Among scholars delving into the folkloric aspects of the novella,
Viktor P. Petrov tries to match individual motifs in the plot with folktales from
Afanasyev's collection or elsewhere.
Viacheslav V. Ivanov's studies concentrate on the Viy creature named in the title and the themes of death and vision associated with it; Ivanov also undertakes a broader comparative analysis that references non-Slavic traditions as well. Hans-Jörg Uther classified "Viy" as
Aarne–Thompson–Uther tale type ATU 307, "The Princess in the Coffin".
The witch The witch (, ''ved'ma
or , pannochka'') who attempts to ride her would-be husband is echoed in Ukrainian folktales. The
Malorussian folktale translated as "The Soldier's Midnight Watch", set in
Kiev, was identified as a parallel in this respect by its translator,
W. R. S. Ralston (1873); it was taken from Afanasyev's collection, and the Russian original bore no special title except "Stories about Witches", variant c. "Vid'ma ta vid'mak" (), another tale or version from Ukraine, also features a "ride" of a similar nature according to (1893)'s study of Gogol; this tale was edited by
Mykhailo Drahomanov. A listing of a number of folktales exhibiting parallels of this, as well as other motifs, was given by Viktor Petrov (penname V. Domontovych), and paraphrases of it can be found in Frederik C. Driessen's study.
Viy Gogol insisted in his author's note that
Viy () was the name given to the "chief of the
gnomes" (, ''nachál'nik gnómov'') by the "
Little Russians" (Ukrainians). However, given that the gnome is not a part of native
Ukrainian folklore, or of Eastern Slavonic lore in general, The fact that the word
viy itself shows little sign of existing in the region's folklore record is an additional obvious reason for the critical skepticism. and so forth. In the past, people assumed that the Viy was a part of genuine
Malorussian (Ukrainian) lore. For instance, Scottish folklorist
Charlotte Dempster, writing in 1888, mentions the "vie" of Little Russia in passing and floats the idea of a phonetic similarity to the
vough or vaugh of the Scottish Highlands.
Heavy-eyebrow motif The witch's husband in the Russian folktale "Ivan Bykovich" ("Ivan the Bull's Son") needs to have his eyebrows and eyelashes lifted with a "pitchfork" (). The aforementioned
Viacheslav V. Ivanov (1971) is credited, in modern times, with drawing the parallel between Gogol's Viy and the witch's husband, called the "old, old man" or "Old Oldster" (;
staryĭ starik). However, this was perhaps anticipated by
Ralston, who stated that the witch-husband ("Aged One") bears a physical resemblance to what, he claimed, the Serbians called a "Vy", though he did not address any resemblance with Gogol's Viy directly. There also exists an old folk tradition surrounding Saint
Cassian the Unmerciful (), who was said in some tales to have eyebrows that descend to his knees and are raised only on Leap Year. Some scholars believe that the concept of Viy may have been at least partially based on Saint Cassian, as it is likely that Gogol had heard about the character and designed Viy on the basis of his various forms. A similar motif of heavy eyebrows is also present in
Babylonian Talmud in a story about
Johanan bar Nappaha. It is also found in Norwegian tales about
Sjul and may remind the eye shields of
Balor. == Psychological interpretations ==