘Y/Amshi :Ina ‘yan baƙin ciki

g. Jagora :Ga gwamna Elrufa’i yana faɗi

‘Y/Amshi :Uba Sani ya/ka haye (waƙar Uba Sani Ya Haye, 16-21)

Dangane da misali na 4a, gaba ɗaya saɗarar ɗangon yana ɗauke ne da wasula guda uku da suka haɗa da /i/ (wasalin gaba na sama mara kewaya) da /e/ (wasalin gaba na tsakiya mara kewaya) sai kuma wasalin /a/ (wasalin tsaka-tsaki na ƙasa mai kewaya). Abin da yake da muhimmanci a fahimta shi ne yadda fasihin ya darzo wasula na musamman da suke da alaƙa da juna, ya ɗinke gaɓoɓin kalmomin da aka gina saɗarar gango. Idan aka dubi wasalin /i/ da /e/ suna da kusanci da juna kasancewar dukkansu wasulan gaba ne, daɗin gushi kuma wasula ne marasa kewaya. Sun bambanta da juna ne kawai ta fuskar matsayin harshe a inda wasalin /i/ ya kasance na sama, shi kuma /e/ na tsakiya. Dangane da wasalin /a/ kuwa, shi yana mazaunin tsaka-tsaki ne, sanna kuma wasali ne mai kewaya.

Har ila yau, ida aka dubi misali na 4b, zuwa 4d, za a ga cewa fasihin ya rufe ƙeyar saɗarun ɗangwayen ne da wasalin /e/ (wasalin gaba na tsakiya mara kewaya), sannan daga misali na 4e, zuwa 4g, Dauda Kahutu Rarara ya darzo wasalin /i/ (wasalin gaba na sama mara kewaya). Idan aka dubi bayanan da suka gabata za a fahimci cewa fasihin ya yi amfani da wannan salon wajen samar da kyakkyawar jituwa a tsakanin ɗangwayen waƙoƙinsa. Wato duk da cewa wasulan sun bambanta da juna ta fuskar kasancewar /e/ wasalin tsakiya ne, amma wasalin /i/ na sama ne ta fuskar matsayin harshe. Amma sun yi tarayya ta fuskar matsayin leɓɓa kasancewar dukkansu mara kewaya ne. Wannan ya tabbatar da ƙwarewar fasihin wajen sarrafa harshe yadda ya kamata.

4.1 Maimai Na Kama-Rubutu

A irin wannan rukunin salon, ana samun tubulan rubutu su zama iri ɗaya, wato a sami maimaicin kalma ko wani sashi na kalma, amma sai a sami bambanci a wajen lafazi. Irin wannan salon Short (1996:109) ya kira da ƙarangiyar tubulan rubutu (graphonological alliteration). Abin da yake da muhimmanci a fahimta a nan shi ne, za a iya samun saɓani ta fuskar sauti ko da tubulan rubutu sun zama ɗaya. Dauda Kahutu Rarara ya ci moriyar ‘yancin da yake da shi a matsayinsa na mawaƙi ya darzo irin waɗannan salailan da ake samun rubutu ɗaya, amma a sami saɓani ta fuskar lafazi. Idan aka dubi misalan da suke tafe za a ga irin waɗannan misalan a cikin waƙoƙin fasihin kamar haka:

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a. Jagora :Duk ɗan Nijar mai kishinmu ya rugo ga alfanu

‘Y/Amshi :Ni zaɓi na Bazoum

b. Jagora :Ni ma zaɓi na Bazoum

‘Y/Amshi :Duk ɗan Nijar mai kishinmu ya rugo ga alfanu(waƙar Sai Bazoam, 102/3)

c. Jagora :Bango majinginar ‘yan Nijeriya

‘Y/Amshi :Turaki4

d. Jagora :Don ka zamo madubin Nijeriya

‘Y/Amshi :Turaki (waƙar Atiku Abubakar Turaki, 4/10)

Idan aka dubi misali na 5a, zuwa na 5b, za a ga yadda aka kaurara kalmar Nijar da ke nufin sunan ƙasa wadda take yammacin Afrika. Dangane da tsari gaɓoɓinta, kalmar tana da gaɓa biyu ne Ni-jar (BW-BWB). Gaɓar farko na kalmar tana ɗauke ne da baƙin /n/ (bahanƙe, ɗan hanci mai ziza) da wasalin /i/ (wasalin gaba, maras kewaye). Dangane da bayanan da suka gabata, za a fahimci cewa ana furta lafazin kalmar Nijar kamar yadda ya kamata, wato ba a samun wani sauyin lafazin. Amma abin mamaki shi ne idan aka dubi misali na 5c, zuwa 5d, za a ga yadda aka ja layin a ƙarƙashin kalmar Nijeriya wadda ita ma ta kasance ɗaya daga cikin ƙasashen Afrika ta yamma. Tana da tsarin gaɓobi huɗu Ni-je-ri-ya (BW-BW-BW-WB). Dangane da yadda ake furta lafazin gaɓar farko na kalmar Nijar da Nijeriya (Ni), duk da cewa tsarin tubalan rubutun gaɓar ɗaya ne, amma ana samun bambanci a wajen lafazi. Ana furta gaɓar farko ne na Nijar kamar haka Nijar. Ita kuma gaɓar farko ta kalmar Nijeriya ana furtata ce kamar haka: Najeriya. Abin da yake da muhummanci a fahimta a nan shi ne yadda ake samun zauɗen wasalin /i/ zuwa /a/, a wajen lafazin Nijeriya. Wannan salo ne na musamman da yake tabbatar da cewa fasihin ya yi amfani da salon maimai na kama-rubutu a cikin waƙoƙinsa. Har ila yau wannan shi ne salon maimai mafi ƙaranci da Dauda Kahutu Rarara ya yi amfani da shi a cikin waƙoƙinsa. Kasancewar in ban da waɗannan kalmomi (Nijar da Nijeriya) guda biyu, ba inda ya kawo wasu kalmomin da suke da irin wannan salon maimai na kama-rubutu a cikin waƙoƙi takwas da aka nazarta.

5.1 Maimai Na Kama-Sauti

A wannan rukunin salon ana samun kalmomi ko yanki kalma da suka kasance iri ɗaya amma ma’anarsu ta bambanta da junarsu. Dauda Kahutu Rarara ya sarrafa irin wannan salon maimai a cikin waƙoƙinsa kamar ydadda za a gani a misalan da suke tafe kamar haka:

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a. Jagora :Maganar mai ne masa za na tuno mai

‘Y/Amshi :Sai kun zo

b. Jagora :Amma wasu in suka ja a sakar mai

‘Y/Amshi :Sai kun zo

c. Jagora :Gyaɗa in ta nuna ashe da ruwan mai

‘Y/Amshi :Sai kun zo

d. Jagora :A gidan mai masu siya a zuba masu in sun zo

:Farin mayi ba shi kama da baƙin mai

‘Y/Amshi :Sai kun zo

e. Jagora :Baƙin mayi ba shi kama da farin mai

‘Y/Amshi :Sai kun zo

f. Jagora :Ka shigo kai ma in ya saya ku sayar mai

‘Y/Amshi :Sai kun zo

g. Jagora :Ƙasa ta tahi gabansu wajen mai

:Sai sun zo

‘Y/Amshi :Gidan mai wa ya saya a sayar masa in ya zo (waƙar Safsidi, 1-7)

h. Jagora :Gurinka taimako ba ka fariya

‘Y/Amshi :Turaki19

i. Jagora :Fariya Jidda mai gida ga na Atiku ba shirin yau ba

‘Y/Amshi :Turaki nammijin giwa

j. Jagora :Alhaji Jidda Fariya baiti zan yi ba na wasa ba

‘Y/Amshi :Turaki nammijin giwa

k. Jagora :Fariya Jidda ga Atiku rago tashi mun kaɗa wawa

‘Y/Amshi :Turaki nammijin giwa (waƙar Atiku Abubakar Turaki, 19,107-9)

Idan aka dubi misalan kalmomin da aka kaurara a cikin misalan da suka gabata, za a fahimci cewa tabbasa suna ɗamfare da salon maimai na kama sauti kasancewar dukkansu suna da yanayi ɗaya da fuskar lafazinsu. Sai dai sun bambanta da juna dangane da ƙumshiyarsu, wato ma’anarsu ba ɗaya ba ne. Wannan salo ne na musamman da Dauda Kahutu Rarara ya yi lugudensu a cikin waƙoƙinsa. Da farko idan aka dubi misali na 6a, zuwa 6g, za a ga cewa kalmar da aka kaurara ta mai, tana nufin ruwa-ruwa ko daskararre mai masƙi da ake samu daga gyaɗa ko kaɗanya ko wata bishiya ko a dabbobi da sauransu, wanda ake amfani da shi wajen girki ko shafawa ko a matsayin makamashi. Amma dangane da ƙumshiyar kalmar da fasihin yake nufi man fetur ne, wanda ke nufin mai wanda ake haƙowa daga ƙasa a tace don amfanin injuna. Wani abin mamaki shi ne yadda ya darzo wata kalma da suka kasance iri ɗaya, sai dai sun bambanta ta ƙumshiyarsu. Idan aka ƙara duban misali na 6a, zuwa 6f, za a ga kalmomin da aka ja masu layi (mai) dukkasu sarƙaƙƙiyar sifa ce. Sifa ce wadda ta ƙunshi mai da yake nuni da mace ko namiji tilo, wanda

yake masu a matsayin jam’i (Sani, 1999:102). Wani abin birgewa shi ne yadda kalma ɗaya da fasihin ya yi amfani da shi ta fuska biyu, wato a inda duk misalan da aka kaurara kalmar ke ɗauke da matsayin suna, sai kuma wadda aka ja masu layi suke ɗauke da matsayin sifa (sarƙaƙƙiyar sifa). Wannan ya fito da gogewar fasihin.

Har ila yau, idan aka dubi kalmar da aka kaurara a misali na 6h, za a ga yadda Dauda Kahutu Rarara ya ci moriyar ‘yancin da yake da shi ya ƙara darzo kalmar fariya, da take nufin fankama ko nuna ƙasaita ko cika-baki. A nan kalmar tana matsayin aikatau ne, yana nuni ne da cewa gwarzon nasa Atiku Abubakar Turaki ba ya fariya, wato bai da irin waɗannan munanan ɗabi’u. Wani abin birgewa shi ne idan aka dubi misali na 6i, zuwa 6k, za a ga cewa duk kalmomin da aka ja masu layu wato Fariya, a nan bigeren suna matsayin suna ne na yanka wanda ake zaɓa a zartar a kuma raɗa wa yaro ko yarinya wannan suna kafin kwana bakwai da haihuwa ko bayan haka. Har wa yau Dauda Kahutu Rarara ya ƙara darzo irin waɗannan kalmomi ma su wannan salon kama sauti. idan aka dubi misalan da suke tafe za a ga hakan:

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a. Jagora :Gires har da Imanuwel da Mudi da Duduwa

‘Y/Amshi :Ƙidaya (waƙar Ƙidaya, 46)

b. Jagora :Gwamna Ganduje ka wuce rintsi mai yawa

 :Ka zama bangon ɗakin a ture ka ƙi turuwa

 :Zaki sarkin dawa

 :Ka zama shagon da ba a kada shi a kokuwa

 (waƙar Uban Abba Zama Daram, 39)

Idan aka dubi kalmomi ko harufan da aka kaurara a misali na 7a (da), a wanna bigiren yana matsayin ɗori ne. Kamar yadda aka sani ana amfani da harafin ɗori da ne don a ɗinke kalmomi ko sunayen da aka rattaɓo. Amma idan aka dubi kalma ko harafin da aka ja masa layi a misali na 7b, (da) za a fahimci cewa wannan harafin ya bayyana ne a wannan wurin a matsayin ganga dogarau, wato kalma ce da ke yin dangane da wasu halaye ko abubuwa (Zarruƙ, 1982:16). A nan fasihin ya danganta gwaninsa ne Ganduje da Shago (wani shahararren ɗan dambe) a inda a fakaice yake nuna cewa ba za a taɓa cin nasara a kansa a fagen siyasa ba, kasancewar Shagon da yake danganta gwanin nasa da wuyan gaske a kada shi a fagen dambe. Wani abin sha’awa shi ne yadda waƙar ta sami tagomashin a zo a gani duk da luguden irin waɗannan salailan a cikin waƙar, wannan ya tabbatar da ƙwarewarsa a fagen harshe.

6.1 Kammalawa

Wannan maƙalar ta baje koli ne a kan yadda Dauda Kahutu Rarara ya sarrafa salon maiman tsarin sauti a cikin waƙoƙinsa guda takwas. An tace bayanai game da yadda fasihin ya sarrafa salilan maiman tsarin sauti suka shafi cikakke da ragaggen ƙarangiya, da luguden wasula, da kuma maiman kama-rubutu, da kama-sauti. Bugu da ƙari maƙalar ta bayyana yadda fasihin ya ci moriyar ‘yancin da yake da shi a matsayinsa na mawaƙi, ya din ga darzo baƙaƙe da wasula da suke da alaƙa da junarsu ta fuskoki daban-daban a cikin saɗarorin ɗangwayen waƙoƙinsa. Wannan salo ne na musamman da ya fito da ƙwarewarsa wajen naƙaltar harshe, ganin yadda hakan bai kawo wa waƙar wani tangarɗa ba.

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CD Na Waƙoƙin Dauda Adamu Kahutu Rarara.