Левченко Н. М., доктор філологічних наук, професор кафедри української і зарубіжної літератури та журналістики імені професора Леоніда Ушкалова Харківського національного педагогічного університету імені Г. С. Сковороди КОНЦЕПТИ СМІХУ Й РАДОСТІ ЯК АМБІВАЛЕНТНА СЕНСОВА ПЛОЩИНА ЕКЗЕГЕЗИ БІБЛІЇ У СТРУКТУРІ ПОЕТИКИ УКРАЇНСЬКОЇ БАРОКОВОЇ ПРОЗИАнотація. Статтю присвячено вивченню проблеми сміху й радості в екзегетичній системі літератури українського бароко. З огляду на свою багатоаспектність і різновекторність вона створила сприятливе підґрунтя для різних тлумачень можливості/неможливості, потрібності/непотрібності сміху й радості в житті праведника. У творах барокових письменників є різноманітні думки від висловлювань з абсолютним засудженням і неприйняттям радості та сміху в житті праведника до цілковитого їхнього виправдання.В естетиці античної доби радість передбачала задоволення та тілесні бажання і не сприймалася поза ними. Християнство змінило аспекти розуміння радості й сміху й почало їх сприймати як вияв вищого духовного почуття, доброзичливості та спокою.Порушена проблема в екзегезі Біблії трансформується в площини радості-смутку, щастя-страждання Христа і зводиться до відповіді на запитання: чи сміявся Христос?Бінарно опозитивні думки українських барокових письменників щодо визначення ролі й місця в дочасному житті людини радощів та сміху й смутку та страждань у статті інтерпретується як прояв упливу епікурівського змісту тлумачення щастя у християнському світогляді українського барокового мислителя.Отже, радість і сміх, який невід'ємно пов'язаний з нею, тлумачиться українськими бароковими письменниками як суб'єктивне почуття щастя з різновекторним значенням. Перш за все мається на увазі втрачена радість едемського існування перших людей, яка замінилася на фальшиву, гріховну радість у тимчасових земних принадах і звабах. Нетривкість скороминучих земних утіх навіть таких доброчинних, як задоволення від тілесного здоров'я, власний чи суспільний добробут і благополуччя, спокій тощо, має розпалювати бажання досягнення кінцевої мети життя -вічної потойбічної радості в небесному блаженстві праведників шляхом уподібнення до скорбного образу Христа.Автор дослідження дійшла висновку, що письменники барокової України Іоаникій Галятовський, Лазар Баранович, Інокентій Ґізель, Антоній Радивиловський, Григорій Сковорода та ін. правлять про вищість небесної радості над земною, про перевагу духовних радощів і насолод над тілесними.Ключові слова: концепти радості й сміху, екзегеза Біблії, інтерпретація, трансформація, сенс, бароко.

Biblical noematic, that is, the science of the meanings of the Holy Scriptures, and heuristics, the science of finding these meanings, were central to the exegesis of Hrygorii Skovoroda. Under the influence of the teachings of the fathers of the Alexandrian school, they changed their methodological principles, transformed to a certain extent and moved towards a comprehensive allegory of the Holy Scriptures in the author's system of its interpretation. The true meaning of the Word of God lies under the tinsel of the material shell of the word, which Skovoroda calls figures, signs, symbols. Using images and symbols, Skovoroda explained the invisible nature, that is, the existence of God, Truth. To decipher the meaning of the figures means to discover the truth hidden in the Holy Scriptures. Trying to find the truth in the Holy Scriptures, Skovoroda superimposes his own already transformed allegorical constructions on biblical allegories, that is, he talks about allegories in terms of allegories, thereby not simplifying but complicating their meaning. For example, the image of a snake coiling in a ring and having a sharp look is a metaphorical personification of self-knowledge, self-view of the world. So, the image of a snake coiled in a ring symbolizes the general meaning of human life. It is difficult to understand, the philosopher notes, where the beginning and where is the end of a snake coiled in a ring, if you do not notice its head. It is equally difficult to understand eternity – it is everywhere and nowhere, because it is invisible and covers its hypostasis. Skovoroda regards the coils and rings of the snake as symbols of eternity, and therefore also symbols of the Bible itself. That is why the writer calls the Bible a snake and God at the same time. Biblical noematic, that is, the science of the meanings of the Holy Scriptures, and heuristics, the science of finding these meanings, were central to the exegesis of Hrygorii Skovoroda. Under the influence of the teachings of the fathers of the Alexandrian school, they changed their methodological principles, transformed to a certain extent and moved towards a comprehensive allegory of the Holy Scriptures in the author's system of its interpretation. The true meaning of the Word of God lies under the tinsel of the material shell of the word, which Skovoroda calls figures, signs, symbols. Using images and symbols, Skovoroda explained the invisible nature, that is, the existence of God, Truth. To decipher the meaning of the figures means to discover the truth hidden in the Holy Scriptures. Trying to find the truth in the Holy Scriptures, Skovoroda superimposes his own already transformed allegorical constructions on biblical allegories, that is, he talks about allegories in terms of allegories, thereby not simplifying but complicating their meaning. For example, the image of a snake coiling in a ring and having a sharp look is a metaphorical personification of self-knowledge, self-view of the world. So, the image of a snake coiled in a ring symbolizes the general meaning of human life. It is difficult to understand, the philosopher notes, where the beginning and where is the end of a snake coiled in a ring, if you do not notice its head. It is equally difficult to understand eternity – it is everywhere and nowhere, because it is invisible and covers its hypostasis. Skovoroda regards the coils and rings of the snake as symbols of eternity, and therefore also symbols of the Bible itself. That is why the writer calls the Bible a snake and God at the same time.

The Sodom discourse takes its cue from the biblical story of the destruction of the city of Sodom due to the fall of its inhabitants. The angel warned only the righteous Lot’s family. Leaving the city, Lot’s wife looked back and turned to the pillar of salt for disobedience. The biblical story about the destruction of the city of Sodom, the rescue of the righteous Lot and the transformation of his wife into a pillar of salt is told in Hryhoriy Skovoroda’s treatise “Booklet on Reading the Holy Scriptures”, “Lot’s wife is named”. The exegete advises perceiving the biblical story of Lot and his wife purely as an allegorical picture of God’s wisdom on the way to the salvation of mankind, which proves once again that as an alternative to the traditional four-sense biblical hermeneutics, Hryhoriy Skovoroda saw a comprehensive allegory of the Holy Scriptures, within which the discourse of Sodom is built. The Sodom discourse has its continuation not in literary texts but in actual texts of life in the conditions of the Russian-Ukrainian war, but already with an opposite meaning to its biblical and Skovoroda’s message. The Russian occupiers, who have appropriated the functions of God and distorted the idea of the Absolute, the Truth, with their “fastidious” and cultural values of the imperial “russian world”, confusing the sinful with the righteous, with the help of their rockets, bombs, and shells, are erasing entire villages and towns from the face of the Ukrainian land, they kill both babies and the infirm old people just because they are Ukrainians, without caring about their fall into sin or righteousness...

The article defines the basic principles of the influence of biblical hermeneutics on the poetics of Ukrainian Baroque emblematic literature, which were determined by its general development trends. The four-sense biblical hermeneutics, founded by the Greek and Roman Church Fathers, played an important role in the formation of Ukrainian Baroque literature that mainly developed within the theological framework. The principles of biblical hermeneutics eventually began to go beyond the theological literature. Thus, the medieval interest in symbol and allegory led to the appearance of “empresas” – symbolic drawings that became fashionable at the royal courts of Europe in the 15th century. The Renaissance misunderstanding about the nature of Egyptian hieroglyphs, their perception as ideographic writing through which Egyptian priests expressed their wisdom, led to the appearance of emblems, allegorical prints with long explanatory verses, aimed at giving some moral lessons. It was believed that the emblem could communicate truth to the mind more directly than with the help of words. It was reflected in the mind, while the person’s gaze wandered through the symbolic details of the emblem. The research provides evidence that a large number of literary works of the 17th century showed the influence of the emblem on the formation of symbolic representation, arranged to reveal the truth implicitly or explicitly through the sequential placement of the elements. Many poetic images of the 17th century come from well-known emblems, which were means of perceiving, interpreting, and opening the world of the Bible to the Baroque reader.

The article is devoted to highlighting and analyzing the main types of symbolic systems of biblical hermeneutics in the structure of poetics of works of ancient Ukrainian prose. The study emphasizes that the canon of interpretation of the Bible long ago assumed the unequivocalness of statements and the infallibility of the understanding of the text, which was specified and commented on within the limits of hermeneutic teaching. Understanding the Bible was complicated by the co-authorship of God and man, the need to decode the sensus plenior in the Holy Scriptures in parallel with the meaning that the human author put into the Bible, different readings of the word-sign, word-allegory or word-symbol as elements of a separate figure of speech, a passage or the entire text. Biblical hermeneutics proposed as one of the means to eliminate uncertain categories of understanding, the concept of unambiguity within the biblical canon. The author made an attempt to use F. de Saussure's structuralist model of the linguistic sign in the inseparable unity of the signifier and the signified as a tool for interpreting biblical texts in the works of Ukrainian baroque literature, as well as the improved triadic system of the sign of Ch. Peirce, where the sign consists of the representamen – the form that the sign takes, and it does not necessarily have to be material, the interpretant, which, regardless of the name, is mostly not an interpretation, but rather a meaning obtained from a sign and gives the sign meaning even in the absence of an interpreter, the object – that which the sign is sent. Ancient exegetes considered the complete content of the Bible, i.e. the coherence of its individual parts and books, to be the indisputable intention of God, which cannot be understood outside the sensus plenior. The controversial reading of certain parts of the text of the Holy Scriptures was supposed to be removed by the introduced four-way biblical hermeneutics.