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Сонетний вірш Лесі Українки як динамічна система
Full text linkA sonnet poem, typically consisting of a thesis, an antithesis, and a conclusion, is a dynamic entity by its very nature. In the sonnets by Lesia Ukrainka, various aspects of such dynamics can be observed at both the proper textual and intertextual levels. At the textual level, an important role in the dynamization of the text system is primarily played by numerous lexical and syntactic repetitions. While tradition has long prevented the use of lexical repetitions in sonnet texts, the experience of outstanding masters, such as Lesia Ukrainka, proves that disregarding this tradition occurs due to the author’s creative approach to the issue.
The figurative and semantic dynamics of Lesia Ukrainka’s sonnets are often initiated with the very first word, which is further actualized through anaphoric and other repeated elements. In the first version of the “Fa” sonnet, the highly expressive dynamics of gradation in rhetorical interrogative sentences, introduced in the second quatrain, reach their intense paradigmatic expression in the tercet endings. To a large extent, a different character of the figurative and intonation course, corresponding to the meaningful intra-dialogical unfolding of the literary canvas, can be traced in the compositional system of the sonnet “The Last Song of Maria Stewart”, where the initial interrogative construction finds a logical continuation in the final lines of the exclamatory sentence.
The sonnet “Breath of the Desert”, the figurative dynamics of which are realized mostly due to the intertextual situation, shows still another character of the compositional course. Based on the perception of Lesia Ukrainka’s poem “Khamsin”, written, by the way, on the same day as the sonnet (both poems belong to the “Spring in Egypt” cycle), the image of the free and capricious wind (‘khamsin’) acquires a deep meaning. Intertextual and apperceptive dynamics can also be observed in the Bakhchysarai triptych from the cycle “Crimean Memories”, which undoubtedly alludes to Adam Mickiewicz’s “Crimean Sonnets”. However, the perception of the literary heritage here is highly individual: unlike Mickiewicz’s generally romantic interpretation of events, Lesia Ukrainka discusses the affairs of long-gone days in her sonnet from the standpoint of a narrator ‒ a contemporary of the new age, who interprets historical processes in relation to present realities.У статті проаналізовано сонетну творчість Лесі Українки, зокрема динамічну систему сонетного вірша, на образно-змістовому, лексикограматичному рівнях. Простежено роль засобів внутрішньотекстової організації поетичного твору, функціональних особливостей цих засобів у розгортанні віршового тексту, а також роль інтертекстуальних чинників при декодуванні художньої структури. Звернено увагу на творчі пошуки Лесі Українки в культивуванні канонічної строфи, що передбачає актуалізацію повторюваного слова, синтаксичних повторів у поетичному тексті й набуває типологічного характеру в доробку поетеси
«Слово про Закон і Благодать»: модель спростувально-доказової аргументації
Full text linkThe author of the paper analyzed the models of refutational and probative argumentation in an outstanding piece of Kyivan Rus’ literature of the 11th century — “The Sermon on Law and Grace” by metropolitan Hilarion of Kyiv. Although certain aspects of the work have already been properly analyzed, the formal rhetorical principles of polemical argumentation in “The Sermon on Law and Grace” remain little studied. The construction of the argument itself and compositional regularities of its structural organization still need due consideration. Throughout the entire reflection, moving from one topic to another, the author of “The Sermon…” maintains the same principle of literary presentation — dialectical oratio. This model is based on a special dialectical reasoning rooted in the principle of antinomies and originated in ancient judicial rhetoric. In “The Sermon on Law and Grace”, the dialectical oratio is built according to the ‘refutation + proof’ scheme. That is, the author initially refutes something and then proves something. Τhis rhetorical tendency is used throughout the work. Hilarion constantly tries to expose and devalue something characterized as outdated, related to Old Testament, Jewish or pagan, and glorify the new, evangelical, and Christian. However, denying one thing and affirming the other do not exhaust the author’s goal. Such dialectical unity of the negative and the affirmative in characterization of one object not only goes back to the traditions of ancient judicial rhetoric but also reflects the Eastern Christian theological tradition. Something similar can be seen in the treatises by Dionysius the Areopagite. In the works “On Mystical Theology”, “On Divine Names”, and “On the Heavenly Hierarchy”, Dionysius the Areopagite derives a complex antinomic system of symbolic designations of the Divine Essence, qualifying a part of them as apophatic (dissimilar) and the other part as kataphatic (similar). Perhaps, the reasoning model of refutatio + probatio in ancient rhetoric, the apophatic-cataphatic principle of determining the names of God in the “Corpus Areopagiticum”, and refutational-probative argumentation in “The Sermon on Law and Grace” are formal links of a general rhetorical oratory chain. However, this issue requires a more thorough study based on a wide range of literary material, including ancient, biblical, medieval, etc.Статтю присвячено осмисленню моделі спростувально-доказової аргументації у видатній пам’ятці києворуської літератури XI ст. — «Слові про Закон і Благодать» митрополита Іларіона Київського. В основі цієї моделі — особливе діалектичне розмірковування, яке вибудовується за принципом антиномій і має коріння в античній судовій риториці. Перша частина такої антитези є спростуванням (в традиції античної риторики ця категорія називалася refutatio), а друга — доведенням (probatio). Особливості означеної спростувально-доказової стратегії розмірковування проаналізовано на прикладі декількох фрагментів «Слова про Закон і Благодать». У статті також висловлено припущення, що спростувально-доказова модель аргументації може мати формально-композиційні відповідності у ранньохристиянських богословських трактатах Діонісія Ареопагіта (у цій тезі стаття носить дискусійний характер)
Літературна функція «Молитви Єремії Пророка»: творча заготовка чи епіграф до рукописної збірки Тараса Шевченка «Три літа»?
Full text linkThe paper clarifies the literary function of Shevchenko’s “Jeremiah’s prayer”. At the same time, it raises the question of the poet’s identification and self-identification with Prophet Jeremiah because these issues can only be addressed in conjunction. Based on the findings of many researchers on “Jeremiah’s prayer” function and the discussion between Shchurat and Franko in 1904 about Shevchenko and Jeremiah, the author concludes that “Jeremiah’s prayer” is an epigraph and not a rough workpiece as it is presented in the last collection of Shevchenko’s works. Th is fact is important because it may deepen the understanding of Shevchenko’s creative pursuits in 1843—1845, the reasons for his self-identification with Jeremiah, and the interpretation of his collection “Three years” where Moscow captivity is a metaphorical Babylonian one, the ruins of Chyhyryn remind the lost Jerusalem, and Russia is shown as a new Babylon. In this context, the researcher points out the image of Jeremiah at the beginning of the collection “Three years”; the use of “Jeremiah’s prayer” as an epigraph to it; the David’s Psalm 136 (137) about the first Babylonian captivity and the retribution upon Babylon, which may be considered a pretext for Jeremiah’s understanding of the second Babylonian captivity of Judea; the destruction of Jerusalem and its restoration; and finally the motive of atonement taken by Ukrainians for the sins of their fathers in Moscow’s captivity.
Shevchenko developed the last theme following the sample of Jeremiah who saw the cause of all Judea’s misfortunes in its sins against the Lord. Th e motive of Ukrainian atonement for national sins, especially evident in the poems from “Three years” having historical connotations, as in the mystery poem “The Great Cellar”, shows that Shevchenko in 1843—1845 identified himself with Prophet Jeremiah and with King David because these biblical poets and their artistic models helped him create an original literary image of Ukrainian captivity in the Russian Empire and the Ukrainian future aft er overcoming the empire.У статті уточнено літературну функцію «Молитви Єремії пророка» та висвітлено проблему ототожнення й самоототожнення Шевченка з Єремією. На підставі висновків багатьох дослідників та дискусії між В. Щуратом й І. Франком 1904 р. авторка визначає, що виписка Шевченка з Біблії — епіграф, а не творча заготовка, як це подано в останньому академічному корпусі доробку поета. Цей факт поглиблює й розуміння творчих пошуків Шевченка 1843—1845 рр., і розуміння рукописної збірки «Три літа». Дослідниця переконує, що біблійні моделі допомогли Шевченкові створити оригінальний образ української неволі в Російській імперії й українського майбутнього після подолання імперії
Михайло Котурницький (recte Еразм Кобилянський) у контексті взаємин з Іваном Франком
Full text linkThe paper refers to the Polish social and political figure of the 2nd half of the 19th — the early 20th century — Erazm Kobylianskyi. He was an emissary and a socialist and played a negative role in the life of Ivan Franko. Because of the E. Kobylianskyi I. Franko became one of the defendants in a high-profile trial of the socialists in Galicia in 1878. The paper outlines biography of this person, little known to Ukrainian researchers. Due to the fact that Kobylianskyi was a conspirator and had many aliases, not all facts of his life have been clarified yet. The researcher managed to find out some details of his biography due to the memoirs of his contemporaries.
The main part of the study is focused on the issue of life contacts of I. Franko and E. Kobylianskyi. They met in connection with the pretrial investigation in the case of the socialist process in Galicia: that’s why an attention is also paid to certain aspects of this issue (in particular, the topic of socialism in Galicia of the 1870s, the trial of Franko and other accused). Franko himself never learned the real surname of Kobylianskyi and believed that he was dealing with Mykhailo Koturnytskyi (it was the most often used pseudonym of Kobylianskyi in Galicia).
Polish authorities in Galicia of those days accused I. Franko of participating in a secret socialist society, in fact because of a letter by M. Drahomanov, which Kobylianskyi secretly brought from Switzerland to Lviv and had to pass it to M. Pavlyk. Can be considered as a matter of chance the fact that the police confiscated those letters? Could Kobylianskyi be a figurehead? The paper proposes answers to these questions with reference to reputable researchers and articles by Ivan Franko.
Also, the study provides an analysis of the handwritten letters of Erazm Kobylianskyi to Ivan Franko from 1886. It is found out who was the author of the poetry collection "Ukrainki", published in 1884 in Lviv under the pseudonym Mychałko (Ivan Franko thought it was Kobylianskyi but was wrong).У статті йдеться про польського громадсько-політичного діяча другої половини ХІХ — початку ХХ ст. Еразма Кобилянського, який відіграв негативну роль у житті Івана Франка. Саме через нього 1878 р. Франко став одним із підсудних у гучному судовому процесі над соціалістами в Галичині. Стаття висвітлює мало відомі дослідникам віхи біографії цього діяча. Розглянуто контакти І. Франка й Е. Кобилянського, поширення соціалістичних ідей у Галичині в 1870-х роках. Уперше проаналізовано рукописні листи Кобилянського до Франка. З’ясовано, хто був автором поетичної збірки «Ukrainki» (Львів, 1884), підписаної псевдонімом Mychałko
Інтелектуальна утопія Юрія Шереха
Full text linkThe paper examines the literary-critical views of Yurii Sherekh of the Artistic Ukrainian Movement’s (MUR) period, clarifes his understanding of ‘visnykivstvo’ and ‘Kyiv neoclassicism’ as literary phenomena, the content and significance of the theory of ‘national organic style’, and the idea of antaeism. The worldview and aesthetic positions of Yurii Sherekh are considered in the context of ideological and literary discussions of the late 1940s. The research involved the literary-critical and historical literary studies written by Yurii Sherekh in the postwar period and interpreted their textual connections with the works by Yurii Sherekh himself and by his intellectual associates and opponents. Yurii Sherekh’s idea of the ‘national organic style’ was not only one of the stages of the literary researcher’s worldview evolution, but also a certain result of the development of Ukrainian literary-critical thought in the mid-20th century. This idea grew out of the literary experience of the 1920s and was associated with the process of updating the national artistic tradition and adopting Western Europe literature’s achievements in the 1940s. The approval of the idea of ‘national-organic style’ in the ideological and aesthetic concepts of Yurii Sherekh was accompanied by the rejection of the ‘Vistnyk’s’ and ‘neoclassical’ traditions. The analysis of the main points of Yurii Sherekh’s polemic with Dmytro Dontsov as a symbolic representative of the “Vistnyk’s” ideology and Volodymyr Derzhavyn as the main supporter of the ‘neoclassicism’ theory reveals some inconsistency of Yurii Sherekh’s definitions of neoclassicism. Yurii Sherekh’s idea of antaeism was a certain Ukrainian equivalent of European existentialism, rooted in the history and philosophy of Ukrainian resistance.
The paradox of Yuri Sherekh’s theory was in combining the desire for modernity with the return to tradition, while the dogmatism of his ‘national organic’ approach to certain phenomena and works somewhat ideologized his assessments and views. There are reasons to tell about the conventionality of Yurii Sherekh’s division of the Ukrainian mid-20th century writers into ‘organists’ and ‘Europeists’, who visualized, on his opinion, two main directions of Ukrainian literature’s development. In fact, the various types of ‘Europeanism’ and ‘organicity’ were inevitably intertwined.У статті досліджуються літературно-критичні погляди Юрія Шереха періоду Мистецького українського руху (МУРу), з’ясовується його розуміння феноменів «вісниківства» та неокласицизму, зміст і значення теорії «національно-органічного стилю», ідеї антеїзму. Світоглядні й естетичні позиції Ю. Шереха аналізуються в контексті ідеологічних і літературних дискусій кінця 1940-х років
Парадигма концепту «смерть» у ліриці О. Тарнавського (екзистенція та коекзистенція)
Full text linkThe article considers the paradigm of the concept of death in the lyrics by Ostap Tarnavsky as a subject of his poetic philosophical thinking and interpretations.O. Tarnavsky’s lyrical poetry, in which the poet highlights the problems of human existence, moral and psychological aspects of the finiteness of earthly existence, reveals the dualism of the author's thoughts. The poet sought to comprehend death, on the one hand, as the end of human existence, which implied facing its tragic irreversibility and then overcoming the fear of death for achieving the authenticity of being. On the other hand, he admitted coexistence with death, which is the guide of a man on the path to eternity. The philosophical concept of coexistence as a common being of the human self with others and with the world was substantiated by the Italian existentialist philosopher Nicola Abbagnano in his work “Introduzione all'esistenzialismo” (1942).
Poetic and philosophical understanding of the concept of death as a transition from earthly existence to eternity was unfolded by O. Tarnavsky in a wreath of sonnets within the collection “Life”. In the 11th sonnet “The order of the world creates in the head…” the author equates death with immortality because only after the completion of the earthly path a person approaching God in life – “perceives the One who creates” and gets Him. In his poems, O. Tarnavsky comprehends the earthly space and time as a certain section of moving to eternity and seeks to outline its coordinates (“Phantoms in Emptiness”). Death is only a coexistent form of eternity that changes one stage into another. The situation of birth and death, according to the Italian philosopher-existentialist N. Abbaniano, is the very depth of coexistence. In the poem “Where do you call to go, princess?..” the paradigm of the concept of death is narrowed and existentially personalized to ‘my death’, which eventually transforms into the author’s vision of death.
In his philosophical lyrics, O. Tarnavsky covers the problems of human existence – earthly and eternal, psycho-spiritual and moral-psychological aspects of the last stage of earthly life. The poet represents the dialectic of life and death and, in particular, the paradigm of death, from religious, philosophical, and axiological points of view. At the same time, he demonstrates purely psychological reflections, expressed in spiritual and emotional experiences.У статті розглянуто парадигму концепту “смерть” у ліриці Остапа Тарнавського, що є предметом художнього філософування та мистецьких інтерпретацій українського поета-емігранта. Досліджено, що лірика О. Тарнавського, у якій висвітлено проблеми людського буття, морально-психологічні аспекти кінцевості земного існування, засвідчує насамперед дуалізм поглядів Тарнавського-мислителя, котрий прагне осягнути смерть, з одного боку, як кінцевість людського буття-у-світі, що передбачає екзистенційну тривогу й трагічне усвідомлення її незворотності та, врешті, подолання страху смерті для досягнення автентичності існування, а з другого, — як коекзистенцію: співіснування зі смертю — провідником людини на шляху до вічності.
 
«Заборонений»: Стус кінематографічний
Full text linkThe paper reviews the image of Vasyl Stus in Roman Brovko’s feature film “The Proscribed” (“Zaboronenyi”, 2019). The researcher aims to find out how the director embodies the psychological structure of the writer’s personality in the film for a wide audience. To do this, the author of the paper uses interviews with the director, the leading actor, and contemporaries
of Vasyl Stus, analyzing the feature film from the perspective of its form, content, and meaning.
The members of the production team emphasized the reactions of the creative person to untruth and injustice; they focused on such traits of Stus’s character as being extremely honest, caring, and emotionally explosive. Stus’s contemporaries, watching the film first, noted the emotional side as successfully embodied on the screen.
The psychological component of Vasyl Stus’s cinematographic personality is based on the character traits, reactions, and behavior inherent to real Stus: the protagonist is prone to impetuous reactions, not suited to compromises, self-sufficient, and strong-willed. To create such a psychological structure of Vasyl Stus’s character in “The Proscribed”, the director works both with the form (he uses the principles of gradation and opposition, the means of image-experience, and a wide shot) and content (imaginary episodes, reading poetry behind the scenes, condensed meaning of the epigraph, some fictional characters, the author’s text in a new context, etc.). These efforts give the opportunity to see the movie character of Vasyl Stus with his inherent emotional reactions (impetuous) and feelings (protest, anger, justice), moral and ethical guidelines (to give much, to be humane and do good), and the high level of self-awareness.Проаналізовано образ Василя Стуса в художньому фільмі Романа Бровка «Заборонений» (2019). З’ясовано, якими засобами режисер утілює психологічну структуру індивідуальності у стрічці для широкої глядацької аудиторії. Психологічний чинник кінематографічного образу ґрунтується на рисах характеру, поведінці, притаманній Стусові-людині: він схильний до експансивної реакції, непристосований до компромісів, самодостатній, сильної волі. Режисер працює як у формальній площині (принцип градації, протиставлення, кінематографічний засіб образу-переживання, загальний план), так і в змістовій (домислені епізоди й персонажі, закадрові читання віршів, сконденсований зміст мотто, уведення авторського тексту в новий контекст тощо)
Які книжки привіз Іван Франко з Києва 1909 р.?
Full text linkThe paper focuses on the episode of the formation of Ivan Franko’s library. Franko was actively interested in books all his life, and his collection was a mobile organism: he followed the new editions, ordered catalogs from everywhere, and generously shared his books. The unique library has survived to this day as part of the writer’s archival collection. Both modern editions and old prints (which are rather numerous) retain evidence of their movements. Gift inscriptions, bookplates, stamps of institutions and organizations, notes and marks on the margins — all these pieces of evidence complement the information about Franko’s circle of communication and creative interests, being an important source for studying his biography. It is impossible to completely reconstruct the history of acquiring the books that form this memorial collection, but a number of facts give grounds for some conclusions on this issue. Franko’s unexpected visit to Kyiv in 1909 is described in many memoirs, but only D. Doroshenko, who accompanied the writer to the bookstores, briefly told what publications his companion was interested in, and which booksellers he met, naming several particular places they visited. The traces of these locations in the books from the collection may serve as proof that the writer brought them from his trip. Now working with Franko’s personal library, the author of the paper is trying to find out which books from Kyiv enriched Franko’s collection. The testimonies by D. Doroshenko, bookplates, ownership inscriptions and stamps, numbers of books assigned by the owner of the library, and other data were taken into account. Many editions of this collection have stamps or stickers of booksellers from different cities and countries, including those that Franko never visited. The writer’s archive also contains book advertisements and catalogs, as well as his correspondence with publishers and second-hand booksellers. Thus, generally linking the collection of Ivan Franko’s library to his travels proves to be not a very productive task.У статті розглянуто один із епізодів формування бібліотеки Івана Франка, який усе життя активно цікавився книжками. Його колекція була рухливим організмом: він стежив за новинками, замовляв звідусіль видання за каталогами, щедро ділився своїми книжками. Окрема, ще не до кінця вивчена тема — дарчі написи на примірниках бібліотеки І. Франка. Немало видань цього зібрання мають печатки чи наклейки книгарів різних міст і країн, зокрема й тих, де І. Франко ніколи не бував. В архіві збереглися книжкові реклами й каталоги, листування з видавцями й букіністами.
На основі проведених спостережень констатовано, що «прив’язувати» комплектацію бібліотеки І. Франка до його поїздок — не надто продуктивна справа
Двозначність інтертексту: текстуальність історії в романі Павла Загребельного «Я, Богдан (Сповідь у славі)»
Full text linkIn the novel “I, Bogdan” ‘historical authenticity’ is achieved through intuitive, romantic penetration of the author/narrator into the ‘nation’s spirit’ — and through the citatory narrative on the verge of cento, which the narrator emphasizes time and again. The fictional, subjective image of the hetman is presented as the only true one. The author of the novel follows two historiographical traditions, within which the fiction is not just authentic but real and true — of course, if consistent with existing narratives. These are premodern and romantic traditions. Unsurprisingly, Zahrebelnyi is happy to use the texts created both in the premodern framework (fragments of “Cossack chronicles”) and in the framework of (pre)romanticism (“History of Ruthenians”; “Zaporozhian Antiquities” by Izmail Sreznevskyi). These texts are ‘created’ and not ‘falsified’, because for their authors the reconstruction of the possible was not falsification but only filling gaps. For the author of the novel “I, Bogdan”, as well as for the romantics, the criterion of truth is compliance with the national spirit. Researchers have repeatedly noted that the novel creates the combined voice of the ‘hero-author’: it is the voice of the people themselves, on whose behalf his representative can speak.
Zahrebelnyi, when using historical sources, often turns to the palimpsest technique, rewriting or simply quoting without reference studies on Ukrainian history, especially by Mykola Kostomarov and Mykhailo Hrushevskyi, making certain ideological changes, and sometimes radically inverting the meaning of the quoted passages. Hidden intertext, therefore, may deny the explicit ideology of the text. It is obvious that the ‘encyclopedia of the model reader’ of the novel was much larger than the ‘encyclopedia’ of the empirical Soviet reader. So, in fact, the only possible ‘model reader’ was the author himself. This is a very modernist notion, and at the same time, the illusion of complete clarity on a superficial level moves Zahrebelnyi’s book closer to the poetics of postmodernism.На основі зіставного аналізу тексту твору і джерел, залучених у процесі його написання, доведено, що образ гетьмана в романі спирається на передмодерну й романтичну історіографічні традиції, у яких зникала межа між вимислом і документальністю (що пояснює, зокрема, важливість «Історії Русів» та «Запорізької старовини» Ізмаїла Срезневського в інтертексті роману). Цілі сторінки є переказом-палімпсестом історичних праць, присвячених Хмельницькому, передовсім Миколи Костомарова та Михайла Грушевського. Поетика роману Загребельного поєднує соцреалістичні, модерністські й (прото)постмодерністські елементи, і звернення до первинних і вторинних джерел, використаних у тексті, дає змогу побачити принципову неоднозначність ідеологічного змісту твору
Жанрові особливості української барокової проповіді
Full text linkThis paper is an attempt to comprehend the theoretical preconditions of the genre structure of the Ukrainian baroque sermon in the process of its formation and development starting from “Teaching Gospel” of the early baroque period written by Kyrylo Trankvilion Stavrovetskyi till the homiletic treatise “The Art or the Method of Composing the Sermon” by Ioanykii Galiatovskyi. The forms and principles of coexistence of two homiletical patterns, Greco-Slavic and Latin-Polish, are considered as a channel of rhetorical and stylistic changes that determine genre modifications and varieties. Viewed in this way, the author’s introductions, topics of sermons, and their consistency with different composite parts of the text give grounds to observe the consecutive actualization of the whole conception within the ambit of the whole book and individual sermon samples.
One of the key issues is the interaction of oral and written (book) forms of a sermon, which reveals a double level of communication with the recipient: listening and reading. This is demonstrated by the oral practices of preaching by Kyrylo Trankvilion Stavrovetskyi, Ioanykii Galiatovskyi, Antonii Radyvylovskyi, and Lazar Baranovych, on the one hand. On the other hand, in their collections of sermons named “Key of Understanding”, “Virgin Mary’s Garden”, “Spiritual Sword”, “Trumpets of Sermon Words”, the authors, in addition to the practical part, give some theoretical comments and reflections on their creative process, endowed with divine power.
The development of the theory of Ukrainian baroque preaching was greatly influenced by the homiletic treatise by Ioanykii Galiatovskyi “The Art or the Method of Composing the Sermon”, in which the author consistently elaborates the main issues concerning the theme, composition, examples, and amplification.
У статті осмислено теоретичні передумови жанрової структури української барокової проповіді в процесі її становлення й розвитку — від ранньобарокового «Учительного Євангелія» Кирила Транквіліона Ставровецького до завершальної «Науки або способу зложення казання» Йоаникія Ґалятовського. Форми й засади співіснування двох проповідницьких моделей — греко-слов’янської і латино-польської — розглядаються як джерело риторичних і стилістичних змін, що зумовлюють жанрові модифікації та різновиди. Із цього погляду авторські передмови, теми проповідей, їх узгодженість із різними композиційними частинами тексту дають підстави простежувати послідовну реалізацію цілісного задуму в межах усієї книги та окремих проповідницьких зразків