This study adopts a comparative approach to examine Beowulf, as part of the Anglo-Saxon epic heritage, and Rostam’s Seven Khans in Ferdowsi’s Shahnameh, seeking to analyze the dialogic and polyphonic capacities of these two texts in light of Mikhail Bakhtin’s theories. Bakhtin regards epic, due to its association with the “absolute past” and “authoritative discourse,” as a predominantly monologic genre. However, if “polyphony” is understood not as an inherent and fixed generic feature, but rather as an interpretive potential or a mode of engaging with the text, epics because of the presence of ethical conflicts, conflicting consciousnesses, and semantic tensions among heroes possess a high degree of openness that makes it entirely possible to reread them as polyphonic works, contrary to Bakhtin’s definitive judgment. By critiquing this rigid conception, the present study demonstrates that epics, owing to the presence of ethical conflicts, competing consciousnesses, semantic tensions, and the encounter of social, religious, ethnic, and mythic voices, are capable of being reread as polyphonic texts. Within this framework, concepts such as dialogism, polyphony, and carnivalization are employed to understand the inner dynamism of the two narratives. The research method is descriptive-analytical and is based on a comparative examination of such axes as the concept of the hero, confrontation with evil, passage through decisive trials, death, legacy, heroic boasting, and structures of power. The findings indicate that despite linguistic, cultural, and historical differences, both works are situated within a network of intertextual and intercultural relations and, through narrative, absorb and represent multiple and at times conflicting voices. Therefore, contrary to Bakhtin’s definitive claim regarding the monologic nature of epic, the present analysis succeeds in demonstrating the possibility of realizing polyphony in these texts and opens a new horizon for the study of epics in world literature.