In the work of Vladimir Korolenko (Russian-Ukrainian writer, 1853-1921), particularly in "The Dream of Makar", the relationship between body and the Trinity, as well as the notions of anti-tragedy and Christian poetics, emerge as central themes in the narrative structure. The interaction between the Gran Toyon, His Son, and the bird metaphorically evokes the Christian Trinity, representing God the Father, Jesus Christ, and the Holy Spirit, respectively. These figures embody a spiritual and redemptive justice that challenges both the temporal political oppression and the existential suffering experienced by the protagonist, Makar. From the perspective of Foucault's political spirituality, this Trinitarian imagery is not one of submission but of resistance against the biopolitical control that seeks to suppress the humanity and dignity of the oppressed. Korolenko's depiction of Makar's journey—through a Dantean-inspired dream—parallels the transformation of the tragic into the comic, aligning with the anti-tragedy concept. This transformation reflects a Christian poetics where mercy and redemption become pathways to liberation. The narrative suggests that the suffering of the body, particularly the oppressed body, is not the final word but rather a locus for divine compassion and human dignity, which subverts both czarist and Bolshevik authoritarianism. Korolenko uses irony and a redemptive form of storytelling to underscore the absurdity of idealized political systems that betray the poor. His work, therefore, contributes to a poetics of mercy, where the body is not only a site of suffering but also of potential transformation through spiritual justice and love. The Trinitarian figures in his narrative offer hope and a critique of power, serving as symbols of resistance and divine compassion in the face of political and social tragedy. In this way, the Trinitarian figures can be seen as De Certeau's Trojan horse strategy in the authoritarian imaginary of a culture.