Contemporary ghazals, especially those of after Simin's era, underwent many changes in the 1970s and continued with postmodern ghazals in the 1980s and finally in the 1990s, it accepted a non-normative direction. With the emergence of various movements, including the maximal ghazal by Arash Azarpik, who is one of Simin Behbahani's students - and in the 1970s he is considered as one of the pioneers of the ghazal with his minimal and spoken ghazal - this style took a trans-abnormities direction. Because the classic ghazal with the number of verses and specific topic was considered a popular writing format for centuries.
The Nima revolution created the first innovative attitudes in the spirit of poetry, especially in ghazal. Simin Behbahani started these innovations and later continued by his students according to the appropriate time and place. Maximal ghazal has moved from that traditional format to new perspectives and foundations with direct connection with the spirit of ghazal. In this article, which was compiled in a descriptive-analytical way, it is revealed that Maximal Ghazal has been able to open various windows towards new contents, fresher emotions and finally transformation in the structure of the form by addressing the new findings. Therefore, in this article, while introducing the genre of maximal ghazal, we also list and analyze its key components.