The Eagle Wounded by an Arrow

The Eagle Wounded by an Arrow tatsuniya ce da aka ɓoye da gashinta a cikin tsoffin majiyoyi na Girka kuma an jera shi a matsayin tatsuniya 276 a cikin Perry Index .  Gabaɗaya ana amfani da shi ga wahalar fahimtar cewa mutum ya ba da gudummawa ga raunin kansa amma kuma a matsayin gargaɗi game da girman kai mai dogaro da kai.

## Tatsuniya da fassarorinta
Ambaton tatsuniya na farko shine ɗan taƙaitaccen bayani a cikin littafin The Myrmidons, wani bala'i da ya ɓace na Aeschylus wanda aka rubuta a ƙarni na 5 kafin haihuwar Annabi Isa. A nan an ce asalinsa daga Libya ne kuma galibi ana tsammanin yana nufin laifin da Achilles ya ji game da mutuwar abokinsa Patroclus . 

:: Sai gaggafar, wadda aka huda da sandar da aka yi wa baka, ta duba
:: A kan gashin fuka-fukan ya ce, "Don haka, ba ta wasu ba,
:: Amma ta hanyar gashin kanmu ne ake kashe mu". 

Daga baya, an yi nuni da cewa tatsuniya ta sami ƙarfi sosai.  Wani sigar da aka yi wa lakabi da "Maharba da Mikiya" wadda aka danganta ta da Aesop ta bayyana a cikin tarin tatsuniyoyi na Babrius . 

Tatsuniya ba ta bayyana a cikin tarin tatsuniyoyi na zamanin da waɗanda suka dogara da tushen Latin ba, amma an fara lura da ita a Turai tun ƙarni na 16. A cikin littafin Guillaume La Perrière's Emblem *Le théatre des bons engins* (Theatre of fine devices, 1544), akwai misalin gaggafa da ta ji rauni tare da wata aya da ke cewa baƙin cikinta na bugun ƙasa ya ninka ta hanyar sanin cewa ta samar da hanyoyin halaka kanta.  Amma lokacin da lamarin ya bayyana a cikin Tatsuniyoyi na La Fontaine, yana ƙarƙashin taken da aka fi sani da "Tsuntsun da kibiya ta ji rauni" (II.6) kuma an ɗauko wani babban darasi daga lamarin. Tsuntsun da ke mutuwa yana zargin mutane da amfani da sassan jikinsa a kan kansa kuma yana da'awar cewa sun koyi wannan zalunci daga yadda suke mu'amala da juna. 

Wani littafin tambarin Faransa na zamani ya ɗauki ra'ayi daban game da yadda tsuntsun ya ba da gudummawa ga raunin kansa. Littafin Daniel de la Feuille na *Devises et emblêmes* (1691) ya fara ne daga fahimtar cewa tsuntsun da ke cikin waƙar yana neman zomo. Idan wani mafarauci ya saukar da shi yayin da yake cikin wannan aikin, to shari'ar adalci ce ta waƙa, ta hanyar cutar da yake da niyyar yi wa wasu. An kwatanta shi a ƙarƙashin taken Latin *Capiens capior* (mai farauta ya zama ganima), yana nuna shaho mai tsutsa yana zaune a kan zomo da kibiya ta wuyansa.  Akwai kuma ambaton tatsuniyar da aka rubuta a cikin wani yanki na dutse ta Anne-Louis Girodet tun daga 1793/5. A can gaggafa da kibiya ta huda ta kwanta a ƙasan hoton, yayin da zuwa gare ta wani babban maciji yana rarrafe a kan duwatsu. Murmushinsa yana maimaitawa da itacen da ke shaƙewa wanda ke hawa bishiyar da tsuntsun ya faɗi a ƙarƙashinta. Tashin hankali da mugunta ba su takaita ga yanayin ɗan adam ba; a idanun mai zane, suna da alaƙa da yanayi gaba ɗaya. 

Asalin tatsuniyar Girka ba a manta da ita ba a Faransa, kuma Isaac de Benserade ya haɗa da *L'aigle percé d'une flèche* a cikin tarin tatsuniyoyin Aesop, yana ba da labarin yadda ya bar wasu gashin fuka-fukai su faɗi yayin da suke gyara kansu waɗanda mafarauci wanda ya harbe shi ya tattara.  Pierre de Frasnay ya kuma bayar da sigar waƙa mai layi huɗu a cikin littafinsa na *Mythologie ou recueil des tables grecques, ésopiques et sybaritiques* (Orléans 1750). Ɗabi'ar da ya samo daga labarin ita ce kada mutum ya dogara da kansa sosai, domin hakan ma hanya ce da ke haifar da lahani. 

An fassara la'antar girman kai da aka bayar lokacin da ta yi tafiya zuwa gabas. A cikin karni na 11 na *Diwan* (waƙoƙin waƙa) na Nasir Khusraw, gaggafa ta tashi sama, tana alfahari da kanta. Lokacin da mafarauci ya saukar da ita ya gane gashin fuka-fukan kibiya, sai aka fahimci cewa an ji mata rauni da kanta.  Pieter de la Court ya ba labarin irin wannan fassarar a cikin littafinsa *na Sinryke Fabulen* (1685), yana mai nuna cewa waɗanda suka himmatu ga matsayi sun zama alamar da wasu za su cutar.  An ja layi a kan batun ta hanyar alamar Latin a ƙarƙashin hoton tsuntsun da ya ji rauni, daidaitawar layukan karin magana daga mawaƙin Latin na ƙarni na 4 Claudian : *Vivitur exiguo melius*, natura beatis / omnibus esse deedit, *si quis cognoverit uti* (ya fi kyau a rayu akan ƙaramin abu, [yanayi ya tanadar wa kowa ya yi haka cikin farin ciki,] mutum zai iya sani). 

Wani tatsuniya mai ma'ana iri ɗaya an lasafta ta da lamba 303 a cikin Perry Index.  A cikinsa itacen oak (ko itacen pine a wani sigar) yana korafin cewa an raba shi da rassan da aka yi daga rassansa. Sharhin waɗannan tatsuniyoyi sun nuna cewa wahala tana ƙaruwa ta hanyar sanin cewa laifin mutum ne. 

## Alamomin waƙa
Misalin gaggafa da aka ji rauni ya zama abin da aka saba gani a cikin waƙoƙin Ingilishi na ƙarni na 17 da kuma bayan haka. Kamar yadda Aeschylus ya bayyana hotonsa a matsayin wanda ya fito daga Libya, James Howell ya bayyana marubucin ƙarni na 2 Lucian a matsayin tushensa a cikin wata waƙa mai yabo kan aikin Giles Fletcher :

:: Ingila, kamar gaggafar Lucian mai kibiya
:: Daga cikin fatar jikinta, tana ratsa zuciyarta sosai. 

Yayin da yake yin haka, yana kuma maimaita irin wannan ra'ayin da aka yi amfani da shi a cikin waƙar Fletcher "Nasarar Almasihu a Sama". 

Mawaka biyu da aka gano suna da manufar Cavalier suma sun yi amfani da wannan ra'ayi. Katherine Philips ta sanya shi a farkon waƙarta mai suna "Akan Takaddama a Addini" (1667), tana jayayya cewa addini ya zama wanda aka zalunta ta hanyar rubuce-rubuce marasa amfani.

:: Kuma ya haɗu da ƙaddarar Eagles, wanda ƙirjinsa
:: Ya ji irin sandar da gashin kansa ya yi wa ado. 

A gefe guda kuma, Edmund Waller ya mayar da hoton zuwa wani abu da ake kira "Baroque hyperbole " ta hanyar mayar da kansa wanda aka zalunta da "Mace mai rera waƙar waƙa ta waƙarsa". 

Hoton har yanzu yana nan a farkon ƙarni na 19. Lord Byron ya yi amfani da shi a lokacin da yake kuka game da mutuwar Henry Kirke White da wuri tun yana ɗalibi.  A lokaci guda, Thomas Moore ya yi amfani da shi a cikin waƙarsa ta siyasa ta farko "Corruption" (1808). 

## Amfani da fasaha

Marc Chagall ya kuma haɗa da wani mai harbin baka mai nisa a cikin zanensa mai launi na 1927 amma ya fi mayar da hankali kan azabar mutuwar tsuntsun da ya ji rauni, wanda ganyen da ke kaɗawa a baya ke maimaitawa.  André Masson 's *L'oiseau percé de flèches* (1925) ya kuma ba da jin daɗin motsi mai zafi. A cikin wannan aikin Cubist, tsuntsun da ya ji rauni yana karkata a kan wani dutse mai salo kuma har yanzu yana neman sama. 

Zanen da Rosa Bonheur ta yi na gaggafa da ta ji rauni a sararin sama (kimanin 1870) ba a cika ambaton tatsuniyar Girka ta asali ba kuma babu kibiya a wurin. Madadin haka, alamar siyasa ce ta gaggafa wadda masu suka ke tsokaci a kai, suna fassara aikin a matsayin wanda ke nuni ga shan kaye na Napoleon na Uku a Yaƙin Franco-Prussian da kuma raunin da aka samu a yanayin Prussian na ta'addancin da ta yi. Duk da haka, jigon cutar da hukumarta ta kawo yana samuwa a matsayin madadin karatu.

Daga cikin wuraren kiɗa na tatsuniyar La Fontaine akwai Heitor Villa-Lobos ' don murya da piano (1913), da kuma na Marcelle de Manziarly a matsayin na biyu a cikin waƙoƙinta na *Trois Fables de La Fontaine* (1935).  Bugu da ƙari, sigar waƙoƙin Marianne Moore ne aka yi amfani da su a cikin *Tatsuniyoyin* Ned Rorem (1971) a matsayin tushen 'wasan operas ɗinsa masu gajeru', wanda "Tsuntsun da aka ji masa rauni da kibiya" aka sanya shi na uku.  Kwanan nan ya fito a matsayin kashi na uku a cikin waƙar Vladimir Cosma *Eh bien !* *Dansez maintenant* (2006), fassarar mai sauƙi ga mai ba da labari da ƙungiyar makaɗa a cikin salon tafiyar jana'iza. 

## Manazarta