Ambiguity as Subversion

Ambiguity occurs when an expression conveys more than one meaning. This sub-title is delimited to showing how ambiguity is suitable in communicating messages on dictatorship, sycophancy and unemployment. Rankin (1972:74) defines ambiguity as “any feature in a text which could be interpreted more than one way.” Mugubi (2009) argues “an ambiguous statement/ word allows for more than one possible interpretation” “A unit, which a majority would take as one word, therefore has a number of meanings, by association with certain contexts.” (Ibd: 66) Ngũgĩ has indeed relied on the context to distinguish the meanings of words. Gray (2010) defines ambiguity as “the capacity of words and sentences to have a double multiple or certain meanings” This has helped in emphasizing uncertainties of daily usage and point out a commentary on best possible direction of society.

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One approach to the diagnosis of ambiguity relies on finding, for two occurrences of a word form, different relations of meaning with other items.These relations may be of the paradigmatic variety (e.g. oppositeness, synonymy etc) or they may be of these called patronymic sorts (that is to say, involving identity of root but difference of syntactic category, as for instance with act: actor, race: racy (55).

The following three ‘tests’ for ambiguity will serve to illustrate the approach: First, if there is a synonym of one occurrence of a word form which is not a synonym of a second syntactically identical, occurrence of the same word form in a different context. The two occurrences exemplify different senses. (55).

Second, if there is a word expression standing in a relation of oppositeness to one occurrence of a word form, which does not stand in the same relation to a second, syntactically identical occurrence of the same word form in a different context. The two occurrences exemplify different senses.

Lastly, if there is a word which stands in a patronymic relation to one occurrence of a word form, but does not stand on the same relation to a second syntactically identical occurrence of the same word form in a different context. The two occurrences exemplify different senses (55).

The title Mũrogi wa Kagogo is ambiguous because it attracts different interpretations depending on the context. First, the title suggests a Gĩkũyũ name of a person: Mũrogi wa Kagogo. In this case, Kagogo is the father/mother of Mũrogi. Secondly, the title can be interpreted as a specific Wizard who is talented in bewitching a specific Crow.

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In the text, ambiguity is applied when an old man is invited to address the citizens. His inability to utter the real name of the ruler is self-contradictory and thus, causes confusion. Firstly, he addresses the ruler as “Mtukutu Rahisi”, “Rahisi mkundu”, “Mtukufu mtakatifu”, “mkundu takatifu”.(vol.1.20) [cheap and notorious, cheap asshole, his excellence the holy one, holy asshole] Ngũgĩ wa Thiong’o satirizes the master of ceremony in appointing a speaker who could not address his Ruler honorably. The names he uses are offensive when taken literally. In reality, the words are a form of insult, and that turns out to be a satire, since the ruler himself is portrayed incomprehensible of the content of the words. It is also absurd that the old man goes free despite the tight security that ought to have detected the insult. The writer therefore depicts the stupidity and recklessness of such security which despite high regard by the leaders, is not at all efficient.

There is ambiguity in the mood surrounding the room after Sikiokuu narrates the arrest of Tajirika‘s wife who is assisting them with investigation: ‘Ngiria ĩrĩa yarĩ rumuinĩ ĩyo nĩ ĩngĩatemekire na kanyoi’ (vol.2.290). [The silence in the room would have been cut by a razor blade]. Ambiguity is in the word “Ngiria” which could be referring to either an insect called cricket or silence. The statement therefore is ambiguous. It however has an effect of allowing the writer settle his scores by portraying the Ruler as a feared master. This portrays how ministers fear that even when they go for a cabinet meeting, no one would dare question him. They only attend meetings to report what is on the ground and take orders.

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The note written by Mũrogi reinforces the above: Wĩmenyerere. Bũruri wĩna ihu.Kĩrĩa ũrĩciara gĩtiũĩo (vol.3.49) [Take care. The country is expectant. What it will give birth to, nobody knows]. The ambiguity is on Bũrũri wĩ na ihu [the country is expectant]. The writer starts by personifying the country. This is by describing it as pregnant. Further reading reveals that the writer could not be referring to the country, but the Ruler himself. Since the Ruler does not consult anyone, everyone has resolved to better keep quiet for nobody knows what can crop up out of him. The writer is able to pass his point home in an indirect manner by pointing out that the Ruler is about to come up with a policy that might affect the subject including his ministers. Consequently, everyone is warned to be careful with him. He thus substitutes the term bũrũri [country] with Mwathani [Ruler]. Hence, Mwathani ena ihu, (vol.3.54) [The Ruler is expectant.] This is also ambiguous. It can be interpreted to mean that the Ruler is about to give birth, the Ruler has some information he is withholding and sooner or later, it will be revealed. Alternatively, the ruler could be having a tummy.

Ambiguity is enhanced when part of the crowd starts shouting: Nyoka! Nyoka ya thumu! (vol.1.24) [snake, a poisonous snake!] it is however not clear whether the crowd refers to the ruler at the dais as the snake, or there was a real snake among the crowd. Subsequently, part of the crowd heads to the platform. The reader wonders whether the snake was at the platform or amongst them, and how they reached a conclusion that it was poisonous. Ngũgĩ in an orthodox manner causes ambiguity that a transparency and accountability lobby group can apply such a strategy to utilize and ensure that their plights are addressed to.

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There is ambiguity on the nature of illness affecting Tajirika. Upon interrogation about his illness that has taken him to Mũrogi wa Kagogo, he refers to the illness as Wakorwo (vol 3:73) [you will be caught]. This brings ambiguity in the sense that Njoya, the probing officer, on hearing the two words runs away. The victim also takes to his heels on seeing the probing officer bolt to the door “Njoya kũigua ciugo ‘Wa korwo’… no ndira aigĩrĩire ciande arorete ya mũrango.Tajirika ona ũguo onake akĩoya magũrũ arorete ndiricainĩ” [Njoya on hearing the term “wakorwo” bolted to the door. On seeing his reaction, Tajirika follows him but towards the window]. The term wa korwo has two meanings. Firstly, it means, “If at all…” a condition for something to happen. Secondly, it is an alert of danger.

The advertisement: MŨROGI WA KAGOGO: KWENDERWO KĨHEYO (vol.3.140), [THE WIZARD OF THE CROW: WANTED FOR A PRIZE] is ambiguous. The advert would either mean Mũrogi is envied for his talent or the prize was meant for whoever turned him in. In real sense, the writer portrays the Wizard of the Crow hunted by the state. Government officials, including the Ruler himself, have recognized his dedications to his work. Evidently, leaders would like to lay their hands on him, either openly or secretly so that he can be ‘silenced’ for his eloquence in criticizing the government.

Nyawĩra’s warning to the two intelligent officers against torturing the Wizard of the Crow after his arrest is ambiguous:

Mangĩgagũcokia gũkũ ũtarĩ na rũcuĩrĩ ona rũmwe nĩguo makamenya atĩ marakara makwa nĩ marũrũ (vol.2.167) [Should

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they bring you back with a single hair missing, they will suffer the full extent of my wrath.]

Due to their failure to interpret the message correctly, the inspectors make sure that the cell in which Mũrogi is locked in is swept every day and before sweeping, they would search for the strands of hair. There is ambiguity in the statement since Mũrogi wa Kagogo’s colleague meant that no one should harm him. However, the two inspectors take it literally. When the sweepers are asked why search for the hair they respond: matirenda gacuĩrĩ o na karĩkũ gaku kore (vol.2.167) [they do not want any strand of your hair that may have fallenfrom your head get lost.]