The twentieth century for Ukrainian literature began rozkvìtom high poetic art. The solar sparks of Pavlo Tychyna erupted, composed the exquisite classic form of Maksym Rylsky, combined the strength and power of Stilsa and Stivius Yevhen Malaniuk, and he was an emotionally responsible world of his poetic laws, Olena Telliga, and was a talented scientific work with The artistic creativity and struggle of Oleh Olzhych, mysteriously pierced in the bowels of the poetic world, Mikhail Semenko, marveled at the work capacity of Valeryan Polischuk, after late, nineteen, flew into the extraterrestrial worlds with his “singing” by Vasyl Chumak…

The century promised to be energetically rich – Ukrainian was to become a very special prosperity, âviti the world its unfathomable soul, vyhotite on the millennial Winds of History, sung by Kupalym songs, Vičaklovanu Christmas and Easter Updating. Ukraine has to bring the world joy of the great spiritual fly. The forerunner of this oblivion was Pavlo Tychyna – the cosmic laws of existence with the full extent reflected in his poetic world. To know the sunny clarettes of World Harmony – to understand the beauty of the world and to promote the penetration of this harmony into the human world. These aesthetic laws of existence of creativity are reflected in his poetry, where the role of subconscious meets the high essence of creativity as a divine event. “Not Zeus, not the Lord, not the dove-Spirit – Only sunny clarettes…”

At the dawn of that time no one knew what test would go to our people – as if the Ukrainian land and Ukrainian literature appeared before the Satanic Test.

Why is our literature experienced such devastating influence of Satanic power, and our people are so martyred? The founders of the spiritual World became the first under the Satanic Force. They were exterminate, shot, cut their souls, deprived elementary rights to creativity as self-expression of personality. The Apocalypse of Time, a genius stipulated by the lion in the “Forest Song” – The Tweed is not just artistic, but a philosophical, which simply involves the bloody course of the twentieth century on the Ukrainian land. And how much had to wait for time, until the place of the burnt house, in the snow, new sprouts grow. Sixtiers…

Bogdan-Igor Antonych in poetic space is the most close to the work of Pavlo Tychyna. The same explosive emotionality, such mysticism of foresight, sun-shine joy and grandeur of the great ecumenical joy. And even in the personal nature of the same affinity – the fullness of music, perfect possession of several musical instruments, high intellectuals. Both are coming out of the high-spiritual Ukrainian priestly families. Pavlo Tychyna’s Rod is from the famous Polubotka dynasty.

Even in the intimate life of these writers there was something common – finding a high feminine ideal, striving to find it and some unexpected fear of a particular woman. The lone did not leave the heirs, although Antonich lived short, as a flash, twenty-eight years of life, and Pavlo Grigorovich is long and measured as a wave of a wide river. Even glasses on the nose in the youth sat somehow equally – as if two butterflies. Melodies of life and melodies of their creativity are intertwined.

Children (and therefore such candor and sincere) confession of life is reflected in poetic thinking, where you see yourself as a separate substance of the great world. “Grows antonich and grows grass…” So only a child sees himself next to the grass, a rock, a tree… And it may, however, be a crearites of this world, when he is a brother of the spirit, the spirit of a stone of eternal revolt – the rebellion which carries atonement.