نُبْذَة
Overview
Most Ajami scripts had uncentralised and inconsistent writing systems, however the Sokoto Caliphate was an exception that established widespread education of literacy, hence standardising Ajami scripts for Muslim communities.
It retained the original Arabic writing system as much as possible however adapted to the Fulani language:
It retained the original Arabic writing system as much as possible however adapted to the Fulani language:
مُعْظَمُ أَنْظِمَةِ الْكِتَابَةِ الْعَجَمِيَّةِ كَانَتْ غَيْرَ مُرَكَّزَةٍ وَغَيْرَ مُتَّسِقَةٍ، غَيْرَ أَنَّ Sokoto Caliphate كَانَتِ اسْتِثْنَاءً، إِذْ أَرْسَتْ تَعْلِيمًا وَاسِعَ النِّطَاقِ لِلْقِرَاءَةِ وَالْكِتَابَةِ، مِمَّا أَدَّى إِلَى تَوْحِيدِ الْكِتَابَةِ الْعَجَمِيَّةِ فِي الْمُجْتَمَعَاتِ الْمُسْلِمَةِ.
وَقَدِ احْتَفَظَتْ إِلَى أَقْصَى حَدٍّ مُمْكِنٍ بِالنِّظَامِ الْكِتَابِيِّ الْعَرَبِيِّ الْأَصْلِيِّ، غَيْرَ أَنَّهَا كَيَّفَتْهُ لِيُلَائِمَ لُغَةَ الْفُلَانِيِّ.
وَقَدِ احْتَفَظَتْ إِلَى أَقْصَى حَدٍّ مُمْكِنٍ بِالنِّظَامِ الْكِتَابِيِّ الْعَرَبِيِّ الْأَصْلِيِّ، غَيْرَ أَنَّهَا كَيَّفَتْهُ لِيُلَائِمَ لُغَةَ الْفُلَانِيِّ.
New Letters:
Some sounds are unique enough they require entirely new characters.
- The letter (ٻ) was created for the [ɓ] sound, as in (ٻِنعٜل)/ɓingel (child)
- The letter (ڤ) was created for the [p] sound, famously absent in Arabic, as in (ڤلٛ)/Pullo (endonym for Fulani)
- The letter (ݝ) was created for the [ŋ] sound, as in (ݝٜوتَ)/ngewta ([they're] chatting)
Repurposing:
Letters in standard Arabic with no equivalent in Fulfulde, or are otherwise redundant, sometimes get a different sound.
- The letter (ط), which in Arabic represents the [tˤ] sound, was repurposed for the [ɗ] sound, as in (طُم)/ɗum (3rd person pronoun it/he/she)
- The letter (ش), which in Arabic represents the [ʃ] sound, was repurposed for the [t͡ʃ]~[c] range, as in (شِىٰرنٛ)/Cierno (name meaning sage, religious chief)
Dipthongs
Pre-nasalised consonants are interpreted as dipthongs.
- The dipthong (مب), literally mb, represents the [ᵐb] sound, as in (مبٛوعکٛي)/mboo'dkoy (adjective good)
- The dipthong (نج), literally nj, represents the [ᶮɟ] sound, as in (نجَهَ)/njaha ([they're] going)
- The dipthong (ند), literally nd, represents the [ⁿd] sound, as in (ندِيَم)/ndiyam (water)
- The dipthong (نغ), literally ng, represents the [ᵑɡ] sound, as in (نغَڤَدٜىٰوٛل)/ngapadeewol (men's traditional gown)
Stylistic Features
As the script was adapted from the Maghrebi region, many of its stylistic features were adopted in Africa:
- Qāf ق is written with only one dot instead of two (ڧ)
- Fā' ف is written with the dot placed below (ڢ), for example in (ڢُلڢُلدٜ)/Fulfulde
- Nūn ن is often written without the dot word in its final form (ں), for example in (تُمِں)/tomin (when)
- Shaddah ـّ (the gemination marker) is written as a v-sign instead of a w-sign ᵛ
- Tashkil, writing out the vowel diacritics, is done in all contexts
Some sounds are unique enough they require entirely new characters.
- The letter (ٻ) was created for the [ɓ] sound, as in (ٻِنعٜل)/ɓingel (child)
- The letter (ڤ) was created for the [p] sound, famously absent in Arabic, as in (ڤلٛ)/Pullo (endonym for Fulani)
- The letter (ݝ) was created for the [ŋ] sound, as in (ݝٜوتَ)/ngewta ([they're] chatting)
Repurposing:
Letters in standard Arabic with no equivalent in Fulfulde, or are otherwise redundant, sometimes get a different sound.
- The letter (ط), which in Arabic represents the [tˤ] sound, was repurposed for the [ɗ] sound, as in (طُم)/ɗum (3rd person pronoun it/he/she)
- The letter (ش), which in Arabic represents the [ʃ] sound, was repurposed for the [t͡ʃ]~[c] range, as in (شِىٰرنٛ)/Cierno (name meaning sage, religious chief)
Dipthongs
Pre-nasalised consonants are interpreted as dipthongs.
- The dipthong (مب), literally mb, represents the [ᵐb] sound, as in (مبٛوعکٛي)/mboo'dkoy (adjective good)
- The dipthong (نج), literally nj, represents the [ᶮɟ] sound, as in (نجَهَ)/njaha ([they're] going)
- The dipthong (ند), literally nd, represents the [ⁿd] sound, as in (ندِيَم)/ndiyam (water)
- The dipthong (نغ), literally ng, represents the [ᵑɡ] sound, as in (نغَڤَدٜىٰوٛل)/ngapadeewol (men's traditional gown)
Stylistic Features
As the script was adapted from the Maghrebi region, many of its stylistic features were adopted in Africa:
- Qāf ق is written with only one dot instead of two (ڧ)
- Fā' ف is written with the dot placed below (ڢ), for example in (ڢُلڢُلدٜ)/Fulfulde
- Nūn ن is often written without the dot word in its final form (ں), for example in (تُمِں)/tomin (when)
- Shaddah ـّ (the gemination marker) is written as a v-sign instead of a w-sign ᵛ
- Tashkil, writing out the vowel diacritics, is done in all contexts
حُرُوفٌ جَدِيدَةٌ
بَعْضُ الْأَصْوَاتِ فِي الْفُلْفُلْدِيَّةِ مُتَمَيِّزَةٌ إِلَى حَدٍّ يَسْتَوْجِبُ ابْتِكَارَ حُرُوفٍ جَدِيدَةٍ لَهَا:
الْحَرْفُ (ٻ) أُنشِئَ لِتَمْثِيلِ الصَّوْتِ [ɓ]، كَمَا فِي (ٻِنعٜل) /ɓingel/ (طِفْلٌ).
الْحَرْفُ (ڤ) أُنشِئَ لِتَمْثِيلِ الصَّوْتِ [p]، وَهُوَ صَوْتٌ مَفْقُودٌ فِي الْعَرَبِيَّةِ، كَمَا فِي (ڤلٛ) /Pullo/ (الاِسْمُ الذَّاتِيُّ لِلْفُلَانِيِّ).
الْحَرْفُ (ݝ) أُنشِئَ لِتَمْثِيلِ الصَّوْتِ [ŋ]، كَمَا فِي (ݝٜوتَ) /ngewta/ (يَتَحَدَّثُونَ).
إِعَادَةُ تَوْظِيفِ بَعْضِ الْحُرُوفِ
بَعْضُ الْحُرُوفِ الْمَوْجُودَةِ فِي الْعَرَبِيَّةِ، الَّتِي لَا نَظِيرَ لَهَا فِي الْفُلْفُلْدِيَّةِ أَوْ تُعَدُّ زَائِدَةً، أُعِيدَ تَوْظِيفُهَا لِتَمْثِيلِ أَصْوَاتٍ أُخْرَى:
الْحَرْفُ (ط)، وَيُمَثِّلُ فِي الْعَرَبِيَّةِ الصَّوْتَ [tˤ]، أُعِيدَ تَوْظِيفُهُ لِتَمْثِيلِ الصَّوْتِ [ɗ]، كَمَا فِي (طُم) /ɗum/ (ضَمِيرُ الْغَائِبِ).
الْحَرْفُ (ش)، وَيُمَثِّلُ فِي الْعَرَبِيَّةِ الصَّوْتَ [ʃ]، أُعِيدَ تَوْظِيفُهُ لِتَمْثِيلِ النِّطَاقِ الصَّوْتِيِّ [t͡ʃ] ~ [c]، كَمَا فِي (شِىٰرنٛ) /Cierno/ (اِسْمٌ بِمَعْنَى حَكِيمٍ أَوْ رَئِيسٍ دِينِيٍّ).
الثُّنَائِيَّاتُ الصَّوْتِيَّةُ
تُفَسَّرُ الصَّوَامِتُ الْمُسَبَّقَةُ بِغُنَّةٍ عَلَى أَنَّهَا ثُنَائِيَّاتٌ صَوْتِيَّةٌ:
(مب) تُمَثِّلُ الصَّوْتَ [ᵐb]، كَمَا فِي (مبٛوعکٛي) /mboo'dkoy/ (صِفَةٌ: جَيِّدٌ).
(نج) تُمَثِّلُ الصَّوْتَ [ᶮɟ]، كَمَا فِي (نجَهَ) /njaha/ (يَذْهَبُونَ).
(ند) تُمَثِّلُ الصَّوْتَ [ⁿd]، كَمَا فِي (ندِيَم) /ndiyam/ (مَاءٌ).
(نغ) تُمَثِّلُ الصَّوْتَ [ᵑɡ]، كَمَا فِي (نغَڤَدٜىٰوٛل) /ngapadeewol/ (الثَّوْبُ التَّقْلِيدِيُّ لِلرِّجَالِ).
خَصَائِصُ أُسْلُوبِيَّةٌ
لِأَنَّ الْخَطَّ مُسْتَمَدٌّ مِنَ الْمِنْطَقَةِ الْمَغْرِبِيَّةِ، فَقَدِ اعتُمِدَتْ عِدَّةُ خَصَائِصَ أُسْلُوبِيَّةٍ فِي إِفْرِيقِيَا:
يُكْتَبُ ق بِنُقْطَةٍ وَاحِدَةٍ فَوْقَهُ بَدَلًا مِنِ اثْنَتَيْنِ: (ڧ).
يُكْتَبُ ف وَنُقْطَتُهُ تَحْتَهُ: (ڢ)، كَمَا فِي (ڢُلڢُلدٜ) /Fulfulde/.
يُكْتَبُ ن فِي آخِرِ الْكَلِمَةِ بِدُونِ نُقْطَةٍ: (ں)، كَمَا فِي (تُمِں) /tomin/ (حِينَ).
تُكْتَبُ الشَّدَّةُ ـّ عَلَى شَكْلِ عَلامَةٍ تُشْبِهُ v بَدَلًا مِنَ الشَّكْلِ الْمَعْهُودِ.
يُسْتَعْمَلُ التَّشْكِيلُ (كِتَابَةُ الْحَرَكَاتِ) فِي جَمِيعِ السِّيَاقَاتِ.
بَعْضُ الْأَصْوَاتِ فِي الْفُلْفُلْدِيَّةِ مُتَمَيِّزَةٌ إِلَى حَدٍّ يَسْتَوْجِبُ ابْتِكَارَ حُرُوفٍ جَدِيدَةٍ لَهَا:
الْحَرْفُ (ٻ) أُنشِئَ لِتَمْثِيلِ الصَّوْتِ [ɓ]، كَمَا فِي (ٻِنعٜل) /ɓingel/ (طِفْلٌ).
الْحَرْفُ (ڤ) أُنشِئَ لِتَمْثِيلِ الصَّوْتِ [p]، وَهُوَ صَوْتٌ مَفْقُودٌ فِي الْعَرَبِيَّةِ، كَمَا فِي (ڤلٛ) /Pullo/ (الاِسْمُ الذَّاتِيُّ لِلْفُلَانِيِّ).
الْحَرْفُ (ݝ) أُنشِئَ لِتَمْثِيلِ الصَّوْتِ [ŋ]، كَمَا فِي (ݝٜوتَ) /ngewta/ (يَتَحَدَّثُونَ).
إِعَادَةُ تَوْظِيفِ بَعْضِ الْحُرُوفِ
بَعْضُ الْحُرُوفِ الْمَوْجُودَةِ فِي الْعَرَبِيَّةِ، الَّتِي لَا نَظِيرَ لَهَا فِي الْفُلْفُلْدِيَّةِ أَوْ تُعَدُّ زَائِدَةً، أُعِيدَ تَوْظِيفُهَا لِتَمْثِيلِ أَصْوَاتٍ أُخْرَى:
الْحَرْفُ (ط)، وَيُمَثِّلُ فِي الْعَرَبِيَّةِ الصَّوْتَ [tˤ]، أُعِيدَ تَوْظِيفُهُ لِتَمْثِيلِ الصَّوْتِ [ɗ]، كَمَا فِي (طُم) /ɗum/ (ضَمِيرُ الْغَائِبِ).
الْحَرْفُ (ش)، وَيُمَثِّلُ فِي الْعَرَبِيَّةِ الصَّوْتَ [ʃ]، أُعِيدَ تَوْظِيفُهُ لِتَمْثِيلِ النِّطَاقِ الصَّوْتِيِّ [t͡ʃ] ~ [c]، كَمَا فِي (شِىٰرنٛ) /Cierno/ (اِسْمٌ بِمَعْنَى حَكِيمٍ أَوْ رَئِيسٍ دِينِيٍّ).
الثُّنَائِيَّاتُ الصَّوْتِيَّةُ
تُفَسَّرُ الصَّوَامِتُ الْمُسَبَّقَةُ بِغُنَّةٍ عَلَى أَنَّهَا ثُنَائِيَّاتٌ صَوْتِيَّةٌ:
(مب) تُمَثِّلُ الصَّوْتَ [ᵐb]، كَمَا فِي (مبٛوعکٛي) /mboo'dkoy/ (صِفَةٌ: جَيِّدٌ).
(نج) تُمَثِّلُ الصَّوْتَ [ᶮɟ]، كَمَا فِي (نجَهَ) /njaha/ (يَذْهَبُونَ).
(ند) تُمَثِّلُ الصَّوْتَ [ⁿd]، كَمَا فِي (ندِيَم) /ndiyam/ (مَاءٌ).
(نغ) تُمَثِّلُ الصَّوْتَ [ᵑɡ]، كَمَا فِي (نغَڤَدٜىٰوٛل) /ngapadeewol/ (الثَّوْبُ التَّقْلِيدِيُّ لِلرِّجَالِ).
خَصَائِصُ أُسْلُوبِيَّةٌ
لِأَنَّ الْخَطَّ مُسْتَمَدٌّ مِنَ الْمِنْطَقَةِ الْمَغْرِبِيَّةِ، فَقَدِ اعتُمِدَتْ عِدَّةُ خَصَائِصَ أُسْلُوبِيَّةٍ فِي إِفْرِيقِيَا:
يُكْتَبُ ق بِنُقْطَةٍ وَاحِدَةٍ فَوْقَهُ بَدَلًا مِنِ اثْنَتَيْنِ: (ڧ).
يُكْتَبُ ف وَنُقْطَتُهُ تَحْتَهُ: (ڢ)، كَمَا فِي (ڢُلڢُلدٜ) /Fulfulde/.
يُكْتَبُ ن فِي آخِرِ الْكَلِمَةِ بِدُونِ نُقْطَةٍ: (ں)، كَمَا فِي (تُمِں) /tomin/ (حِينَ).
تُكْتَبُ الشَّدَّةُ ـّ عَلَى شَكْلِ عَلامَةٍ تُشْبِهُ v بَدَلًا مِنَ الشَّكْلِ الْمَعْهُودِ.
يُسْتَعْمَلُ التَّشْكِيلُ (كِتَابَةُ الْحَرَكَاتِ) فِي جَمِيعِ السِّيَاقَاتِ.
Vowels:
Classical Arabic only has three vowels, [a], [i], [u], and the writing system is an abjad where consonants are written and vowels are marked by diacritics. The process of writing down the vowels is called Tashkeel.
In most of the Arabic world, tashkeel is reserved for the readability of the Qur'an and other rare cases, however in most of West Africa tashkeel has been standard practice in both Arabic and Ajami. Most West African languages, like most other languages, have more than 3 vowel sounds and hence needed to invent new diacritics to write the language.
The list at the bottom has all five vowels showing the diacritic in final/middle/initial stages for both short and long vowels.
- A/AA (اَىـــىَـــىَ)/(اَا ىَا ىَا ): like in (جَاونغَل)/jaawngal (guinea fowl)
- E/EE (اٜىـــىٜـــىٜ)/(اٜىٰـــىٜىٰـــىٜىٰ): like in (فٜىٰرٜ)/feere (various)
- I/II (اِىـــىِـــىِ)/(اِيـــىِيـــىِي): like in (اِي)/ii (yes)
- O/OO (اٛىـــىٛـــىٛ)/(اٛو ىٛو ىٛو ): like in (كٛرٛووَل)/koroowal (chair)
--> Sometimes used
- U/UU (اُىـــىُـــىُ)/(اُو ىُو ىُو ): like in (دُورُعٛو)/duurugo
For the vowel [e], there already was some precedent among Africans. In the Qur'anic Warsh recitation school, the Imaala, a black dot diacritic below a character, meant that a long A vowel would be fronted closer to an I, which many interpreted as a long E sound. This diacritic was used in most Ajami as an E.
The vowel [o] is more varied, some just used the [u] diacritic while others invented new ones. In this region, both options have been documented, in Sokoto that resembled an arrow pointing up was used, but in the Adamawa region an upside down u was used.
Classical Arabic only has three vowels, [a], [i], [u], and the writing system is an abjad where consonants are written and vowels are marked by diacritics. The process of writing down the vowels is called Tashkeel.
In most of the Arabic world, tashkeel is reserved for the readability of the Qur'an and other rare cases, however in most of West Africa tashkeel has been standard practice in both Arabic and Ajami. Most West African languages, like most other languages, have more than 3 vowel sounds and hence needed to invent new diacritics to write the language.
The list at the bottom has all five vowels showing the diacritic in final/middle/initial stages for both short and long vowels.
- A/AA (اَىـــىَـــىَ)/(اَا ىَا ىَا ): like in (جَاونغَل)/jaawngal (guinea fowl)
- E/EE (اٜىـــىٜـــىٜ)/(اٜىٰـــىٜىٰـــىٜىٰ): like in (فٜىٰرٜ)/feere (various)
- I/II (اِىـــىِـــىِ)/(اِيـــىِيـــىِي): like in (اِي)/ii (yes)
- O/OO (اٛىـــىٛـــىٛ)/(اٛو ىٛو ىٛو ): like in (كٛرٛووَل)/koroowal (chair)
--> Sometimes used
- U/UU (اُىـــىُـــىُ)/(اُو ىُو ىُو ): like in (دُورُعٛو)/duurugo
For the vowel [e], there already was some precedent among Africans. In the Qur'anic Warsh recitation school, the Imaala, a black dot diacritic below a character, meant that a long A vowel would be fronted closer to an I, which many interpreted as a long E sound. This diacritic was used in most Ajami as an E.
The vowel [o] is more varied, some just used the [u] diacritic while others invented new ones. In this region, both options have been documented, in Sokoto that resembled an arrow pointing up was used, but in the Adamawa region an upside down u was used.
الْحَرَكَاتُ
تَحْتَوِي الْعَرَبِيَّةُ الْفُصْحَى التُّرَاثِيَّةُ عَلَى ثَلَاثِ حَرَكَاتٍ أَسَاسِيَّةٍ فَقَطْ: [a]، [i]، [u]، وَنِظَامُ كِتَابَتِهَا أَبْجَدِيٌّ تُكْتَبُ فِيهِ الصَّوَامِتُ، وَتُشَارُ إِلَى الْحَرَكَاتِ بِعَلَامَاتٍ فَوْقَ الْحُرُوفِ أَوْ تَحْتَهَا. وَتُسَمَّى عَمَلِيَّةُ كِتَابَةِ الْحَرَكَاتِ التَّشْكِيلَ.
فِي مُعْظَمِ أَنْحَاءِ الْعَالَمِ الْعَرَبِيِّ، يُسْتَعْمَلُ التَّشْكِيلُ أَسَاسًا لِتَسْهِيلِ قِرَاءَةِ الْقُرْآنِ وَفِي حَالَاتٍ نَادِرَةٍ أُخْرَى. أَمَّا فِي غَرْبِ إِفْرِيقِيَا، فَقَدْ أَصْبَحَ التَّشْكِيلُ مُتَّبَعًا عَلَى نِحْوٍ مَعْيَارِيٍّ فِي كُلٍّ مِنَ الْعَرَبِيَّةِ وَالْعَجَمِيَّةِ. وَلِأَنَّ مُعْظَمَ اللُّغَاتِ فِي غَرْبِ إِفْرِيقِيَا تَحْتَوِي عَلَى أَكْثَرَ مِنْ ثَلَاثِ حَرَكَاتٍ، فَقَدِ احْتِيجَ إِلَى ابْتِكَارِ عَلَامَاتٍ جَدِيدَةٍ لِتَمْثِيلِهَا.
تُظْهِرُ الْقَائِمَةُ فِي الْأَسْفَلِ الْحَرَكَاتِ الْخَمْسَ، مَعَ بَيَانِ شَكْلِ الْعَلَامَةِ فِي أَوَّلِ الْكَلِمَةِ وَوَسَطِهَا وَآخِرِهَا، لِلْحَرَكَاتِ الْقَصِيرَةِ وَالطَّوِيلَةِ:
A/AA (اَىـــىَـــىَ)/(اَا ىَا ىَا): كَمَا فِي (جَاونغَل) /jaawngal/ (دَجَاجَةُ الْوَادِي).
E/EE (اٜىـــىٜـــىٜ)/(اٜىٰـــىٜىٰـــىٜىٰ): كَمَا فِي (فٜىٰرٜ) /feere/ (مُتَنَوِّعٌ).
I/II (اِىـــىِـــىِ)/(اِيـــىِيـــىِي): كَمَا فِي (اِي) /ii/ (نَعَمْ).
O/OO (اٛىـــىٛـــىٛ)/(اٛو ىٛو ىٛو): كَمَا فِي (كٛرٛووَل) /koroowal/ (كُرْسِيٌّ). — وَيُسْتَعْمَلُ أَحْيَانًا.
U/UU (اُىـــىُـــىُ)/(اُو ىُو ىُو): كَمَا فِي (دُورُعٛو) /duurugo/.
أَمَّا الْحَرَكَةُ [e]، فَقَدْ وُجِدَ لَهَا سَابِقَةٌ عِنْدَ الْأَفَارِقَةِ؛ فَفِي قِرَاءَةِ وَرْشٍ الْقُرْآنِيَّةِ تُسْتَعْمَلُ الْإِمَالَةُ، وَهِيَ نُقْطَةٌ سَوْدَاءُ تُوضَعُ تَحْتَ الْحَرْفِ لِلدَّلَالَةِ عَلَى أَنَّ الْأَلِفَ الطَّوِيلَةَ تَمِيلُ نَحْوَ الْكَسْرَةِ، وَقَدْ فَهِمَهَا كَثِيرُونَ عَلَى أَنَّهَا صَوْتٌ طَوِيلٌ قَرِيبٌ مِنْ [e]. وَاسْتُعْمِلَتْ هَذِهِ الْعَلَامَةُ فِي مُعْظَمِ نُظُمِ الْعَجَمِيَّةِ لِلدَّلَالَةِ عَلَى حَرَكَةِ [e].
أَمَّا الْحَرَكَةُ [o] فَهِيَ أَكْثَرُ تَنَوُّعًا؛ فَبَعْضُهُمْ اسْتَعْمَلَ عَلَامَةَ [u] نَفْسَهَا، وَآخَرُونَ ابْتَكَرُوا عَلَامَاتٍ جَدِيدَةً. وَفِي هَذِهِ الْمِنْطَقَةِ وُثِّقَ الْأَمْرَانِ؛ فَفِي سُوكُوتُو اسْتُعْمِلَتْ عَلَامَةٌ تُشْبِهُ سَهْمًا مُتَّجِهًا إِلَى أَعْلَى، بَيْنَمَا فِي مِنْطَقَةِ آدَمَاوَا اسْتُعْمِلَ شَكْلٌ يُشْبِهُ حَرْفَ u مَقْلُوبًا.
تَحْتَوِي الْعَرَبِيَّةُ الْفُصْحَى التُّرَاثِيَّةُ عَلَى ثَلَاثِ حَرَكَاتٍ أَسَاسِيَّةٍ فَقَطْ: [a]، [i]، [u]، وَنِظَامُ كِتَابَتِهَا أَبْجَدِيٌّ تُكْتَبُ فِيهِ الصَّوَامِتُ، وَتُشَارُ إِلَى الْحَرَكَاتِ بِعَلَامَاتٍ فَوْقَ الْحُرُوفِ أَوْ تَحْتَهَا. وَتُسَمَّى عَمَلِيَّةُ كِتَابَةِ الْحَرَكَاتِ التَّشْكِيلَ.
فِي مُعْظَمِ أَنْحَاءِ الْعَالَمِ الْعَرَبِيِّ، يُسْتَعْمَلُ التَّشْكِيلُ أَسَاسًا لِتَسْهِيلِ قِرَاءَةِ الْقُرْآنِ وَفِي حَالَاتٍ نَادِرَةٍ أُخْرَى. أَمَّا فِي غَرْبِ إِفْرِيقِيَا، فَقَدْ أَصْبَحَ التَّشْكِيلُ مُتَّبَعًا عَلَى نِحْوٍ مَعْيَارِيٍّ فِي كُلٍّ مِنَ الْعَرَبِيَّةِ وَالْعَجَمِيَّةِ. وَلِأَنَّ مُعْظَمَ اللُّغَاتِ فِي غَرْبِ إِفْرِيقِيَا تَحْتَوِي عَلَى أَكْثَرَ مِنْ ثَلَاثِ حَرَكَاتٍ، فَقَدِ احْتِيجَ إِلَى ابْتِكَارِ عَلَامَاتٍ جَدِيدَةٍ لِتَمْثِيلِهَا.
تُظْهِرُ الْقَائِمَةُ فِي الْأَسْفَلِ الْحَرَكَاتِ الْخَمْسَ، مَعَ بَيَانِ شَكْلِ الْعَلَامَةِ فِي أَوَّلِ الْكَلِمَةِ وَوَسَطِهَا وَآخِرِهَا، لِلْحَرَكَاتِ الْقَصِيرَةِ وَالطَّوِيلَةِ:
A/AA (اَىـــىَـــىَ)/(اَا ىَا ىَا): كَمَا فِي (جَاونغَل) /jaawngal/ (دَجَاجَةُ الْوَادِي).
E/EE (اٜىـــىٜـــىٜ)/(اٜىٰـــىٜىٰـــىٜىٰ): كَمَا فِي (فٜىٰرٜ) /feere/ (مُتَنَوِّعٌ).
I/II (اِىـــىِـــىِ)/(اِيـــىِيـــىِي): كَمَا فِي (اِي) /ii/ (نَعَمْ).
O/OO (اٛىـــىٛـــىٛ)/(اٛو ىٛو ىٛو): كَمَا فِي (كٛرٛووَل) /koroowal/ (كُرْسِيٌّ). — وَيُسْتَعْمَلُ أَحْيَانًا.
U/UU (اُىـــىُـــىُ)/(اُو ىُو ىُو): كَمَا فِي (دُورُعٛو) /duurugo/.
أَمَّا الْحَرَكَةُ [e]، فَقَدْ وُجِدَ لَهَا سَابِقَةٌ عِنْدَ الْأَفَارِقَةِ؛ فَفِي قِرَاءَةِ وَرْشٍ الْقُرْآنِيَّةِ تُسْتَعْمَلُ الْإِمَالَةُ، وَهِيَ نُقْطَةٌ سَوْدَاءُ تُوضَعُ تَحْتَ الْحَرْفِ لِلدَّلَالَةِ عَلَى أَنَّ الْأَلِفَ الطَّوِيلَةَ تَمِيلُ نَحْوَ الْكَسْرَةِ، وَقَدْ فَهِمَهَا كَثِيرُونَ عَلَى أَنَّهَا صَوْتٌ طَوِيلٌ قَرِيبٌ مِنْ [e]. وَاسْتُعْمِلَتْ هَذِهِ الْعَلَامَةُ فِي مُعْظَمِ نُظُمِ الْعَجَمِيَّةِ لِلدَّلَالَةِ عَلَى حَرَكَةِ [e].
أَمَّا الْحَرَكَةُ [o] فَهِيَ أَكْثَرُ تَنَوُّعًا؛ فَبَعْضُهُمْ اسْتَعْمَلَ عَلَامَةَ [u] نَفْسَهَا، وَآخَرُونَ ابْتَكَرُوا عَلَامَاتٍ جَدِيدَةً. وَفِي هَذِهِ الْمِنْطَقَةِ وُثِّقَ الْأَمْرَانِ؛ فَفِي سُوكُوتُو اسْتُعْمِلَتْ عَلَامَةٌ تُشْبِهُ سَهْمًا مُتَّجِهًا إِلَى أَعْلَى، بَيْنَمَا فِي مِنْطَقَةِ آدَمَاوَا اسْتُعْمِلَ شَكْلٌ يُشْبِهُ حَرْفَ u مَقْلُوبًا.
Examples
UDHR
Below is the Universal Declaration of Human Rights in Fulfulde, it is the most translated text in the world and is usually a benchmark for different languages, below is the Fulfulde written in Latin text and Sokoto Ajami:
Tippude e faamu ganndal ndi mu ɓeynguure e hannduyeeji fottanaaɗi woni tugalal hetaare, peewal et ɓuttu e nder aduna on
تِبٗدٜ ىٰ فَامُ قَندَل دِ مُ ٻٜنغٗورٜ ىٰ هَندُيٜيجِ فٗتَنَاطِ وٗنِ تُقَلَل هٜتَارٜ، بٗوَل اٜت ٻُتُ ىٰ دٜر اَدُنَ اٗن
Qur'an
While Fulani have studied the Qur'an for centuries, even millenia, it was not deemed necessary to translate until recent decades. This has been true in the Muslim world in general, where the first faithful and respectful translations into any language weren't done until the 19th century.
However there are translations into the Adamawa dialect, this one is part of a collection of Qur'an translations in 79 languages ordered by King Salman bin Abdulaziz Al Saud of Saudi Arabia in 2012 in Latin script.
En puɗɗirii innde Alla jom hinney kuuɓuɗo jom hinney keeriɗo.
Yettoore woodanii Alla jom tageefooji.
Jom hinney kuuɓuɗo jom hinney keeriiɗo.
Marɗo Ñaande diina (darngal).
Aan tan men ndewata wo aan men mballinorto.
Handa men faade e laawol poccingol.
Laawol ɓeen ɓe neeminɗa dow muɓɓen ko wanaa ɓeen tikkanaaɓe wanaadu ɓeen lallinaɓe.
عٜن ݠُطِرِي عِندٜ الله يٛم هِنٜي كٜىٰرِطٛ
يٜتٛرٜ وٛودَنِي الله يٛم تَعٜىٰفٛيِ
يٛم هِنٜي كُوࢡُطٛ يٛم هِنٜي كٜىٰرِيطٛ
مَرطٛ ࢩَاندٜ دِينَ (دَرنعَل)
عَان تَن مٜن ندٜوَتَ وٛ عَان مٜن مبَلِنٛرتٛ
هَندَ مٜن فَادٜ ىٰ لَاوٛل ݠٛكِنعٛل
لَاوٛل ࢡٜىٰن ࢡٜ نٜىٰمِنطَ دٜو مُࢡٜن كٛ وَنَا ࢡٜىٰن لَلِنَࢡٜ
Bible
While the majority religion among Fula is Islam by far, there is still a Christian community that is aided by translations of the Bible by missionaries that have published in both Ajami and Latin alphabets. Below is the first 5 verses of Genesis in Ajami and then Latin.
طٜعٜ نغٛنِ اِنْطٜ مَامَعٜنْ يٜىٰسُ اَلْمَسِيحُ لٜݧٛلْ دَوْدَ، دَوْدَ لٜݧٛلْ اِبْرَاهِمْ؞
اِبْرَاهِمْ دَݧِ اِشِيَاکُ، ندٜنْ اِشِيَاکُ دَݧِ يَاکُبُ، ندٜنْ يَاکُبُ دَݧِ يَحُودَ اٜ سَکِرَاٻٜ مَاکٛ،
يَحُودَ دَݧِ فٜرٜسَ اٜ جٜىٰرَ، مَدُوجٛ جٜىٰرَ وٛنِ تَامَرْ، فٜرٜسَ دَݧِ حٜسٜرُونَ، حٜسٜرُونَ دَݧِ اَرَمْ،
اَرَمْ دَݧِ اَمِينَدَبْ، اَمِينَدَبْ دَݧِ نَاشٛنْ، نَاشٛنْ دَݧِ سَلْمٛنْ،
سَلْمٛنْ دَݧِ بٛعَاجَ، مَدُوجٛ بٛعَاجَ وٛنِ رَحَبْ، بٛعَاجَ دَݧِ اٛبِدَ، مَدُوجٛ اٛبِدَ وٛنِ رُتْ، اٛبِدَ دَݧِ جٜىٰسِ،
Ɗe'e ngoni inɗe maama'en Yeesu Almasiihu lenyol Dawda, Dawda lenyol Ibraahim.
Ibraahim danyi Iciyaaku, nden Iciyaaku danyi Yaakubu, nden Yaakubu danyi Yahuuda e sakiraaɓe maako,
Yahuuda danyi Feresa e Jeera, maduujo Jeera woni Taamar, Feresa danyi Heseruuna, Heseruuna danyi Aram,
Aram danyi Amiinadab, Amiinadab danyi Naacon, Naacon danyi Salmon,
Salmon danyi Bo'aaja, maduujo Bo'aaja woni Rahab, Bo'aaja danyi Obida, maduujo Obida woni Rut, Obida danyi Jeesi,
Poem written in Ajami
Below is a poem by Uthman dan Fodiyo called Baabuwol Kire in the 19th century, "On Forgetfulness", it starts with a reminder on the importance on writing in Fulfulde. The text here uses a copy with a more orthodox version of Ajami closer to the Arabic, without new letters or a diacritic for O, however it does use the Imaala E.
English:
My intention is to compose a poem on forgetfulness
I intend to compose it in Fulfulde so that Fulbe could be enlightened.
When we compose [a poem] in Arabic only the learned benefit.
When we compose it in Fulfulde the unlettered also gain.
Latin:
Nufare nde am yusbango en baabuwol kire
Mi yusbira ngol Fulfulde Fulbe fu yeetoye
To min njusbiri arabiyya aalimi tan nafi‘
To min njusbiri fulfulde Jaahili Faydoye
Ajami
نُڢَارٜ دٜ عَم يُسبَنغُ عٜں بَابُوُل كِرٜں
مِيُسبِرَ غُل ڢُلڢُلدٜ ڢُلبٜڢُ يٜعتُيٜ
تُمِں جسبِرِ عَرَبِيَّ عَالِم تَں نَڢِ
تُمِں جُسبِرِ ڢُلڢُلدٜ جَاهِلِ ڢَيدُيٜ
UDHR
Below is the Universal Declaration of Human Rights in Fulfulde, it is the most translated text in the world and is usually a benchmark for different languages, below is the Fulfulde written in Latin text and Sokoto Ajami:
Tippude e faamu ganndal ndi mu ɓeynguure e hannduyeeji fottanaaɗi woni tugalal hetaare, peewal et ɓuttu e nder aduna on
تِبٗدٜ ىٰ فَامُ قَندَل دِ مُ ٻٜنغٗورٜ ىٰ هَندُيٜيجِ فٗتَنَاطِ وٗنِ تُقَلَل هٜتَارٜ، بٗوَل اٜت ٻُتُ ىٰ دٜر اَدُنَ اٗن
Qur'an
While Fulani have studied the Qur'an for centuries, even millenia, it was not deemed necessary to translate until recent decades. This has been true in the Muslim world in general, where the first faithful and respectful translations into any language weren't done until the 19th century.
However there are translations into the Adamawa dialect, this one is part of a collection of Qur'an translations in 79 languages ordered by King Salman bin Abdulaziz Al Saud of Saudi Arabia in 2012 in Latin script.
En puɗɗirii innde Alla jom hinney kuuɓuɗo jom hinney keeriɗo.
Yettoore woodanii Alla jom tageefooji.
Jom hinney kuuɓuɗo jom hinney keeriiɗo.
Marɗo Ñaande diina (darngal).
Aan tan men ndewata wo aan men mballinorto.
Handa men faade e laawol poccingol.
Laawol ɓeen ɓe neeminɗa dow muɓɓen ko wanaa ɓeen tikkanaaɓe wanaadu ɓeen lallinaɓe.
عٜن ݠُطِرِي عِندٜ الله يٛم هِنٜي كٜىٰرِطٛ
يٜتٛرٜ وٛودَنِي الله يٛم تَعٜىٰفٛيِ
يٛم هِنٜي كُوࢡُطٛ يٛم هِنٜي كٜىٰرِيطٛ
مَرطٛ ࢩَاندٜ دِينَ (دَرنعَل)
عَان تَن مٜن ندٜوَتَ وٛ عَان مٜن مبَلِنٛرتٛ
هَندَ مٜن فَادٜ ىٰ لَاوٛل ݠٛكِنعٛل
لَاوٛل ࢡٜىٰن ࢡٜ نٜىٰمِنطَ دٜو مُࢡٜن كٛ وَنَا ࢡٜىٰن لَلِنَࢡٜ
Bible
While the majority religion among Fula is Islam by far, there is still a Christian community that is aided by translations of the Bible by missionaries that have published in both Ajami and Latin alphabets. Below is the first 5 verses of Genesis in Ajami and then Latin.
طٜعٜ نغٛنِ اِنْطٜ مَامَعٜنْ يٜىٰسُ اَلْمَسِيحُ لٜݧٛلْ دَوْدَ، دَوْدَ لٜݧٛلْ اِبْرَاهِمْ؞
اِبْرَاهِمْ دَݧِ اِشِيَاکُ، ندٜنْ اِشِيَاکُ دَݧِ يَاکُبُ، ندٜنْ يَاکُبُ دَݧِ يَحُودَ اٜ سَکِرَاٻٜ مَاکٛ،
يَحُودَ دَݧِ فٜرٜسَ اٜ جٜىٰرَ، مَدُوجٛ جٜىٰرَ وٛنِ تَامَرْ، فٜرٜسَ دَݧِ حٜسٜرُونَ، حٜسٜرُونَ دَݧِ اَرَمْ،
اَرَمْ دَݧِ اَمِينَدَبْ، اَمِينَدَبْ دَݧِ نَاشٛنْ، نَاشٛنْ دَݧِ سَلْمٛنْ،
سَلْمٛنْ دَݧِ بٛعَاجَ، مَدُوجٛ بٛعَاجَ وٛنِ رَحَبْ، بٛعَاجَ دَݧِ اٛبِدَ، مَدُوجٛ اٛبِدَ وٛنِ رُتْ، اٛبِدَ دَݧِ جٜىٰسِ،
Ɗe'e ngoni inɗe maama'en Yeesu Almasiihu lenyol Dawda, Dawda lenyol Ibraahim.
Ibraahim danyi Iciyaaku, nden Iciyaaku danyi Yaakubu, nden Yaakubu danyi Yahuuda e sakiraaɓe maako,
Yahuuda danyi Feresa e Jeera, maduujo Jeera woni Taamar, Feresa danyi Heseruuna, Heseruuna danyi Aram,
Aram danyi Amiinadab, Amiinadab danyi Naacon, Naacon danyi Salmon,
Salmon danyi Bo'aaja, maduujo Bo'aaja woni Rahab, Bo'aaja danyi Obida, maduujo Obida woni Rut, Obida danyi Jeesi,
Poem written in Ajami
Below is a poem by Uthman dan Fodiyo called Baabuwol Kire in the 19th century, "On Forgetfulness", it starts with a reminder on the importance on writing in Fulfulde. The text here uses a copy with a more orthodox version of Ajami closer to the Arabic, without new letters or a diacritic for O, however it does use the Imaala E.
English:
My intention is to compose a poem on forgetfulness
I intend to compose it in Fulfulde so that Fulbe could be enlightened.
When we compose [a poem] in Arabic only the learned benefit.
When we compose it in Fulfulde the unlettered also gain.
Latin:
Nufare nde am yusbango en baabuwol kire
Mi yusbira ngol Fulfulde Fulbe fu yeetoye
To min njusbiri arabiyya aalimi tan nafi‘
To min njusbiri fulfulde Jaahili Faydoye
Ajami
نُڢَارٜ دٜ عَم يُسبَنغُ عٜں بَابُوُل كِرٜں
مِيُسبِرَ غُل ڢُلڢُلدٜ ڢُلبٜڢُ يٜعتُيٜ
تُمِں جسبِرِ عَرَبِيَّ عَالِم تَں نَڢِ
تُمِں جُسبِرِ ڢُلڢُلدٜ جَاهِلِ ڢَيدُيٜ
أَمْثِلَةٌ
الإِعْلَانُ الْعَالَمِيُّ لِحُقُوقِ الْإِنْسَانِ
يُعَدُّ الإِعْلَانُ الْعَالَمِيُّ لِحُقُوقِ الْإِنْسَانِ أَكْثَرَ نَصٍّ تُرْجِمَ فِي الْعَالَمِ، وَيُسْتَعْمَلُ عَادَةً مِعْيَارًا لِقِيَاسِ تَطْوِيرِ اللُّغَاتِ. فِيمَا يَلِي نَصُّ الْفُلْفُلْدِيَّةِ بِالْحَرْفِ اللَّاتِينِيِّ وَعَجَمِيِّ سُوكُوتُو:
Tippude e faamu ganndal ndi mu ɓeynguure e hannduyeeji fottanaaɗi woni tugalal hetaare, peewal et ɓuttu e nder aduna on
تِبٗدٜ ىٰ فَامُ قَندَل دِ مُ ٻٜنغٗورٜ ىٰ هَندُيٜيجِ فٗتَنَاطِ وٗنِ تُقَلَل هٜتَارٜ، بٗوَل اٜت ٻُتُ ىٰ دٜر اَدُنَ اٗن
الْقُرْآنُ
دَرَسَ الْفُلَانِيُّونَ الْقُرْآنَ لِقُرُونٍ، بَلْ لِأَلْفِيَّاتٍ، وَلَكِنَّهُ لَمْ يُرَ مِمَّا يَلْزَمُ تَرْجَمَتُهُ إِلَّا فِي الْعُقُودِ الْأَخِيرَةِ. وَكَانَ هَذَا حَالَ الْعَالَمِ الْإِسْلَامِيِّ عُمُومًا، إِذْ إِنَّ أُولَى التَّرْجَمَاتِ الْأَمِينَةِ الْمُعْتَبَرَةِ إِلَى اللُّغَاتِ الْأُخْرَى لَمْ تَظْهَرْ إِلَّا فِي الْقَرْنِ التَّاسِعِ عَشَرَ.
تُوجَدُ تَرْجَمَاتٌ بِلَهْجَةِ آدَمَاوَا، وَهَذِهِ مِنْ مَجْمُوعَةِ تَرَاجِمَ لِلْقُرْآنِ فِي ٧٩ لُغَةً، طُلِبَ إِعْدَادُهَا مِنْ قِبَلِ Salman bin Abdulaziz Al Saud مَلِكِ Saudi Arabia.
En puɗɗirii innde Alla jom hinney kuuɓuɗo jom hinney keeriɗo.
Yettoore woodanii Alla jom tageefooji.
Jom hinney kuuɓuɗo jom hinney keeriiɗo.
Marɗo Ñaande diina (darngal).
Aan tan men ndewata wo aan men mballinorto.
Handa men faade e laawol poccingol.
Laawol ɓeen ɓe neeminɗa dow muɓɓen ko wanaa ɓeen tikkanaaɓe wanaadu ɓeen lallinaɓe.
عٜن ݠُطِرِي عِندٜ الله يٛم هِنٜي كٜىٰرِطٛ
يٜتٛرٜ وٛودَنِي الله يٛم تَعٜىٰفٛيِ
يٛم هِنٜي كُوࢡُطٛ يٛم هِنٜي كٜىٰرِيطٛ
مَرطٛ ࢩَاندٜ دِينَ (دَرنعَل)
عَان تَن مٜن ندٜوَتَ وٛ عَان مٜن مبَلِنٛرتٛ
هَندَ مٜن فَادٜ ىٰ لَاوٛل ݠٛكِنعٛل
لَاوٛل ࢡٜىٰن ࢡٜ نٜىٰمِنطَ دٜو مُࢡٜن كٛ وَنَا ࢡٜىٰن لَلِنَࢡٜ
الْكِتَابُ الْمُقَدَّسُ
مَعَ أَنَّ الْإِسْلَامَ هُوَ الدِّينُ الْغَالِبُ بَيْنَ الْفُلَانِيِّينَ، فَإِنَّ هُنَاكَ جَمَاعَةً مَسِيحِيَّةً تَسْتَفِيدُ مِنْ تَرَاجِمِ الْكِتَابِ الْمُقَدَّسِ بِالْحَرْفَيْنِ الْعَجَمِيِّ وَاللَّاتِينِيِّ. فِيمَا يَلِي أَوَّلُ خَمْسَةِ آيَاتٍ:
طٜعٜ نغٛنِ اِنْطٜ مَامَعٜنْ يٜىٰسُ اَلْمَسِيحُ لٜݧٛلْ دَوْدَ، دَوْدَ لٜݧٛلْ اِبْرَاهِمْ؞
اِبْرَاهِمْ دَݧِ اِشِيَاکُ، ندٜنْ اِشِيَاکُ دَݧِ يَاکُبُ، ندٜنْ يَاکُبُ دَݧِ يَحُودَ اٜ سَکِرَاٻٜ مَاکٛ،
يَحُودَ دَݧِ فٜرٜسَ اٜ جٜىٰرَ، مَدُوجٛ جٜىٰرَ وٛنِ تَامَرْ، فٜرٜسَ دَݧِ حٜسٜرُونَ، حٜسٜرُونَ دَݧِ اَرَمْ،
اَرَمْ دَݧِ اَمِينَدَبْ، اَمِينَدَبْ دَݧِ نَاشٛنْ، نَاشٛنْ دَݧِ سَلْمٛنْ،
سَلْمٛنْ دَݧِ بٛعَاجَ، مَدُوجٛ بٛعَاجَ وٛنِ رَحَبْ، بٛعَاجَ دَݧِ اٛبِدَ، مَدُوجٛ اٛبِدَ وٛنِ رُتْ، اٛبِدَ دَݧِ جٜىٰسِ
Ɗe'e ngoni inɗe maama'en Yeesu Almasiihu lenyol Dawda, Dawda lenyol Ibraahim.
Ibraahim danyi Iciyaaku, nden Iciyaaku danyi Yaakubu, nden Yaakubu danyi Yahuuda e sakiraaɓe maako,
Yahuuda danyi Feresa e Jeera, maduujo Jeera woni Taamar, Feresa danyi Heseruuna, Heseruuna danyi Aram,
Aram danyi Amiinadab, Amiinadab danyi Naacon, Naacon danyi Salmon,
Salmon danyi Bo'aaja, maduujo Bo'aaja woni Rahab, Bo'aaja danyi Obida, maduujo Obida woni Rut, Obida danyi Jeesi,
قَصِيدَةٌ بِالْعَجَمِيَّةِ
فِيمَا يَلِي قَصِيدَةٌ لِـ Uthman dan Fodio بِعُنْوَانِ Baabuwol Kire («فِي النِّسْيَانِ»)، تَبْدَأُ بِالتَّذْكِيرِ بِأَهَمِّيَّةِ الْكِتَابَةِ بِالْفُلْفُلْدِيَّةِ. وَيَسْتَعْمِلُ هَذَا النَّصُّ نُسْخَةً أَقْرَبَ إِلَى الْعَرَبِيَّةِ التَّقْلِيدِيَّةِ، مِنْ غَيْرِ حُرُوفٍ جَدِيدَةٍ أَوْ عَلَامَةٍ خَاصَّةٍ لِـ O، لَكِنَّهُ يَسْتَعْمِلُ الْإِمَالَةَ لِـ E.
My intention is to compose a poem on forgetfulness
I intend to compose it in Fulfulde so that Fulbe could be enlightened.
When we compose [a poem] in Arabic only the learned benefit.
When we compose it in Fulfulde the unlettered also gain.
Nufare nde am yusbango en baabuwol kire
Mi yusbira ngol Fulfulde Fulbe fu yeetoye
To min njusbiri arabiyya aalimi tan nafi‘
To min njusbiri fulfulde Jaahili Faydoye
نُڢَارٜ دٜ عَم يُسبَنغُ عٜں بَابُوُل كِرٜں
مِيُسبِرَ غُل ڢُلڢُلدٜ ڢُلبٜڢُ يٜعتُيٜ
تُمِں جسبِرِ عَرَبِيَّ عَالِم تَں نَڢِ
تُمِں جُسبِرِ ڢُلڢُلدٜ جَاهِلِ ڢَيدُيٜ
الإِعْلَانُ الْعَالَمِيُّ لِحُقُوقِ الْإِنْسَانِ
يُعَدُّ الإِعْلَانُ الْعَالَمِيُّ لِحُقُوقِ الْإِنْسَانِ أَكْثَرَ نَصٍّ تُرْجِمَ فِي الْعَالَمِ، وَيُسْتَعْمَلُ عَادَةً مِعْيَارًا لِقِيَاسِ تَطْوِيرِ اللُّغَاتِ. فِيمَا يَلِي نَصُّ الْفُلْفُلْدِيَّةِ بِالْحَرْفِ اللَّاتِينِيِّ وَعَجَمِيِّ سُوكُوتُو:
Tippude e faamu ganndal ndi mu ɓeynguure e hannduyeeji fottanaaɗi woni tugalal hetaare, peewal et ɓuttu e nder aduna on
تِبٗدٜ ىٰ فَامُ قَندَل دِ مُ ٻٜنغٗورٜ ىٰ هَندُيٜيجِ فٗتَنَاطِ وٗنِ تُقَلَل هٜتَارٜ، بٗوَل اٜت ٻُتُ ىٰ دٜر اَدُنَ اٗن
الْقُرْآنُ
دَرَسَ الْفُلَانِيُّونَ الْقُرْآنَ لِقُرُونٍ، بَلْ لِأَلْفِيَّاتٍ، وَلَكِنَّهُ لَمْ يُرَ مِمَّا يَلْزَمُ تَرْجَمَتُهُ إِلَّا فِي الْعُقُودِ الْأَخِيرَةِ. وَكَانَ هَذَا حَالَ الْعَالَمِ الْإِسْلَامِيِّ عُمُومًا، إِذْ إِنَّ أُولَى التَّرْجَمَاتِ الْأَمِينَةِ الْمُعْتَبَرَةِ إِلَى اللُّغَاتِ الْأُخْرَى لَمْ تَظْهَرْ إِلَّا فِي الْقَرْنِ التَّاسِعِ عَشَرَ.
تُوجَدُ تَرْجَمَاتٌ بِلَهْجَةِ آدَمَاوَا، وَهَذِهِ مِنْ مَجْمُوعَةِ تَرَاجِمَ لِلْقُرْآنِ فِي ٧٩ لُغَةً، طُلِبَ إِعْدَادُهَا مِنْ قِبَلِ Salman bin Abdulaziz Al Saud مَلِكِ Saudi Arabia.
En puɗɗirii innde Alla jom hinney kuuɓuɗo jom hinney keeriɗo.
Yettoore woodanii Alla jom tageefooji.
Jom hinney kuuɓuɗo jom hinney keeriiɗo.
Marɗo Ñaande diina (darngal).
Aan tan men ndewata wo aan men mballinorto.
Handa men faade e laawol poccingol.
Laawol ɓeen ɓe neeminɗa dow muɓɓen ko wanaa ɓeen tikkanaaɓe wanaadu ɓeen lallinaɓe.
عٜن ݠُطِرِي عِندٜ الله يٛم هِنٜي كٜىٰرِطٛ
يٜتٛرٜ وٛودَنِي الله يٛم تَعٜىٰفٛيِ
يٛم هِنٜي كُوࢡُطٛ يٛم هِنٜي كٜىٰرِيطٛ
مَرطٛ ࢩَاندٜ دِينَ (دَرنعَل)
عَان تَن مٜن ندٜوَتَ وٛ عَان مٜن مبَلِنٛرتٛ
هَندَ مٜن فَادٜ ىٰ لَاوٛل ݠٛكِنعٛل
لَاوٛل ࢡٜىٰن ࢡٜ نٜىٰمِنطَ دٜو مُࢡٜن كٛ وَنَا ࢡٜىٰن لَلِنَࢡٜ
الْكِتَابُ الْمُقَدَّسُ
مَعَ أَنَّ الْإِسْلَامَ هُوَ الدِّينُ الْغَالِبُ بَيْنَ الْفُلَانِيِّينَ، فَإِنَّ هُنَاكَ جَمَاعَةً مَسِيحِيَّةً تَسْتَفِيدُ مِنْ تَرَاجِمِ الْكِتَابِ الْمُقَدَّسِ بِالْحَرْفَيْنِ الْعَجَمِيِّ وَاللَّاتِينِيِّ. فِيمَا يَلِي أَوَّلُ خَمْسَةِ آيَاتٍ:
طٜعٜ نغٛنِ اِنْطٜ مَامَعٜنْ يٜىٰسُ اَلْمَسِيحُ لٜݧٛلْ دَوْدَ، دَوْدَ لٜݧٛلْ اِبْرَاهِمْ؞
اِبْرَاهِمْ دَݧِ اِشِيَاکُ، ندٜنْ اِشِيَاکُ دَݧِ يَاکُبُ، ندٜنْ يَاکُبُ دَݧِ يَحُودَ اٜ سَکِرَاٻٜ مَاکٛ،
يَحُودَ دَݧِ فٜرٜسَ اٜ جٜىٰرَ، مَدُوجٛ جٜىٰرَ وٛنِ تَامَرْ، فٜرٜسَ دَݧِ حٜسٜرُونَ، حٜسٜرُونَ دَݧِ اَرَمْ،
اَرَمْ دَݧِ اَمِينَدَبْ، اَمِينَدَبْ دَݧِ نَاشٛنْ، نَاشٛنْ دَݧِ سَلْمٛنْ،
سَلْمٛنْ دَݧِ بٛعَاجَ، مَدُوجٛ بٛعَاجَ وٛنِ رَحَبْ، بٛعَاجَ دَݧِ اٛبِدَ، مَدُوجٛ اٛبِدَ وٛنِ رُتْ، اٛبِدَ دَݧِ جٜىٰسِ
Ɗe'e ngoni inɗe maama'en Yeesu Almasiihu lenyol Dawda, Dawda lenyol Ibraahim.
Ibraahim danyi Iciyaaku, nden Iciyaaku danyi Yaakubu, nden Yaakubu danyi Yahuuda e sakiraaɓe maako,
Yahuuda danyi Feresa e Jeera, maduujo Jeera woni Taamar, Feresa danyi Heseruuna, Heseruuna danyi Aram,
Aram danyi Amiinadab, Amiinadab danyi Naacon, Naacon danyi Salmon,
Salmon danyi Bo'aaja, maduujo Bo'aaja woni Rahab, Bo'aaja danyi Obida, maduujo Obida woni Rut, Obida danyi Jeesi,
قَصِيدَةٌ بِالْعَجَمِيَّةِ
فِيمَا يَلِي قَصِيدَةٌ لِـ Uthman dan Fodio بِعُنْوَانِ Baabuwol Kire («فِي النِّسْيَانِ»)، تَبْدَأُ بِالتَّذْكِيرِ بِأَهَمِّيَّةِ الْكِتَابَةِ بِالْفُلْفُلْدِيَّةِ. وَيَسْتَعْمِلُ هَذَا النَّصُّ نُسْخَةً أَقْرَبَ إِلَى الْعَرَبِيَّةِ التَّقْلِيدِيَّةِ، مِنْ غَيْرِ حُرُوفٍ جَدِيدَةٍ أَوْ عَلَامَةٍ خَاصَّةٍ لِـ O، لَكِنَّهُ يَسْتَعْمِلُ الْإِمَالَةَ لِـ E.
My intention is to compose a poem on forgetfulness
I intend to compose it in Fulfulde so that Fulbe could be enlightened.
When we compose [a poem] in Arabic only the learned benefit.
When we compose it in Fulfulde the unlettered also gain.
Nufare nde am yusbango en baabuwol kire
Mi yusbira ngol Fulfulde Fulbe fu yeetoye
To min njusbiri arabiyya aalimi tan nafi‘
To min njusbiri fulfulde Jaahili Faydoye
نُڢَارٜ دٜ عَم يُسبَنغُ عٜں بَابُوُل كِرٜں
مِيُسبِرَ غُل ڢُلڢُلدٜ ڢُلبٜڢُ يٜعتُيٜ
تُمِں جسبِرِ عَرَبِيَّ عَالِم تَں نَڢِ
تُمِں جُسبِرِ ڢُلڢُلدٜ جَاهِلِ ڢَيدُيٜ
To contact me, email at januwobe@gmail.com
Sources used:
Biblia Fulfulde Caka (Nigeria). Wycliffe Bible Translators, 2010. The Bible translation into Fulfulde in both Latin and Ajami was taken from this book. 2 March 2026
Hamid Bobbiyo. "Ajami literature and the study of the Sokoto Caliphate" The Meanings of Timbuktu, edited by Shamil Jeppie and Souleymane Bachir Diagne, HSRC Press, 20019, p125. The Fulfulde Latin text of the Baabuwol Kire poem excerpt was taken from here.
The Holy Qur’an: Translation of Its Meanings into Fulfulde (Fula). King Fahd Complex for the Printing of the Holy Quran, 2005. The Fulfulde translation of Al-Fatihah is taken from here
Uthman Dan Fodiyo. Baabuwol Kire. Late 18th-Early 19th century. Muhammad Bashir Abubakar Collection of Fulfulde Jihad Poetry 18 - 19th centuries, British Library, London. The Ajami of this poem excerpt was taken from the British Library catalog here.
Warren-Rothlin, Andy. “Arabic Script in Modern Nigeria.” Advances in Minority Language Research in Nigeria, edited by Roger M. Blench and Stuart McGill, vol. 1, Rüdiger Köppe, 2012, pp. 105–121. The Arabic alphabet in Northern Nigeria was taken from here.
Sources used:
Biblia Fulfulde Caka (Nigeria). Wycliffe Bible Translators, 2010. The Bible translation into Fulfulde in both Latin and Ajami was taken from this book. 2 March 2026
Hamid Bobbiyo. "Ajami literature and the study of the Sokoto Caliphate" The Meanings of Timbuktu, edited by Shamil Jeppie and Souleymane Bachir Diagne, HSRC Press, 20019, p125. The Fulfulde Latin text of the Baabuwol Kire poem excerpt was taken from here.
The Holy Qur’an: Translation of Its Meanings into Fulfulde (Fula). King Fahd Complex for the Printing of the Holy Quran, 2005. The Fulfulde translation of Al-Fatihah is taken from here
Uthman Dan Fodiyo. Baabuwol Kire. Late 18th-Early 19th century. Muhammad Bashir Abubakar Collection of Fulfulde Jihad Poetry 18 - 19th centuries, British Library, London. The Ajami of this poem excerpt was taken from the British Library catalog here.
Warren-Rothlin, Andy. “Arabic Script in Modern Nigeria.” Advances in Minority Language Research in Nigeria, edited by Roger M. Blench and Stuart McGill, vol. 1, Rüdiger Köppe, 2012, pp. 105–121. The Arabic alphabet in Northern Nigeria was taken from here.