Something long and difficult to fathom

Navoi lived for four years in Samarkand: a city so deeply imbued with poetry that even the doctors wrote their medical treatises in verse. But before Navoi himself transformed the Old Uzbek vernacular into a literary language, all of this poetry was written in Persian. In his Muhakamat al-lughatayn, or Judgement of Two Languages (1499), Navoi mathematically proved the superiority to Persian of Old Uzbek, a language so rich that it had words for seventy different species of duck. Persian just had duck. Impoverished Persian writers had no words with which to differentiate between a burr and a thorn; older and younger sisters; male, female, and infant boars; hunting and fowling; a beauty mark on a woman's face and a beauty mark somewhere else; deer and elands; being adorned and being really adorned; drinking something down all at once in a refined way, and drinking slowly while savouring each drop.

Persian, Dilorom told me, had only one word for crying, whereas Old Uzbek had one hundred. Old Uzbek had words for wanting to cry and not being able to, for being caused to sob by something, for loudly crying like thunder in the clouds, for crying in gasps, for weeping inwardly or secretly, for crying ceaselessly in a high voice, for crying in hiccups, and for crying while uttering the sound hay hay. Old Uzbek had special verbs for being unable to sleep, for speaking while feeding animals, for being a hypocrite, for gazing imploringly into a lover's face, for dispersing a crowd.

It was all just like a Borges story — except that Borges stories are always so short, whereas life in Samarkand kept dragging obscurely on and on. In Borges, the different peculiar languages yield up, in a matter of pages, some kind of interesting philosophical import: the languages of the northern hemisphere of Tlon have no nouns, a circumstance that immediately turns out to represent an extreme of Berkeleyan idealism whereby the world is perceived as a sequence of shifting shapes; the Chinese encyclopedia has different words for animals drawn with a fine camel's-hair brush and animals who have just broken a flower vase, which dramatizes the impossibility of devising any objective system of classifying knowledge.

By contrast, whatever it was that you learned about Uzbeks when you studied their language, it was something long and difficult to fathom. What did you know about Uzbekistan once you learned that Old Uzbek has a hundred different words for crying? I wasn't sure, but it didn't seem to bode well for my summer vacation.

— from The Possessed: Adventures with Russian Books and the People Who Read Them, by Elif Batuman.