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Hare is one of the most popular bestiary images, firmly embedded in the contemporary daily culture. In our (post) Soviet childhood, we listened to the fairy tales about smart rabbit who outwit foxs and wolfs; danced at kindergarden New Year carnivals with the “bunny ears” on our heads In secondary school, we were fascinated by the story of a kind-hearted grandfather Mazai, who saved hares from the flood; and also, together with Alice, we followed the White Rabbit. Later we learned that hare-skin coat can save one in the turmoil of the meaningless and merciless Russian revolt (see Pushkin’s “The Captain’s Daughter”), but also that objectivation of women (together with beauty stereotypes) is most famously performed under the shiny cover with a rabbit profile. In the cheerful company, we often sang, and still sing, a hit “Song about Hares” from Leonid Gaidai’s famous comedy (“The Diamond Arm"). The list on images can be endlessly continued: meaningful hares can be found at all times in any sphere of human culture. These images should be studied, because there is no such “trifle” in popular culture, which would not inspire a serious scholarly discussion and lead to better understanding of our history and our actions within it.