Mohammad Ali Bahmani΄s normalizations in traditional ghazal template and experiencing new poetry templates

Among the modernist tradition poets, Mohammad Ali Bahmani has a special place; he has not cut off the literary traditions, nor does he deny the necessity of literary modernity, but has taken a moderate course. By combining the literary traditions of the predecessors, and the innovative language and thoughts that gave birth to his creative and innovative minds, he has been able to create a deep link between traditional and new poetry and to achieve an acceptable position among successful Sonnet processor. He is one of the main circles of the composer of new sonnet chain in our time that has played a significant role in the development of this poetry over the past decades and has left its lasting traces. In general, the poet's innovation in any of the elements that compose poetry, including content and form, can set new horizons of personal achievement to the poet.
Mohammad Ali Bahmani is one of the poets who tried to bring his poetic language closer to personal style with a variety of innovations and deconstruction in the pillars of poetry. Among his innovations, his deconstruction is in traditional poetry, especially sonnet. In addition to transforming the sonnet in terms of image, language and music, he has also altered the appearance of the sonnet.
The use of narrative techniques to reinforce the poetic image of the poem and its vertical axis strength are among the poetry of modern poets to create an innovative atmosphere in the sonnet. By using this technique, Bahmani has used one of his techniques to create a new atmosphere in the traditional poet and by creating a narrative-dramatic atmosphere in the sonnet he has forgiven an influential achievement and unified spirit to the his sonnet. The creation drama structure in the sonnet is one of the other possibilities that the poet has used to innovate in his poetry. Of course, the use of the structure of dialogue in traditional Persian poetry is consistent with the history, but the division and writing of the sonnet in the form of drama, one of deconstruction that is to be seen in his sonnet. The writing of the traditional sonnets in the way of new poetry should also be emphasized on previous techniques, which he used very well to give fresh sentiments to today's sonnet. In the traditional format of the sonnet, the length of the verses was the same throughout the poem, while in today's poetry, based on the creativity of the poet, and in accordance with the meaning of the poem, the verse, it can be divided into smaller parts, and if the requirements of the word create, even the parts of a covenant write apart. Wherever the meaning ends and the sentence ends, the poet starts the whole story. In other words, the traditional sonnet is written in the form of a new poem. In this structure, the length of each verse is determined in accordance with the capacity and the requirement of speech sonnet, another chapter begins to express the new subject. Another paradigm for creating diversity in the appearance of today's sonnets is its section, in which, when the subject is finished in a sonnet, another chapter begins to express the new subject. In fact, Bahmani is cutting off his own words and repeating the same music, rhyming and rows, somewhat reminiscent of the method of renewed knowledge in the poetry of the old poets, especially the idolaters, who have long lost their function, Particularly that it has not been so fortunate among the Sonnet processor; in other words, the renewal of knowledge in today's Sonnet is regarded as a kind of acquaintance, because today's audience's habits at the end of a Sonnet regards the unconscious as having ended, and expects afterwards with a different Sonnet and music and rhyme and another row; this is especially true when the longitudinal relationship between the verses in the vertical axis of the poem lies between its various parts.
Behmni, in addition to creating an innovation in the traditional style of the Sonnet, has not ignored the structural methods of contemporary poetry. His efforts in the successful experience of new poetic forms are another of his innovations in the field of poetry. Concreting or viewing poetry is one of the possibilities of writing poetry in half, which has been used very well for make Space and position in his poetry. In these poems, the physical and formal delegation of words provides a detailed picture of their subjective meaning, which means imaging rather than meaningful representation; rather, the poet depicts a picture of it. In the pursuit of the poetry of today's poetry, some poets, by painting the semantic form of some words, created another form of poetry, which is called the poem of “Tograff”, meaning instead of writing words like the moon and the star of the painting they kill them. For example, the phrase "I am bigger than all my misery in the world" is written like this: "I am> from all the misery of my world". Bahmani has also experienced innovations in his poetry.
Sampling in a very short poem format, such as a "she'rak" or torn image, which is a single and isolated image that is far from poetry, and in fact a unit of the image that can be expanded; the "taranak", the shortest full poem with construction and meaning complete and distinct, and "haiku", which is mainly related to nature and to a moment of its existence, although sometimes narrow veins can be found in poetic techniques, but there is usually no articulation and archetype, including successful experiences. It's in new and innovative poetry formats. The lyrics of the poetry are long and poetic, as well as the creation of unexpected starters, begin without a prelude, and the reader must guess the past of poetry, or poems that are left unstoppable, like some of today's stories, and the audience must pay attention to what is available to He is about to continue the poetry in his mind and achieve himself in the final result, as well as other ways to innovate and deconstruct in poetry.