O`zbekiston respublikasi oliy va o`rta maxsus ta’lim vazirligi namangan davlat universiteti qo`lyozma xuquqida

II Bob “ Gulliverning sahohatlari” asaridagi leksik birliklar tahlili
2.1. “ Gulliverning sahohatlari” asaridagi atamalar tasnifi
XVIII asrning buyuk ingliz yozuvchisi Jonatan Svift (1667-1745) o’zining “Gulliverning sayohatlari” satirik romani bilan dunyoga nom taratdi.
Yozuvchi g’azab va ehtiros bilan yozgan bu kitobida o’zi yashagan davr –burjua dvoryan Angliyasidagi mavjud davlat tuzumi, ijtimoiy tartib va xulq-atvorlar ustidan qattiq kuladi, ularni qoralaydi. Yozuvchi hokim sinflarning tekinxo’r va munofiqligini, davlatmand shaxslarning toshbag’ir, qabih va hudbinligini fosh etadi.
“Gulliver sayohatlari”dagi voqealar shunday ajoyib tizilganki, kitobxon asar qahramonining g’aroyib kechmishlarini uzluksiz diqqat bilan kuzatadi, adibning jo’shqin fantaziyasidan zavqlanadi.
Yozuvchi o’z romanini yaratar ekan, jimit karliklar-u ulkan odamlar, tantiqlar-u yolg’onchilar haqida hikoya qiluvchi xalq ertaklaridagi usul va obrazlardan, shuningdek, XVII asr Angliyasida keng tarqalgan memuar sarguzasht adabiyoti- haqqoniy va uydirma sarguzashtlar tasvirlangan kitoblardan keng foydalanadi. Natijada Sviftning satirik-falsafiy, nihoyatda ma’nodor, keskin bu romani qiziq va o’qimishli bir asarga aylandi va ayni vaqtda bolalarning eng quvonchbaxsh, sevimli kitoblaridan biri bo’lib qoldi.
Svift olti yildan ziyod mehnat qilib yaratgan “Lemyunel Gulliverning jahondagi bir necha olis mamlakatlariga avvalo jarroh, keyinchalik esa bir necha kemalar kapitani sifatida qilgan sayohatlari” romanini sir tutgan. Sviftning boshqa hamma asarlari kabi bu kitob ham imzosiz chiqqan. Xatto, 1726-yili “noma’lum shaxs”dan roman qo’lyozmasini olgan ham noshir uning adibi kim ekanligini bilmagan.
Asar avvalo o’zining ajoyib syujeti, qahramonning liliputlar va devqomat odamlar, laputlar va guigngnmlar yurtidan olgan taassurotlari hayratona aniq va puxta tasvirlanishi bilan kitobxonni o’ziga maftun etdi. Ko’plar “Gulliverning sayohatlari” asarini qiziq, kulgili qissa deb bilishdi va bu fantastik qissada chuqur mazmun borligini , unda ingliz tartib-qoidalari, urf-odatlari va siyosatiga nisbatan keskin satira yashiringanini anglab yatishmadi.
“Gulliverning sayohatlari” yozuvchining o’zi yashagan davr borasida uzoq yillar yuritgan fikr-mushohadalari mahsuli bo’ldi.
Atayin to’qilgan yolg’on narsalar haqida Svift shunday bemalol va rostgo’ylik bilan hikoya qiladiki, go’yo so’z hayotda har qadamda uchraydigan narsa va voqealar ustida borayotgandek tuyuladi. Gulliver hikoyalari shunday asosli va ishonarliki biz ham , xuddi Gulliver kabi , o’sha jimit odamchalarni, ular qurshagan butun muhitni aniq-ravshan ko’rayotgandek bo’lamiz.
Ho’sh, ”Gulliverning sayohatlari” asarining bu qadar ishonarli va qiziqarli asar bo’lishiga nima omil bo’ldi? Bunga albatta Jonatan Svift tomonidan ishlatilgan o’ziga xos bo’lgan til, deb aytsak bejiz bo’lmaydi. Shuning uchun ham bu asar tili to’g’risida turli olimlar tomonidan har xil fikrlar bildirilmoqda va bu haqida izlanishlar davom etmoqda.
Umuman olganda asar tili kitobxonga ulkan muammolar tug’diradi. Bunga sabab yozuvchining nasriy usuli sodda, jimjimadorlikdan xoli va tushunarli bo’lishiqa qaramasdan, u qo’llagan so’zlar o’z ma’nosiga qaraganda ko’proq ma’no kasb etadi. Asar tili o’sha davr boshqa bir yozuvchilarida uchramaydigan tipik hususiyat bilan boyitilgan.⁴³
Yaqinda tanqidchilardan biri Anna Kelli adib ishlarini chuqur o’rganib “Jonatan Svift va ingliz tili” nomli tezisini e’lon qildi. Kellining mazkur ishi ingliz tilini Svift asarlarida aks ettirilishini o’rganishdagi eng mukammal va so’nggi izlanish hisoblanadi. Anna Kelli fikricha, Svift “tabiiy tug’ma lingvist” bo’lgan va adib til va jamiyat bir-biriga bog’liq holda mavjud hamda yaxshiroq til yaxshiroq jamiyatga yetaklaydi, deb bilgan:
“Adib yaxshilangan til va aloqa hozirda mavjud yomonliklarni ildizi bilan ochib tashlaydi va ularni fosh etishga imkon beradi. Faqatgina standartlashgan an’anaviy ingliz tili (me’yorlashgan adabiy til) orqali hozirgi va o’tmishdagi eng zo’r g’oyalarni to’plab yuksak ijtimoiy rivojlanishga erisha oladi”⁴⁴
Unga qarshi ravishda yana bir tanqidchi Toni Kroli “Svift uchun yaxshilangan til tarixiy rivojlanishga ta’sir etishga urunishdir” deya fikr bildiradi.⁴⁵
Biroq Svift “Gulliverning sayohatlari” asarida faqatgina tanqidchilar aytib o’tgandek standartlashgan til (me’yorlashgan adabiy til)dan foydalanmaydi. Ko’p o’rinlarda tarixiy ingliz tiliga ham murojaat etadi. Buni o’sha davr adiblarining asarlarida deyarli uchramaydigan hamda bugungi kunda notabiiyroq holat sanalgan asarda yozuvchi tomonidan qo’llangan ko’plab arxaizmlar va atamalardan misolida yaqqol ko’rish mumkin. Asarning boshqa kitoblardan ajratib turuvchi keyingi farq shundaki, Svift butun asar davomida juda uzun gaplardan foydalangan. Misol uchun asarning birinchi qism beshinchi bobidan olingan mazkur gapga e’tibor qarataylik:
“I not yet seen it , and upon this notice of an intended invasion, I avoided appearing on that side of the coast, for fear of being discovered by some of the enemy’s ship, who had received no intelligence of me, all intercource between the two empires having been strictly forbidden during the war, upon pain of death, and an anbargo laid by our Emperor upon all vessels whoever. …”
Ko’rib turganingizdek, yuqoridagi gap 68 ta so’zdan tashkil topgan. Bu kitobxon gapni boshidan to oxiriga qadar o’qiguncha ma’no davomiyligini xotirada saqlashda qiyinchiliklar va chalkashishlarga olib keladi. Mening fikrimcha bu bilan yozuvchi o’quvchini chalkashtirmoqchi emas, balki uni nima haqida o’qiyotganligini qayta-qayta o’ylashga undaydi. Adib bunday turdagi gaplardan joylar, narsa va predmetlarni tasvirlashda keng foydalangan. Qiziq tomoni shundaki, butun asar asosiy qahramon bo’lmish Gulliver tomonidan hikoya qilinadi va dialoglar deyarli uchratilmaydi. Shunday bo’lsada asarning tili juda boy.
Shu bilan birga Svift asarda qahramonning kasbini, ish hunarini, u tashrif buyurgan yangi joylarni tanishtirishda va shu yerlik aholining tili, madaniyati, davlat boshqaruvi, urf-odatlari hamda erishgan yutuqlarini tasvirlashda ko’plab atamalardan foydalangan. Ular quyidagilardan iborat:

• 
  Navigatsiyaga oid atamalar;
  
• 
  Harbiylikka oid atamalar;
  
• 
  Musiqaga oid atamalar;
  
• 
  Matematikaga oid atamalar;
  
• 
  Dehqonchilikka oid atamalar;
  
• 
  Astronomiyaga oid atamalar;
  
• 
  Geografiyaga oid atamalar;
  
• 
  Davlat boshqaruviga oid atamalar;
  
• 
  Tarixga oid atamalar;
  
• 
  Savdoga oid atamalar.
  

Quyida bu atamalarning ayrimlari haqida kengroq to’xtalib o’tamiz.
Ulardan dengizchilikka oid atamalarga asarning boshidan to oxirigacha keng o’rin berilgan. Bunga sabab asarning bosh qahramoni Gulliverning kasbi va u boshidan kechirgan sarguzashtlar dengiz bilan bog’liq bo’lganligidir. Endi quyidagi misolga e’tibor qaratsak:

1. 
   “I therefore told the officer, that having been shipwrecked on the coast of Balnibarbi, and cast on a rock, I was received up into Laputa, or the flying Island (of which he had often heard) and was now endeavouring to get to Japan, from whence I might find a convenience of returning to my own country”.
   
2. 
   “It seems, upon my first reaching the shore, after our shipwreck, I was in such Confusion, that before I came to the Place where I went to sleep…”
   

Mazkur parchalardagi “shipwreck” so’zlari navigatsiyaga oid atamalar xisoblanib ularga Makmilan ingliz lug’atida quyidagicha izoh beriladi:

1. 
   Dengiz halokati;
   
2. 
   Kema halokati;
   
3. 
   Dengiz halokatiga uchragan odam.⁴⁶
   

Kembrij lug’atida esa quyidagicha izoh mavjud:

1. 
   Dengiz halokati;
   
2. 
   Dengiz halokatiga uchramoq.⁴⁷
   

Bizga ma’lumki, ingliz tilida bitta so’z ham biror predmed va voqea-hodisalarning nomi, ham shu nom bilan bo’g’liq harakat ma’nosida qo’llanishi ko’p uchraydi, lekin bunday holatlar o’zbek tilida kuzatilmaydi. Bundan ko’rinib turibdiki, “shipwreck” so’zi ham birinchi parchada “kema halokatiga uchramoq”, ikkinchi parchada “kema halokati” ma’nolarida qo’llanilgan. Yozuvchi tomonidan shu ma’nolarni anglatuvchi “shipwreck”, “wreck”, “destroy a ship”, “damage a vehicle” kabi sinonimik qatordan “shipwreck” tanlanganligi sababli matn yanada oydinlashib, o’quvchiga chuqur ta’sir qila olgan.
Quyidagi asardan olingan parchalarda navigatsiya bilan bo’gliq boshqa atamalarga duch kelish mumkin:
“I communicated to his Majesty a project I had formed of seizing the enemies whole fleet; which, as our scouts assured us, lay at anchor in the harbour ready to sail with the first fair wind. I consulted the most experienced seamen, upon the depth of the channel, which they had often plummed; who told me, that in the middle at high water it was seventy glumgluffs deep, which is about six foot of european measure; and the rest of it fifty glumgluffs at most”.
“This confirmed me in the opinion I have long entertained, that the maps and charts place this country at least three degrees more to the East than it …”
“Some of our sailors, whether out of treachery or inadvertence, had informed the pilots that I was a stranger and a great traveller, whereof these gave notice to a custom-house officer, by whom I was examined very strictly upon my landing”.
“The place is stored with great variety of sextants, quadrants, telescopes, astrolabes, and other instruments”.
Yuqoridagi parchalardan shunisi ma’lumki, yozuvchi qahramonlarning kim ekanligini, o’ziga xos bo’lgan belgi-hususiyatlarini, harakterini va joylarni tasvirlashda hamda ularning induvidualligini ko’rsatib berishda “fleet” (“uyushgan kemalar”), “anchor” (“langar”), “harbor” (“gavn”), “seaman” (“matros”), “depths of the channel” (“kanal chuqurligi”), “map” (“xarita”), “chart” (“suv xaritasi”), “sailor” (“matros”), “pilot” (“dengiz ilmini tushunuvchi shaxs”), “sextant” (“sekstant”), “quadrant” (“o’lchov uskuna) kabi dengizshunoslikka oid atamalardan keng foydalangan va bu bilan tasvirni yanada jonlantirishga hamda ta’sirchanlikka erishgan.
Jonatan Svift asarda hayotiy hodisani aks ettirar ekan, shu hodisaning muhim belgi va xususiyatlarini anglatuvchi harbiy leksikalarni to’plab, ularni bevosita asar mazmuniga ko’ra ishlatadi. Masalan, asardan olingan quyidagi parchaga e’tibor bering:
“ But the colonel ordered six of the ring-leaders to be seized, and thought no punishment so proper as to deliver them bound into my hands; which some of his soldiers accordingly did, pushing them forwards with the butt-ends of their pikes into my reach. The poor man squalled terribly, and the colonel and his officers were in much pain, especially when they saw me take out my penknife”.
Ko’rinib turibdiki, yozuvchi “colonel” (“palkovnik”), “soldier” (“askar”), “officer” (“ofitser”) kabi harbiy leksika yordamida asar qahramoni Gulliverning harbiylar orasiga tushib qolganligini payqash qiyin emas. Yana bir guruh misollar:
“He desired I would not take it ill, if he gave orders to certain proper officers to search me; for probably I might carry about me several weapons which must needs be dangerous things, if they answered the bulk of so prodigious a person”.
“…together with thirty thousand of our best seamen and soldiers; and the damage received by the enemy is reckoned to be somewhat greater than ours. However, they have now equipped a numerous fleet, and are just preparing to make a descent upon us; and his imperial majesty, placing great confidence in your valor and strength, hath commanded me to lay this account of his affairs before you”.
“…he is attended for state by a militia guard of five hundred horse, which indeed I thought was the most splendid sight that could be ever beheld, till I saw part of his army in battalia, whereof I shall find another occasion to speak”⁴⁸.
“…with a bow and arrow in his hands, and a quiver at his back. In the meantime I felt at least forty more of the same kind (as I conjectured) following the first”⁴⁹
Yuqorida keltirilgan parchalardagi “gave orders” (“buyruq berdi”), “officer” (“ofitser”), “weapon” (“qurol-aslaxa”), “soldiers” (“askarlar”), “reckoned” (josus orqali sir bilmoq”), “militia guard” (“harbiy himoya” ), “army” (“armiya”), “battalia” (“batalon”), “bow” (“yoy”), “arrow” (“o’q”), “quiver” (“o’qdon”) kabi harbiy terminlardan foydalangan holda tasvirlanayotgan mamlakatlarning harbiy sohasi haqida ma’lumot, qanchalik rivojlanganligi va ularning dushman mamlakatlarga munosabatini ko’rsatib berdi.
Yozuvchi, shuningdek, musiqaga oid atamalardan keng foydalangan. Quyidagi misollarni olaylik:
“The king, who delighted in music, had frequent concerts at court, to which I was sometimes carried, and set in my box on a table to hear them; but the noise was so great that I could hardly distinguish the tunes. I am confident that all the drums and trumpets of a royal army beating and sounding together just at your ears, could not equal it. My practice was to have my box removed from the place where the performers sat, as far as I could, then to shut the doors and windows of it, and draw the window-curtains, after which I found their music not disagreeable. I had learnt in my youth to play a little upon the spinet. Glumdalclitch kept one in her chamber, and a master attended twice a week to teach her. I called it a spinet, because it somewhat resembled that instrument, and was played upon in the same manner”.⁵⁰
“Before the spinet a bench was placed about four feet below the keys, and I was put upon the bench. I ran sideling upon it that way and this as fast as I could, banging the proper keys with my two sticks, and made a shift to play a jig to the great satisfaction of both their majesties; but it was the most violent exercise I ever underwent, and yet I could not strike above sixteen keys, nor consequently play the bass and treble together as other artists do, which was a great disadvantage to my performance.
Keltirilgan parchalardagi “concerts” (“konsertlar”), “court” (“konsert zali”) “tunes” (“kuylar”), “drum” (“nog’ora”), “trumpet” (“karnay”), “spinet” (“spinet-torli musiqa asbobi”), “performers” (“ijrochilar”), “keys” (“klavish”), “jig” (“jiga-ingliz matroslari raqsi”), “bass” (“bas”), “treble” ( “diskant”), “artists” (“ musiqachilar”) kabi Svift tomonidan musiqashunoslikka oid atamalardan foydalangan holda Brobdingnegdagi urf-odatlari, madaniyati va Brobdingneg aholisining musiqaga shinavandaligi bilan bir qatorda asar qahramoni Gulliverning kirishuvchanlik xarakterini yanada konkretlashtirishga erishadi.
Yozuvchi tomonidan butun asar davomida joy, shaxs, narsa-pretmet va voqealarni tasvir-u tavsif etishga qo’llangan matematikaga oid o’lchov so’zlardir. Buni quyida beriladigan parchalar bilan isbotlash mumkin:
“The queen's joiner had contrived in one of Glumdalclitch's rooms, a kind of wooden machine, five-and-twenty feet high, formed like a standing ladder; the steps were each fifty feet long: it was indeed a movable pair of stairs,the lowest end placed at ten feet distance from the wall of the chamber”.
“I have often seen the militia of Lorbrulgrud drawn out to exercise in a great field, near the city, of twenty miles square”.
“…his majesty's imperial heels are lower, at least by a drurr, than any of his court (drurr is a measure about the fourteenth part of an inch”.
“…it was seventy glumgluffs deep, which is about six feet of European measure; and the rest of it fifty glumgluffs at most….”
“On the fifth of November, which was the beginning of summer in those parts, the weather being very hazy, the seamen spied a rock within half a cable's length of the ship…”
“I was extremely tired, and with that, and the heat of the weather, and about half a pint of brandy that I drank as I left the ship, I found myself much inclined to sleep”.⁵¹
Bu parchalarda qo’llangan “feet” (“fut”-0.3048metrga teng), “mile” (“mil”-1.6 kmga teng), “drurr” (“Drer”-14 inchga teng), “glumgluffs” (“glyugleff”- yevropacha olti fut”), “cable” (“kabelt”-183 metrga teng dengiz o’lchovi), “pint” (“pint”-yarim litrga teng) kabi o’lchov birliklardan foydalanish orqali Svift tasvirlayotgan detallarni kitobxonning yaqqol ko’z-o’ngiga keltirishini niyat qilgan.
Demak, Svift asarda turli ilm-fan sohalariga tegishli bo’lgan atamalargan qo’llab , uni yanada ishonarli, ta’sirli va asosli qilib tasvirlagan. Bu bilan kitobxon o’zini go’yo asar qahramoni Gulliver bilan birga sayohat qilayotganday his qiladi. Shu sababli mazkur asar uch asrdan beri o’z qadrini yo’qotgani yo’q.

2. 
   “Gulliverning sayohatlari” asaridagi arxaizmlar
   

Jonatan Svift “Gulliverning sayohatlari” asarini 1721-1725-yillarda yozgan bo’lib, uni birinchi marta 1726-yili noshir Benjamin Mote tomonidan nashr etilgan. Sviftning do’sti Jon Geyning habar berishicha, kitob tezlik bilan barcha yosh-u qari tomonidan o’qilib, zamonaviy mashhur folklor turkumidagi asarlar safidan o’rin olgan.⁵² Asar ikkinchi marta 1727-yilda ba’zi tuzatishlar qilinib Mote tomonidan qayta nashr ettiriladi. 1735-yilda irlandiyalik noshir Jorj Falkner tomonidan ba’zi bir qo’shimchalarni kiritib uchinchi bor nashr ettiriladi. 1965-yildagi Gerbert Devis nashri chop etilgan bo’lib, mazkur nusxa 1735-yildagi Jorj Falkner nashriga asoslangan va bu 1726-yildagi nashrga qaraganda Svift asl qo’lyozmasiga yaqinroq xisoblanadi (ilova qarang).
“Gulliverning sayohatlari” asari yozilganligiga sal kam 300 yil bo’lganligi va uni qayta-qayta nashr etilganligi sababli undagi ko’p so’zlar arxaizmlarga aylanib ulgurgan yohud yozuvchi Svift tomonidan asar qahramoni Gulliverni ziyoli kishi sifatida ko’rsatish maqsadida bir qator eskirgan va hashamdor so’zlardan qo’llangan. Mazkur paragrfda bosh masala bo’lgan asardagi arxaizmlar Jonatan Swiftning “Gulliverning sayohatlari” asarini 1735-yildagi Jorj Falkner tomonidan va 2005-yilda Thomas M., Balliet tomonidan ingliz tilida chop etilgan nashrlariga asoslangan holda tahlil qilinadi. Endi quyidagi asardan olingan parchani ko’rsak:
“Having thus fixed fifty hooks to as many cables, I went back to the northeast coast, and putting off my coat, shoes, and stockings, walked into the sea in my leathern jerkin, about half an hour before high-water”.
Swift ishlatgan leksik birliklarning ba’zilari rasmiy va hashamdor so’zlardir. Ulardan biri yuqoridagi parchada keltirilgan “leathern jerkin” (“teridan ishlangan kaftan”) birikmasidir. Bu birikma ingliz tilidagi “leather coat”, “leather jacket” kabi birikmalari bilan sinonimik qatorni hosi qila oladi. Biroq “leathern jerkin” birikmasi o’zining bo’yog’dorligi va hashamdorligi bilan “leather coat”, “leather jacket” dan ajralib turadi. Avval aytib o’tilganidek butun bir asar Gulliver tilidan hikoya qilinadi va yozuvchini bunday so’zlarni qo’llashdan maqsadi asar qahramonining naqadar lug’at hazinasi boyligi hamda yuksak bilimga ega ekanligini kitobxonga ko’rsatishdan iboratdir.
Asarda nafaqat bo’yog’dor so’zlar, balki arxaizmlarni ham juda ko’p uchratamiz. Bizga ma’lumki, ingliz tilida arxaizmlarning ya’ni so’zlarning eskirishini uch bosqichi mavjud. Ular quyidagilardan iborat:

1. 
   Eskirayotgan so’zlar (obsolescent words);
   
2. 
   Eskirgan so’zlar (obsolete words);
   
3. 
   Arxaik nomlar (archaic proper).⁵³
   

“Gulliverning sayohatlari” asarida har uch turdagi arxaizmlarni uchratish mumkin. So’z eskirish jarayoni boshlanishida kamdan-kam ishlatiladi va ular til sathidan asta-sekinlik bilan chiqib keta boshlaydi. Shunday kamdan-kam ishlatiladigan so’zlar eskirayotgan so’zlar deb nomlanadi. So’zlarning eskirishi ularning dastlab morfologik tomoniga ta’sir etadi. Quyidagi asardan olingan parchada bu bosqichga tegishli bo’lgan namunalar keltirilgan:
“The Author giveth some Account of himself and Family; his first Inducements to travel. He is shipwrecked, and swims for his Life; gets safe on shoar in the Country of Lilliput; is made a Prisoner, and carried up the Country”.⁵⁴
Mazkur parcha Jorj Falkner tomonidan qilingan nashridan olingan. Endi bu parcha 2005-yilda Thomas M., Balliet tomonidan qilingan nashrda quyidagicha beriladi:
“The author gives some account of himself and his family: his first inducements to travel. He is shipwrecked, and swims for his life; gets safe ashore in the country of Liliput; is made a prison, and carried up the country”.⁵⁵
Ko’rib turganingizdek, Jorj Falkner nashrida berilgan “giveth” (“bermoq”), “shoar” (“sohil”) leksik birliklari arxaizmlarning birinchi bosqichiga tegishlidir. Hozirda bu so’zlar nutqda qo’llanmay faqatgina badiiy asarlarda uchraydi. Shu sababli bu so’zlar Thomas M., Balliet nashrida kitobxonga qiyinchilik tug’dirmaslik uchun “gives”, “ashore” bilan almashtirilgan.
Jorj Falkner nashrida:
“…I laid them out in learning navigation, and other parts of the mathematicks, useful to those who intend to travel….”
“There I studied physick two years and seven months, knowing it would be useful in long voyages.”
“I took part of a small house in the Old Jury; and being advised to alter my condition…”
Thomas M., Balliet nashrida:
“…I laid them out in learning navigation, and other parts of the mathematics useful to those who intend to travel…”
“There I studied physic two years and seven months, knowing it would be useful in long voyages”.
“I took part of a small house in the Old Jewry; and, being advised to alter my condition…”
Ma’lum bo’lganidek, parchalardagi “mathematicks”, “physick”, “Old Jury” lug’aviy birliklari eskirayotgan so’zlarga doir bo’lganligi bois ular Thomas M., Balliet nashrida “mathematics”, “physic”, “Old Jewry” so’zlari bilan almashtirilgan.
Arxaizmlarning keyingi turida avval ishlatilgan, hozirda muloqotdan chiqib ketgan, lekin bugungi audiotoriya uchun tushunarli bo’lgan so’zlardan iborat va ular eskirgan so’zlar deyiladi.⁵⁶ Bunday leksik birliklarni “Gulliverning sayohatlari” asarida ham ko’plab uchratish mumkin:
“Thus, gentle reader, I have given thee a faithful history of my travels for sixteen years, and above seven months; wherein I have not been so studious of ornament as of truth. I could perhaps like others have astonished thee with strange improbable tales; but I rather chose to relate plain matter of fact in the simplest manner and style; because my principal design was to inform, and not to amuse thee”.⁵⁷
Yuqoridagi parchadagi “thee” so’ziga lug’atda quyidagicha izoh beriladi:

1. 
   Thee- an old word meaning ‘you’ that was used for talking or writing to one person.⁵⁸
   
2. 
   you; object form of thou ; used when speaking to one person.⁵⁹
   

Bizga ma’lumki, qadimda ingliz tilida ikkinchi shaxs birlik sonda “thou” (“siz”) va uning shakllari “thee” (“sizni”, “sizga”), “thy” (“sizning”), “thine” (“sizniki”) kabi olmoshlar qo’llangan, biroq hozirda bu olmoshlar barchaga tushunarli bo’lsada, arxaizmga aylangan. Demak, yozuvchi tomonidan parchadagi “thee” olmoshi kitobxonga murojaat qilish uchun qo’llangan. Hozirda bu olmosh o’rnini “you” (“sizni”, “sizga”) to’ldirgan.
“….being in England during some part of her Majesty’s reign, she did govern by a chief Minister; nay, even by two successively; the first whereof was the Lord of Godolphin, and the second the Lord of Oxford;…”
Yuqoridagi Svift qo’llagan “nay” (“yo’q”, “unday emas”) so’ziga quyidagi ta’rifni beriladi:
1. an old word meaning ‘no’ or ‘not’.
2. an old word used for correcting yourself when you think of a better way of expressing something.⁶⁰
Ko’rinib turibdiki, parchadagi “nay” (“yo’q”, “unday emas”) so’zi so’zlovchi o’z fikrini to’g’irlashi uchun qo’llanilgan. Hozirga kelib bu so’z arxaizmga aylanib muomaladan chiqqanligini va faqatgina badiiy adabiyotlarda duch kelishimiz mumkin.
Arxaizmlarning so’nggi turi arxaik nomlar (archaic proper)dir. Arxaizmlarning bu turi eng ko’p uchrovchi va kitobxonlarga ulkan qiyinchiliklar tug’diruvchi leksik birliklar xisoblanadi. Chunki bunday so’zlar oldin qo’llangan so’ng muomiladan mutlaqo chiqib ketgan. Ularning o’rnini boshqa yangi so’zlar egallaydi. Shuning uchun bunday tipdagi so’zlar bugungi kunga kelib mutlaqo tushunarsiz so’zga aylangan. “Gulliverning sayohatlari” asarida ham bu turdagi arxaizmlarga juda boy. Asarning dastlabki nashrlarini o’qir ekansiz, bugungi kunga kelib arxaizmga aylangan so’zlar ko’pligi sababli uning mazmuniga to’liq tushunib yetmaysiz. Shuning uchun qayta nashrlarda qiyinchiliklarni oldini olish maqsadida ba’zi arxaizmlar o’zgartirilgan yoki kitob so’ngida ularning izohlari berilgan. Hatto mazkur asar uchun alohida lug’atlar joriy qilingan. Quyida asardan parcha kltirilgan:
“And so immeasurable is the ambition of princes, that he seemed to think of nothing less than reducing the whole empire of Blefuscu into a province, and governing it by viceroy; of destroying the Big-endian exiles, and compelling that people to break the smaller end of their eggs, by which he would remain the sole monarch of the whole world”.
Avvalgi davrda “viceroy” so’zi “biror joyni boshqarish uchun qirol yoki qirolicha tomonidan tanlangan vakil” ma’nosida ishlatilgan. XVIII asrga kelib bu so’z iste’moldan chiqqan. O’ylashimcha, Svift bu so’zni qo’llash orqali kitobxonni yanada ta’sirlantirmoqchi bo’lgan. Hozirga kelib bu so’z o’rniga “a representative of a king or queen” birikmasi ishlatiladi.
Asar garchi bunday turdagi arxaizmlarga boy bo’lsa-da, mavzusining qiziqarliligi va yozuvchi tilining ta’sirchanligi sababli hali-hanuz o’z qadrini yo’qotgani yo’q.

3. 
   “Gulliverning sayohatlari” asaridagi yozuvchi tomonidan yaratilgan yangi so’zlar
   

Ingliz adabiyotida hech bir yozuvchi o’z asarida butunlay yangi so’zlarni Jonatan Sviftdek ko’p kashf etolmagan. Gigantlar va mitti odamchalar kabi g’ayrioddiy narsalar haqida hikoya qiluvchi mazkur asarda muallif mavzularning hayoliy-fantastik bo’lganligi sababli bir qator ingliz tili uchun mutlaqo yangi so’zlarni o’ylab topadi. Mazkur paragrfda asosiy masala bo’lgan yozuvchi tomonidan yaratilgan mana shunday yangi so’zlar tahlil qilinadi. Asardagi Svift kashf etgan hayoliy joy nomlari va tillarni mag’zini chaqib tushunib yetishga olimlar tomonidan ulkan izlanishlar olib borilgan. Ulardan biri Paul Odell Klark “A Gulliver Dictionary, Studies in Philology” nomli kitob yozdi.⁶¹ Svift so’zlarni kashf qilishda so’z o’yini, anagramma va til o’yinlaridan foydalandi. Umuman olganda, ular ma’nosiz so’zlar bo’lsa-da kitobxonga zavq-shavq bag’ishlaydi. Hatto bu so’zlarning ayrimlari keyinchalik ingliz tilida qo’llana boshlandi. Bu adabiyotda qilingan katta yangiliklardan biri bo’ldi. Quyidagi asardan olingan parchaga e’tibor bering:
“The reader may please to observe, that in the last article for the recovery of my liberty, the emperor stipulates to allow me a quantity of meat and drink, sufficient for the support of 1728 Lilliputians “.
Yuqoridagi parchadagi “Lilliputians” so’zi Liliput orolidagi odamlarning nomlarini atash uchun yozuvchi tomonida kashf qilingan yangi so’zdir. Bu mitti odamchalar Gulliverni asir qilib olishadi. Ular Gulliverni dushmanlarga qarshi urushda yordam bera olishini anglab yetishganda uni ozodlikka chiqarishadi. “Liliputian” atamasi hozirgi zamonaviy adabiyotda ham ma’lum kichikroq bir narsani boshqasi bilan qiyoslashda ishlatiladi.⁶²
“The Blefuscudians, who had not the least imagination of what I intended, were at first confounded with astonishment. They had seen me cut the cables, and thought my design was only to let the ships run adrift, or fall foul on each other: but when they perceived the whole fleet moving in order, and saw me pulling at the end, they set up such a scream of grief and despair as it is almost impossible to describe or conceive”.⁶³
Yuqoridagi parchdagi “Blefuscudians” so’zi ham yozuvchining yangi ijod mahsuli bo’lib, mazkur birlik Blefusku orolining aholisini atash uchun ishlatgan.
“As to the first, you are to understand, that, for above seventy moons past, there have been two struggling parties in this empire, under the names of Tramecksan and Slamecksan, from the high and low heels of their shoes, by which they distinguish themselves.
” Tramecksan” and “Slamecksan” leksik birliklari aslida ingliz tilida mavjud emas. Svift ularni partiyalarni nomini atash maqsadida o’ylab chiqaradi. Shuningdek, Svift biri past poshna, ikkinchisi baland poshnali oyoq kiyim kiyib yuruvchi bu ikki partiyani aks ettirish orqali Angliyadagi Liberal va Konservativ partiyalari o’rtasida bo’lar-bo’lmasga nizo chiqarish ishlarini ochib bergan. Endi ularning yasalishiga e’tibor bering: