This research examines the polyphonic interplay of motifs across folklore, focusing on the figures of Odin from Norse mythology and Ali Kishi from the Kor-oğlu epic. While Mikhail Bakhtin’s concept of polyphony traditionally applies to literary texts, we extend its principles to folkloric narratives, where distinct yet interconnected voices and motifs form a dialogical relationship. Central to this exploration is Bakhtin's idea of dialogue as a tension between the Self and the Other (Bakhtin, 1963), enabling the comparison of cross-cultural narratives.

Key to this study is the motif of the horse as a reflection of the hero’s alter ego, encapsulated in the Turkic saying: “The horse is to the man as the wing is to the bird,” as noted by Mahmud Kashgari in his 11th-century dictionary. Françoise Aubin further articulates this idea, stating that in Turkic and Mongolian epics, the horse represents the hero’s double.

This duality is also evident in the Northern saga, where Odin, disgusted as an old man, guides Sigurd to select his legendary horse, Grani. The selection process, involving driving horses to a river where one exceptional steed emerges, mirrors the episode in the Kor-oğlu epic, where Ali Kishi, a blind figure akin to Odin, facilitates the selection of a magical horse. These parallels highlight recurring motifs of blindness, guidance, and the union of terrestrial and celestial realms, as embodied in the horse’s symbolic significance.

By comparing these narratives, the research underscores how shared themes and motifs traverse cultural boundaries, enriching our understanding of polyphonic storytelling within folklore and its dialogical engagement across traditions.

Keywords: Polyphony, Odin and Ali Kishi, Magical Horse Motif, Cross-Cultural Folklore, Symbolism in Epics

This article explores Adam Mickiewicz’s poem “Aryman i Oromaz” through a polyphonic lens, focusing on his interpretation of the concepts of “good” and “evil.” The author seeks, through analysis, to uncover the diverse sources that informed Mickiewicz’s poetic vision, examining the artistic features of the poem and the concepts it conveys. This poem is part of Mickiewicz’s “Oriental Flowers” cycle, which includes poetic translations from Arabic poetry, and it specifically addresses a fragment from the French translation of the Avesta. This fragment describes the cosmogonic views of Zoroastrianism, particularly its understanding of the creation of the world and the cosmic order. Influenced by his understanding of the holy text, Mickiewicz attempts to reconstruct the religious tradition’s foundational imagery for the Polish audience.

For Mickiewicz, this topic is central not only to affirming his own worldview, where the triumph of good over evil is a core theme but also to aligning his personal experiences with the teachings of Zoroastrianism. In his engagement with an ancient and foreign religious narrative, Mickiewicz finds resonance with his values, beliefs, and life experiences. The analysis of the poem reveals how the poet adheres to the core plot of the French translation while shaping his own vision of the issue, deeply rooted in his moral and ethical values. Through this process, Mickiewicz creates a complex narrative that transcends a mere translation, transforming it into a creative reinterpretation that reflects his personal and cultural perspectives.

Some elements in the poem, which reflect key concepts from the translated text, suggest that Mickiewicz initially intended a straightforward translation of the original text. However, as the process progressed, his interpretation began to take precedence, leading to a deeper, more individualized reading. This points to the polyphonic nature of the work, where multiple voices, including those of the original religious tradition, Mickiewicz’s thoughts, and the cultural and historical contexts, interact to form a rich and multifaceted interpretation. Thus, Mickiewicz’s poem should be viewed not merely as a translation but as a reimagining of the original text, reinterpreted through a new artistic and philosophical context.