Mun riga mun faɗi cewa wannan sūrah tana magana a kan abin da take bayyanawa ta hanya ta musamman sosai. A kowane lokaci, a kowane yanayi ko wuri, tana fito da dukkan girman abin da take kwatantawa a fili, tana riƙe mu cikin mamaki, muna bin ta cikin numfashi a riƙe. Yanzu za mu koma ga wasu ayoyi na musamman da ke tabbatar da haka, kuma mai karatu ya kamata ya yi tunani sosai a kansu don ya fahimce su sosai. Duk yadda muka yi ƙoƙarin bayyana wannan tasiri, ba za mu iya ba da fiye da ɗan ra'ayi mara cikakken bayani game da shi ba.
We have already said that this sūrah deals with its subject matter in a very unique way. At every turn, in every situation or scene, it brings out in sharp relief all the awesome splendour of what is being portrayed, keeping us spellbound, breathless as we follow it. Now we will refer to particular verses confirming this, and the reader needs to carefully consider these for full appreciation. No matter how hard we try to describe this effect, we cannot give more than a vague feeling of it.
Babban jigon wannan sura shi ne bayyana gaskiyar Ubangijintaka da kuma ba mutane isasshen ilimi game da Ubangijinsu na gaskiya, domin su mika kansu gare Shi kaɗai. Saboda haka, sura tana magana sosai game da samar da shaidu masu dacewa da kuma kafa iyakokin da ke raba masu imani da kafirai. Ta haka wannan gaskiya tana bayyana a fili a zuciyar mumini, kuma yana iya bayyana ta da ƙarfi da tabbaci a gaban waɗanda ke nuna akasin haka. (Ayoyi 14-19)
The central theme of the sūrah is to state the truth of Godhead and to give human beings sufficient knowledge about their true Lord so that they submit themselves to Him alone. Thus, it has much to say about providing proper witnesses and demarcating the lines that separate the believers from the unbelievers. Thus, this truth becomes clear in a believer’s mind and he is able to declare it with power and firmness in the face of those who take the opposite attitude. (Verses 14-19)
A game da gargaɗi, sūratul ta nuna yadda ikon Allah ya kewaye komai. Idan aka fuskanci ikon Allah, yanayin ɗan Adam yana 'yantuwa daga dukkan matsin lamba mai shaƙewa, sai ya juya ga Ubangijinsa na gaskiya, yana manta da gumakan ƙarya da mutane ke haɗawa da Shi.
(Ayoyi 40-7)
On warnings, the sūrah shows how God’s power encompasses all. When confronted with God’s power, human nature is freed of all stifling pressures and turns to its true Lord, forgetting the false deities people associate with Him. (Verses 40-7)
Sūratul nan tana da abubuwa masu yawa game da sanin Allah na duk abin da yake ɓoye ko a ɓoye, da lokacin da aka ƙaddara don mutuwar kowane abu mai rai. Yana da cikakken iko a kan komai da ke cikin ƙasa da teku, da dare da rana, a wannan rayuwa da kuma rayuwa ta gaba. (Ayoyi 59-62)
The sūrah has much to say about God’s knowledge of all that is secret or concealed, and the time appointed for the death of every living thing. He has full power over everything on land and sea, day and night, in this life and in the life to come. (Verses 59-62)
Yanayin ɗan Adam zai juya zuwa ga Allah babu shakka idan ya buɗe zuciyarsa don karɓar shiryarwa mai ƙarfafawa wadda ake gani a fili a cikin duniyar da ke kewaye da mu. Alamu da yawa suna kira ga yanayin ɗan Adam, suna roƙonsa bisa tsarkinsa na asali.
Human nature will undoubtedly turn towards God once it opens up to receive the inspiring guidance seen clearly in the world around us. Numerous are the pointers that address human nature appealing to its innate purity. (Verses 74-82)
Suratin tana zayyana al'amuran rayuwa da dama suna bujuwa. Saboda haka muna ganin hotunan fitowar alfijir, da zuwan dare, da taurari masu haske, da duhu a kasa da teku, da ruwan sama mai zuba, da tsirrai masu girma, da 'ya'yan itatuwa masu nuna. A cikin wannan duka, tauhidin Allah, Mahalicci kaɗai kuma Mai ƙirƙira, yana bayyana da cikakkiyar fayyace. Haɗa abokan tarayya ko 'ya'ya ga Allah yana kama da abu mafi wauta ƙwarai.
The sūrah paints several scenes of life opening up. Thus we see images of the break of day, the approach of night, the bright stars, the darkness on land and sea, the pouring rain, growing vegetation, ripening fruits. In all this the unity of God, the only Creator and Originator is seen in perfect clarity. To ascribe partners or children to God sounds most absurd indeed. (Verses 95-103)
A ƙarshe, game da kiran addu'a ga Allah kaɗai, miƙa ibada, rayuwa da mutuwa gaba ɗaya gare shi, yin Allah-wadai da duk wani yunƙuri na neman wani ubangiji banda shi, da kuma yarda da ikonsa a kan wannan duniya da kuma bayanin matsayin mutum a cikinta, da kuma lahira da batun hisabi da sakamako, surar ta ƙare da addu'a mai cike da tawali'u. (Ayoyi 161-5)
Finally on addressing our prayers to God alone, offering our worship, life and death purely to Him, denouncing any attempt to seek a Lord other than Him, and acknowledging His authority over this life and the designation of man’s role in it, and over the hereafter and the question of reckoning and reward, the sūrah ends with a humble prayer. (Verses 161-5)
Waɗannan misalai shida ne kawai na kyawun ban mamaki da sūrah ke amfani da shi a kowane lokaci da kuma a kowane yanayi. Ya kamata kuma mu ambaci nan irin jituwar ban mamaki da sūrah ke bayarwa wajen tsara yanayi daban-daban nata. Duk da haka, za mu kawo misalai uku ne kawai, yayin da za a bar cikakken bayani ga tafsirinmu mai zurfi.
These are only six examples of the breathtaking splendour the sūrah employs at every turn and in every scene. We should also refer here to the exceptional harmony the sūrah provides in drawing its different scenes. We will, however, give but three examples, leaving the full explanation to our detailed commentary.
Sūrah ɗin yana cike da yanayi da al'amura daban-daban, amma dukansu suna da abu ɗaya a haɗe. A cikin kowane ɗaya, sūrah ɗin kusan yana kai mai saurare zuwa wurin yanayin ne don ya duba shi da kyau, ya kuma yi tunani a kan halin da aka bayyana. Ana yin hakan ne ta hanyar kalmomi da kusan suke nuna mana motsi a zahiri. Saboda haka, yanayin da aka zana sun haɗa da mutane da mai saurare yake gani da idanunsa. Ka yi la'akari da wannan a ayoyi na 27, 30, 93-4.
The sūrah is full of different scenes and situations, but they all share one aspect in common. In each, the sūrah practically brings the listener to the scene to look at it carefully and to reflect on the situation described. This is done through words that almost show us the movement physically. Thus, the scenes painted include people whom the listener sees with his own eyes. Consider in this respect verses 27, 30, 93-4
Lokacin da sūrah ta yi gargadin ga kāfirai game da azabar Allah da ikonsa mai rinjaye, ana kawo su a zahiri gaban irin wannan azaba, kamar dai suna ganin yadda ake aiwatar da ita. Ka lura da ayoyi na 40-1 da na 46-7 a nan.
When the sūrah warns the unbelievers against God’s punishment and His overwhelming power, they are physically brought before such punishment, as though they see how it is inflicted. Consider here verses 40-1 and 46-7.
A cikin bayanin halin nutsewa cikin ɓata bayan mutum ya gane gaskiya ta hanyar shiriyar Allah, surar tana nuna mana wani yanayi mai taɓa zuciya wanda muke tsayawa mu duba shi sosai, duk da cewa nassin bai ƙunshi wani umarni ko shawara cewa mu yi hakan ba. Ana bayar da wannan a cikin ayoyi na 71-3.
In describing the situation of sinking into error after one has recognized the truth through divine guidance, the sūrah shows us a moving scene which we stop to look at very carefully, even though the text does not include any order or suggestion that we should do so. This is given in verses 71-3.
Haka kuma sūratul An'am tana kai mai saurare gaban hoton 'ya'yan itace da suke nuna a cikin lambuna, inda ake ganin rayuwa tana tasowa da bayyana cikin launuka da 'ya'yan itatuwan da ba za su iya fitowa ba sai da hannun Allah. Duk wannan ana gani a mafi kyawunsa a Aya ta 99. Lallai, irin wannan kyakkyawan daidaito shi ne al'amari na bai ɗaya a cikin dukkan al'amura da yanayin da aka bayyana a cikin sūrar.
Similarly the sūrah brings the listener before the picture of ripening fruit in gardens where we see life springing up and manifesting in the colours and fruits that could only be produced by God’s hand. All this is seen at its best in Verse 99. Indeed, such perfect harmony is the common feature of all the scenes and situations described in the sūrah.
Wani fanni na wannan cikakkiyar jituwa, wanda kuma ba ya nesa da abin da muka riga muka faɗa, shi ne yanayin da ake kawo ko kira ga shaidu. Yanayin Ranar Tashin Kiyama ana siffanta su kamar suna samar da shaidu ga abin da kafirai suke aikatawa a wannan rayuwa, ko kuma yanayi da ke tsawatarwa ga kafirai da jawo hankali a kansu. An riga an bayar da misalai na wannan, dukansu kuma suna farawa da “Da ka ga…”. Kusa da waɗannan akwai yanayin kiran shaidu don shaida imani kansa, sa'an nan kuma shaida shari'ar Allah. Dukansu ana bi da su ta hanya ɗaya.
Another aspect of such perfect harmony, which is not unrelated to what we have already said, are the scenes bringing in or calling for witnesses. The scenes of the Day of Resurrection are portrayed as though they are providing witnesses for what the unbelievers do in this life, or scenes denouncing the unbelievers and drawing attention to them. Examples of these have been given, and they all start with “If you could but see...”. Closely related to these are the scenes calling for witnesses to testify to the faith itself, and then to testify to divine law. Both are treated in the same way.
A farkon sūrah ana kiran shaidu domin su shaida gaskiyar imani baki ɗaya, kamar yadda muke gani a Aya ta 19. Sa'an nan idan wani al'amari na musamman ya taso, game da tambaya ta haramci da halascin abubuwa, sūrah tana zana wani sabon yanayi tana kira ga shaidu a kan wannan al'amari musamman, kamar yadda ake kiran shaidu a kan imani. Wannan yana nuna cewa su biyun ɗaya ne, kuma yana tabbatar da cikakkiyar jituwa wadda ta zama halayyar salon Alƙur'ani. Wannan kiran shaidu yana faruwa a Aya ta 150.
At the beginning of the sūrah witnesses are called to testify to the truth of faith in its entirety, as we see in Verse 19. Then when a special occasion arises, concerning the question of prohibition and permissibility, the sūrah paints a new scene and calls for witnesses on this particular issue, in the same way as witnesses are called for the faith. This implies that the two are the same and ensures perfect harmony which is characteristic of the Qur’ānic style. This call for witnesses occurs in Verse 150.
Wani irin jituwa kuma shi ne jituwar salo, wanda ake gani ta hanyar maimaita wasu kalmomi da jimloli a wurare daban-daban don nuna cewa suna nufin abu guda ta hanyoyi daban-daban. Don haka, a ayar farko ta wannan sura, an ce kafirai suna ɗaukar wasu halittu a matsayin daidai da Ubangijinsu, domin nuna cewa suna danganta abokan tarayya ga Shi. Sa'an nan a ayar 150, waɗanda ke yin dokoki don kansu su ma an siffanta su da ɗaukar wasu a matsayin daidai da Ubangijinsu. Don haka, siffa guda ana ba ta duka danganta abokan tarayya ga Allah da kuma amfani da iko na yin doka. Wannan yana da muhimmanci musamman, duka a cikin ma'anar da yake bayyanawa da kuma hanyar da yake bayyana ta.
Another type of harmony is that of expression, which is seen in repeating certain words and phrases in different contexts to indicate that they refer to the same point in different ways. Thus, in the first verse of the sūrah, the unbelievers are said to regard certain beings as equal to their Lord in order to indicate that they associate partners with Him. Then in Verse 150, those who formulate legislation for themselves are also described as regarding others as equal to their Lord. Thus, the same description is given to associating partners with God and to the exercise of the authority to legislate. This is especially significant both in the idea it expresses and in the way it is expressed.
Kalmar "hanyar Allah" tana nufin addinin Musulunci gaba ɗaya (Aya ta 126), kuma tana zuwa a cikin magana game da doka dangane da halascin dabbobin da aka yanka da amfanin gona da kuma haramcinsu (Aya ta 153). Wannan yana nuna cewa al'amarin doka iri ɗaya ne da al'amarin imani. Karɓar dokar Allah shi ne bin hanyarsa, kuma ƙin karɓarta shi ne karkacewa daga hanyarsa. Don haka ana nuna shi a matsayin al'amarin imani ko kafirci, jahiliyya ko Musulunci.
The term ‘God’s way’ is used to refer to the Islamic faith in general (Verse 126) and in speaking about legislation with regard to permissibility and the prohibition of slaughtered animals and agricultural produce. (Verse 153) This indicates that the issue of legislation is the same as the issue of faith. To accept God’s legislation is to follow His way, and to reject it is to deviate from His way. Thus, it is shown as a question of faith or unfaith, jāhiliyyah or Islam.
Yanzu muna ci gaba da duba wannan sūrah da zurfi. Sai dai, a wannan karon, maimakon mu raba ta zuwa babi-babi kamar yadda muka yi da sauran sūrori, za mu bi tsarin halitta na wannan sūrah ta musamman, yayin da take tafiya daga wani zango zuwa wani.
We move on now to look at the sūrah in more detail. However, instead of dividing it into chapters as we have done with other sūrahs, we will, in this instance, follow the natural pattern of this particular sūrah, as it moves through one wave after another.