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AmbiguityA word, phrase, sentence, or other communication is called ambiguous if it can be reasonably interpreted in more than one way. The simplest case is a single word with more than one sense: The word "bank", for example, which can mean "financial institution", "edge of a river", or other things. Sometimes this isn't a serious problem because a word that is ambiguous in isolation is often clear in context. Someone who says "I deposited $100 in the bank" is unlikely to mean that he buried the money beside a river. More problematic are words whose senses express closely related concepts. "Good", for example, can mean "useful" or "functional" (That's a good hammer), "exemplary" (She's a good student), "pleasing" (This is good soup), "moral" (She is a good person), and probably other similar things. "I have a good son" isn't clear about which sense is intended.Ambiguity should not be confused with vagueness, in which a word or phrase has one meaning whose boundaries are not sharply defined. In addition to words with multiple senses, ambiguity can be caused by syntax. "He ate the cookies on the couch", for example, could mean that he ate those cookies which were on the couch (as opposed to those that were on the table), or it could mean that he was sitting on the couch when he ate the cookies. Spoken language can also contain lexical ambiguities, where there is more than one way to break up a set of sounds into words, for example "ice cream" and "I scream". This is rarely a problem due to the use of context. (For more information, see Syntactic ambiguity.) Philosophers (and other users of logic) spend a lot of time and effort searching for and removing ambiguity in arguments, because it can lead to incorrect conclusions and can be used to deliberately conceal bad arguments. For example, a politician might say "I oppose taxes which hinder economic growth". Some will think he opposes taxes in general because they hinder economic growth; others will think he only opposes those taxes that he believes will hinder economic growth. The politician hopes that each will interpret the statement in the way he wants, and both will think the politician is on his side. The logical fallacies of amphiboly and equivocation also rely on the use of ambiguous words and phrases. In literature and rhetoric, on the other hand, ambiguity can be a useful tool. Groucho Marx's classic joke depends on a grammatical ambiguity for its humor, for example: Last night I shot an elephant in my pajamas. What he was doing in my pajamas I'll never know. Songs and poetry often rely on ambiguous words for artistic effect, as in the song title "Don't It Make My Brown Eyes Blue" (where "blue" can refer to the color, or to sadness). See also semantics, logical fallacy.
we fly, we glide. Our friends shout with glee and applaud, but we hardly
Are we really leaving these people down there? Is it possible? Paris
which rise, here and there, domes, towers, steeples, then around it the
fields of a tender or dark green, and woods almost black.
The Seine appears like a coiled snake, asleep, of which we see.html">see.html">see neither
immense basin of prairies and forests dotted here and there by mountains,
it were about to rise again, and our balloon.html">balloon seems to be lighted; it must
seconds throws a cigarette paper into-space and says quietly: "We are
hands together and repeats: "Eh? this varnish? Isn't it good?"
In fact, we can see whether we are rising.html">rising or sinking only by throwing a
fall down like a stone, it means that the balloon is rising; if it
enthusiastic admiration at the earth.html">earth we are leaving and to which we are
the country. All its noises, however, rise to our ears very distinctly,
streets, the snap of a whip, the cries of drivers, the rolling and
another. Every time we pass over a village the noise of children's
men are calling us; the locomotives whistle; we answer with the siren,
being wandering through the world.
We perceive lights here and there, some isolated fire.html">fire in the farms, and
roaming for some time over the little lake of Enghien. Now we see a
passing. Is that town Creil or Pontoise--the one with so many lights?
the Oise; and that enormous fire to the left, isn't it the blast furnaces
dark on the earth, but we are still in the light, and it is now past ten
the quail in particular, then the mewing of cats and the barking of dogs.
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