THE INTERCULTURAL CORRESPONDENCES OF ZOOMORPHISMS IN PERSIAN AND RUSSIAN FAIRY TALES

Abstract

A comparative analysis of zoomorphic metaphors in Persian and Russian fairy tales is carried out. The relevance of this study is determined by the importance of studying fairy tales for their preservation as a national, folk cultural and linguistic heritage. The novelty of the work lies in the comparative analysis of the texts of fairy tales belonging to the Persian and Russian language continuums, different traditions of their cultural origin. The material for the study was Persian, Russian folk and original fairy tales, based on the zoomorphic representation of fairy tale characters. Persian fairy tales are studied with the help of translations into Russian, published in the famous collection of Persian fairy tales, published in Moscow by the Eastern Literature publishing house in 1958. The source for the translations were Persian fairy tales from newspapers, magazines, and collections published in Iran. Despite the cultural originality of Persian and Russian fairy tales, the commonality of their division into every day, fairy tales and fairy tales about animals is noted. The structural similarity of Persian and Russian fairy tales is based on the presence of a beginning, plot development, and a denouement that does not have an unambiguous interpretation and encourages the reader to further think. The plot similarity is manifested in the names of the zoomorphic characters themselves, their possession of positive and negative qualities, and their ability to transform into human images. The fairytale-allegorical form of the narrative, based on images of animals, allows us to focus the reader’s attention on such vices as greed, stupidity, envy, talkativeness, which enhances the educational potential of the fairy tale. Despite the similarity of some plot lines and characteristics, the originality of Russian and Persian fairy tales is manifested in a special national flavor, in endowing animal images with different cultural meanings, characters, actions, and attitudes towards each other. The research material gives a clear idea of the division of zoomorphic images presented in the texts of Persian and Russian fairy tales into three groups: completely equivalent, partially equivalent, original. In this regard, the work analyzes the similarities and differences of zoomorphism’s using examples from text sources.

Extended Abstract

This article presents a comparative analysis of zoomorphic metaphors in Persian and Russian fairy tales. The research is motivated by the significance of preserving these narratives as essential components of national cultural and linguistic heritage. The study's novelty lies in its direct comparison of fairy tale texts from two distinct linguistic and cultural traditions: the Persian and Russian language continua. The analytical corpus consists of Persian and Russian folk and literary fairy tales featuring zoomorphic characters. Persian tales are examined via their Russian translations published in the seminal 1958 Moscow collection Persian Fairy Tales by "Eastern Literature," which compiled tales from Iranian periodicals and folk anthologies.

The article identifies a foundational structural similarity between the two traditions, as both classify tales into three primary genres: everyday tales, magical tales, and animal tales. Narratological parallels are further observed in their common compositional framework, which typically includes an introduction, plot development, and an open-ended denouement designed to provoke reader reflection. Plot-level correspondences emerge in the naming conventions for animal characters, the attribution of human virtues and vices to them, and their capacity for transformation into human forms. This allegorical mode, utilizing animal imagery, serves to accentuate human flaws such as greed, foolishness, envy, and garrulity, thereby enhancing the moral-didactic function of the tales.

Beyond these similarities, the article emphasizes the distinct cultural identity of each tradition, expressed through unique national colorings. This specificity involves endowing animal images with divergent cultural significances, character traits, behaviors, and relational dynamics. Based on textual analysis, the article proposes a clear tripartite categorization of zoomorphic images found in these tales: fully equivalent, partially equivalent, and culturally specific (unique).

Fully equivalent zoomorphisms demonstrate a high degree of overlap in symbolic function and narrative role. The fox is highlighted as a prime example, being a high-frequency archetype in both corpuses. In tales such as the Persian "The Fox-Sheikh" and the Russian "The Animals in the Pit," the fox is consistently portrayed as the quintessential trickster—cunning, deceitful, and manipulative. Furthermore, both traditions frequently feature a recurring zoomorphic ensemble of the fox, wolf, and bear, who interact in narratives that explore themes of cunning versus brute force and collective gullibility.

Partially equivalent zoomorphisms share a core symbolic function but exhibit notable variations in their specific portrayals or narrative functions. The selection of animal characters is naturally influenced by local fauna, leading to differences in the prominence and treatment of certain species. While animals like the mouse, chicken, and goat appear in both traditions, their associated traits and story roles are not perfectly symmetrical.

Culturally specific zoomorphisms are unique to one tradition and lack direct counterparts in the other. The article cites the Persian tale "The Tailless Jackal" as an illustrative case. The jackal, a predator absent from the Russian folkloric bestiary, appears here as a uniquely treacherous and sophisticated villain, its narrative complexity underscoring the distinct ecological and cultural milieu of Persian storytelling.

In conclusion, the study delineates key intercultural correspondences: shared narrative structures, analogous typologies of zoomorphic character functions, a parallel trend toward narrative complexity reflecting artistic development, and the overarching classification of images into equivalent, partially equivalent, and unique categories. Ultimately, the analysis confirms that Persian and Russian fairy tales, while deeply rooted in their specific cultural soils and rich in national color, jointly serve as vital repositories of folk wisdom and retain significant pedagogical value as foundational cultural heritage.