Phonetic and musical structure of Bahmannameh and Faramaraznameh

Today, in the light of linguistic studies, it has been determined: "which is the axis of all evolutions of poetry, language and the relationships of language components" (Shafi'i Kodkani, 2009: 27). Language can be considered a mental system and mind and language are closely related to each other. Shafi'i considers "language and thought to be two sides of the same coin". (Ibid.: 27)
One of the levels of stylistics is the language level, which is divided into phonetic, lexical and syntactic levels. At the phonetic level, the text of a work is examined in terms of musical elements, external music, side music, spiritual music, as well as general issues related to pronunciation. In this research, from the linguistic level only the phonetic level of the two Bahmannameh and Faramaraznameh systems has been taken into consideration in order to know the characteristics of the epic language and determine what the phonetic and musical structure is like in them.
Which of these two have been more successful in using phonetic processes compared to each other? 

This article, in the manner of library and analytical studies, has investigated the factors of creating music and the special song of epic poetry in them.

Both systems are limited or omitted in terms of prosodic weight.
side music:  One of the factors of music is the section in the poem, the most important effects of which are rhymes and Radif, which play an effective role in raising the musical aspect of the poem and "arousing the reader's emotions and feelings." (Fayaz Menesh, 1384: 180).
In the examination of the rhymes ending with "Ah", it was found that in both systems, most of the words are of the noun type, which somehow fit the syntactic logic of the epic language.
Excessive repetition of rhymes and defects of rhymes is one of their weaknesses. Also, they do not enjoy the topic of "unity in diversity", which is one of the basic roles of rhyme from the point of view of Shafi'i, which leads to a kind of aesthetic pleasure in poetry. (Shafi'i Kodkani, 1391: 76) By examining the lines, there are more Radif in Bahmannameh and less in Farmarznameh, and the types of Radif in Bahmannameh in order of high frequency are: pronouns, letters, nouns, adjectives, and adverbs, in Farmarznameh; Pronoun, letter and noun.
Inner music
All kinds of puns, repetitions and phonemes that are obtained from the combination of words and sounds are some of the prominent features of this music. The composers of both systems have been able to use them to some extent in producing epic songs of their works.
Spiritual music
The deepest part of music is poetry. Adherence to similarity and contrast are two examples of these industries. "Contrast is one of the important linguistic components, the imaginative part of a text, which makes possible what is intellectually impossible" (Ghomlaghi and Salamat, 2021: 215) in which both industries have a high frequency.

The epic type, which is one of the oldest literary types, has a special language that is referred to as epic language. The results of the surveys showed that their weight and song are epic.
In the field of using rhymes, they do not have an acceptable variety due to a lot of repetition, and there are also rhyme defects in them. They have used short and simple lines that are suitable for epic stories. But the author of Bahman Nameh has paid more attention to the topic of Radif. In the field of inner and spiritual music, the composers have used these characteristics almost equally to bring themselves closer to the language of the epic standard. In general, they have been successful in this part of the phonetic index.