Grazer Linguistische Studien 65 (Frühjahr 2006) 17 Ahmed Ali Ibrahim A S e m a n t ic -P ra g m a tic A p p r o a c h to A m b ig u it y . A pplied t o W. H. A u d e n 's Th e Un k n o w n C it iz e n . 1. Introduction The present study mainly deals with a linguistic analysis of W. H. Auden's (1981) The Un­ known Citizen. The semantic-pragmatic approach adopted in the analysis is that of Leech (1980, 1981, 1983), Grice (1975) and SperberAVilson (1986) whose frameworks are re­ garded as the bricks and mortar in the field of semantics and pragmatics. Although seman­ tics and pragmatics have been differently approached by different and recent linguists such as Crystal(2004), Cruse (2000), Channell (1994), Cornwell (1997), Larson/Segal (1995), Lyons (1995) and Wierzbicka (1996), the present study will mainly adopt those who origi­ nate the argument decades earlier such as Leech (1981) and Grice (1975). Since there are many definitions for the term ambiguity,it is wise to focus on the pillars of the field who deal with that term. It has been differently defined by Norrman ( 1977), Page ( 1985), Edlow (1975), Schaar ( 1965), Empson ( 1961 ), Kaplan/Kris (1948) and Rimmon ( 1977). Each one of them adopted a framework which is relatively different from his contemporaries. The analysis will yield some findings concerning the pragmatically - as well as the semantically - ambiguous structures in Auden's poem. In other words,both semantic and pragmatic tools of analysis will be used to disambiguate certain phrases and expressions in the poem. The analysis will be followed by some pedagogical implications for teachers as well as students of English language and literature. The following section will mainly handle related defini­ tions on the subject. n. Definitions Ambiguity has been defined differently by numerous semanticists and pragmaticians. The term is synonymous with double meaning, lack of clarity and equivocation. Norrman (1977: 6) bases the concept on the dictionary definition as a sentence or a word which is obscure, doubtful, questionable and not clearly defined. Page (1985: 13) defines it as poly­ valence and diversity. However, the temi will be useful if it is rescued from loose usage because previous definitions looked at ambiguity as something vague, indeterminate and obscure. It should be noted in the present study how ambiguity is used as a stylistic device aiming at aesthetic effects. There are several factors which may render a sentence ambigu­ 18 A. A. Ibrahim ous; these factors may be phonological like when pronouncing homophonous words such as (reign - rain ) or it could be due to lexical reasons like the word bank in : 1) He walked by the bank where the word bank means either the financial institution or the river bank. There might be syntactic reasons behind ambiguous structures like the multiple meanings in: 2) The policemen were told to stop fighting in the park. The passive structure in (2) followed by the infinitive to stop makes us, as readers, unable to know who does the actual fight; is it the policemen or somebody else. Moreover,the prepositional phrase in the park should be modified with further linguistic structures. In this particular context, Edlow (1975: 427) asserts that "a sentence is lexically ambiguous if its ambiguity results from at least one of its words having two mean­ ings (admitting of paraphrases that are not paraphrases of one another) even if that word is isolated from its containing sentence ... On the other hand . a sentence is syntactically ambiguous if its ambiguity is due to its structure or syntax, rather than to one of its words having more than one sense." Therefore, we have sentences which are lexically ambiguous and others whose ambiguity is due to their syntactic structure. This division may create a problem when considering a sentence like His will be done, an example which is mentioned by Small/Cotterell/Ta- nenhaus (1985) and we need to detect where the source of ambiguity is. Syntactically, the sentence can be parsed as: - Pronoun (his ) + noun (will ) + copula (be ) + verb (done ). or - Pronoun ( his) + ellipted noun (0) + auxiliary (will) + copula (be) +verb(done). Consequently, it is not easy in this particular context to draw a line between lexical and syntactic ambiguity because the word will can be both noun and modal auxiliary. Since ambiguity mainly relies on lexical items , the present study will mainly deal with this category because other types of ambiguity like phonological and grammatical have more finite and clearly defined systems where lexical items are more open to word coinage and historical changes of their meanings. By lexical items, Trask (1993) means a word re­ garded as a comparatively abstract object w'hich has a more or less consistent meaning or function but which can possibly vary in form for grammatical puiposes. For instance, the word dog and dogs are both particular forms of the lexical item DOG. and takes, took, tak­ ing are particular items of the verb TAKE. An example from the poem below may be the w'ord report which has been mentioned several times in different forms. Schaar (1965) asserts that literary w'orks of art involve numerous rewritings and revisions. This is the reason w'hy critics tend to claim that ambiguity in Literature is deliberate. Among others who are interested in defining ambiguity is Empson (1961: 19) who regards ambiguity as A Semantic-Pragmatic Approach to Ambiguity 19 "any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language." This definition has been criticized since it gives room to readers' reactions and therefore, placing the responsibility of identifying ambiguity squarely on the reader. His seven types of ambiguity can be summed up as follows. First, the ambiguity' arises when compari­ sons with several points of likeness occur. An example of that is the use of metaphor such as: 3) His words stabbed me in the heart. It seems that there is a similarity between the words in (2) and the dagger which may cause a type of ambiguity that requires some efforts. Second, it occurs when two or more alternative meanings are fully resolved into one where ambiguity is resolved by choosing one of the meanings. Third, ambiguity takes place when two apparently unconnected meanings are simultaneously given and each meaning is discrete and alternative in the context. Fourth, the ambiguity shows some alternative mean­ ings combining together to make clear a complicated state of mind in the author. Fifth, it is the type of ambiguity when the author is discovering his idea in the act of writing. The reader here should know what is going on in the writer's mind. Sixth, the reader is forced to invent interpretations or projection, i. e. the reader imposes his own reading onto a word. Seventh,the type of ambiguity which marks a division in the author's mind, and this - to Empson - is the most difficult one. From the foregoings, it can be inferred that Empson relies heavily on the readers'efforts to resolve ambiguity. Others like Kaplan/Kris (1948) classify ambiguity into five different types: a) Disjunctive ambiguity: This occurs when the separate meanings function in the process of interpretation as al­ ternatives excluding and inhibiting each other. For instance,the word bank in (1) has two different meanings and each meaning excludes the occurrence of the other one. The speaker can not mean both meanings simultaneously in a given context. b) Additive ambiguity: The separate meanings here are no longer fully exclusive but are included one in the other. For example,the word rich in clusters like rich man and rich soil where both share the core sense of abundance and excellence. c) Conjunctive ambiguity: This occurs when the separate meanings are jointly effective in the interpretation. In other words,each member of the pair consists of a different partial meaning. This under­ lies paradoxical phrases like 4) More haste , less speed. It is clear in (4) that there are two distinct meanings that are responded to conjointly. 20 A. A. Ibrahim d) Integrative ambiguity: This occurs when its manifold meanings support one another and they integrate to pro­ duce a complex, yet unified, pattern. The example shrunken seas in Eliot's (1974) "Sweeney Among the Nightingales" has been interpreted as (wither, old, dried up) or the state of the (ebb and flow) and other suggested associations like (contract, decline, de­ cay). Therefore, all meanings here are interwoven and further, they are contextually bound. Consequently, the interpreter of Eliot's line should look at it in comparison with the whole poem. e) Projective ambiguity : This occurs when responses vary altogether according to the interpreter. The term in such cases - as Kaplan/Kris indicate - is said to be hopelessly vague and is imposed or projected by the interpreter. This is the reason why ambiguity mainly depends on two main factors which primarily determine understanding utterances viz the reader and the context. From the aforementioned classification, it is wise to remember that multiple meaning is a broad phenomenon or an umbrella word which is manifested in many ways one of which is through ambiguity. The preceding discussion proves that ambiguity has not been used to mean the same thing in various writings of the subject. This must lead us to redefine the term 'ambiguity' in the following section. Redefining ambiguity Considering ambiguity as a term which has a double or multiple meanings is inadequate. The word meaning itself is intriguing. Chomsky (1962) gives examples of different usages of the verb mean : 5) These pictures mean a lot to him (have importance).