Meera Jee is considered as the pioneer of modern Urdu Nazm, but the ambiguity in his poetry has been interpreted by various critics in a negative sense. This article not only deals with various forms of ambiguity present in Meera Jee’s poems but practically applies William Ampson’s well known critical theory of ‘Seven types of Ambiguities’ to disentangle Meera Jee’s ambiguous poems.
