bradrn wrote: ↑Wed Jun 01, 2022 9:20 pm
In any case, I note that we’ve drifted off the original topic a bit. We started off by disputing whether ‘complexity’ and ‘ambiguity’ are separate things, and we still haven’t resolved that.
I'm not sure I agree with the claim that English is more prone to ambiguity. Yes, we have a whole thread of lots of amusing examples. But-- we're English speakers, we enjoy that and we read enough stuff that we can note down fun examples. If it was really the case that every other sentence of English was ambiguous, the examples wouldn't be so remarkable.
Now, Sanskrit is highly morphologically marked: complex verbs, a full case system, gender, etc. So you or Moose would expect it to lack ambiguity, right? Yet there's an epic poem, Dvisandhana, which cleverly uses synonyms to
simultaneously retell the Mahabharata and the Ramayana.
Or take Chinese, where poets love to play with understatement and ambiguity. E.g. Wáng Wéi's most famous poem:
空山不见人
empty mountain not see person
但闻人语响
however hear person words/speak sound
返景入深林
return brightness/view/situation enter deep/thick forest
You could write a book on how to translate these 15 syllables-- indeed, Eliot Weinberger and Octavio Paz wrote such a book. Is Chinese the summit of ambiguity? But you could also write this:
有一座山,空无一人。 我们看不到任何人,但我们听到了声音。 黄昏的光芒穿透了森林深处,再次照耀在森林地面上的青苔上。
There is a mountain that is empty. We couldn't see anyone, but we heard voices. The light of dusk penetrated the depths of the forest and shone again on the moss on the forest floor.
(I'm using Google Translate for the last bit, so I guarantee nothing.)
That is-- if you're actually speaking Mandarin, not trying for poetic concision, you can very easily put in all the things the poem leaves out: narrative time, who is looking around, how exactly the light was shining.
One more example, from Portuguese. It's no Sanskrit, but it has gender and complex verbs. Here's one verse of a song:
É pau, é pedra
É o fim do caminho
É um resto de toco
É um pouco sozinho...
It's a stick, it's a stone / it's the end of the road
It's a rotted stump / it's a little alone
And it goes on like that, a little tone poem about early fall. The method is about the same as the Chinese poem. There's a verb (é = is), but no subject. So using a language with morphological tense, gender agreement, and usually explicit subjects, doesn't prevent you from writing like Wáng Wéi.
Yes, impressionistically, English speakers knowing English well and knowing how to play with English think that English is prone to ambiguity. I'd rather see a much more empirical study. How ambiguous is a real English text (not a text made up for maximum ambiguity)? How does that actually compare to Sanskrit or Mandarin or Portuguese, or other similar languages?