Prosody is one of the areas of the word that has been developed by emphasizing the essence of speech, writing and meaning, although the main emphasis is on the essence of phonetic-speech. Until the Nima Revolution, the prosody was written according to the classical ghazal. But with Nima's Revolution and Simin Behbahani's Movement in contemporary ghazal, the prosody and rhythmic structure of ghazal also underwent changes. This article has been compiled and edited with the general aim of investigating the level of innovation, analysis and combination of the prosody in contemporary ghazals based on the prosody of Arash Azarpeyk's poems. Considering that none of the poets after Simin have innovated in the prosody and rhythmic structure and they have often used Jooybari prosody, Arash Azarpik is one of the successors of Simin's way, who wrote ghazals in his innovative prosody with a great frequency and has started to innovate in this field as well. In this article, the widely used, innovative and classic prosodies which will be mentioned are analyzed. In the end, according to the evidence, we come to the conclusion that Azarpeyk is one of the few post-Semin ghazal poets who is creative and innovative in the field of ghazal prosody and rhythmic structure.