The Story of

A Collection of Articles on Ukrainian THE STORY OF PYSANKA

A Collection of Articles on Ukrainian Easter Eggs

Sumtsov, Horlenko, Nomys and Others

SYDNEY All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any way or form, or by any means, electronic, mechanical, photocopying, scanning, recording or otherwise without prior written permission of the publisher.

Copyright © Sova Books Pty Ltd 2019 First published 2019

Editorial Board: Eugen Hlywa (†), Yuliia Vereshchak, Halyna Bondarenko, Serhiy Pjatachenko, Lesia Tolstova, Svitlana Yakovenko

Copy editing: Anita Saunders Cover illustration: Mariya Luvchieva Translation: Svitlana Chornomorets

Series: Ukrainian Scholar Library Book 1: The Story of Pysanka: A Collection of Articles on Ukrainian Easter Eggs

ISBN: 978-0–9945334–8–7 (Paperback)

A catalogue record for this book is available from the National Library of Australia The folk legends portray the as a source of life, and as the universe. Mykola Sumtsov, ‘Ritual egg’ (1889) Contents

Acknowledgements 9 Foreword (by P. Rybalko) 11 Mykola Sumtsov ...... 15 Fedir Vovk ...... 18 Olha Kosach ...... 20 Volodymyr Yastrebov ...... 23 Kateryna Skarzhynska ...... 26 Matviy Nomys ...... 29 Vasyl Horlenko ...... 31 Kievskaya Starina ...... 32 Pysanky (by M. Sumtsov) 33 Pysanky in ancient and modern ethnography ...... 33 Materials used in preparation of this article ...... 40 Refections on the ancient symbolism of the egg in the folk tales . 42 Religious and symbolic meaning and ritual use of dyed eggs in the ancient cults ...... 43 Folk names of krashanky and pysanky ...... 49 Areas of popularity for pysanky in modern times ...... 51 Time of pysanky’s origin ...... 52 Mystical and ceremonial ambience ...... 54 Pysanka-making accessories: the stylus and dyes ...... 56 Methods of pysanka-making ...... 58 The uses of krashanky and pysanky...... 62 Geometric symbols ...... 75 Christian religious symbols ...... 86 Phytomorphic symbols ...... 90 Zoomorphic symbols ...... 95 Scevomorphic symbols ...... 99 Conclusion ...... 101 Additional information ...... 104 Ritual Egg (by M. Sumtsov) 107 Skarzhynska’s Museum in Lubny (by V. Horlenko) 111 A Few Words on Pysanky (by V. Yastrebov) 115 A Collection of Pysanky Patterns (by Unknown) 121 Krashanky in the Old Days (by M. Nomys) 127 A Few Words on How to Make Pysanky and Krashanky (by Unknown) 129 About Krashanky and Pysanky (by A. Hrepachevskyi) 133 Bibliography 135 Glossary 147 Editorial Note 153 Index of Geographical Names 155 Index of Religious, Philosophical and Mythological Names 161 Index of Pysanka Symbols 163 Index of Personalities 166 Sova Books’ Ukrainian Scholar Library 169 2019 Foreword Pavlo Rybalko

Pavlo Rybalko is a senior curator at Kropyvnytskyi Local History Museum. Art of pysanky is one of his areas of expertise. Pavlo Rybalko’s publications include a book on Volodymyr Yastrebov’s pysanky collection (Rybalko 2010).

This book is a compilation of 19th century articles dedicated to Ukrainian ritual Easter eggs, pysanky and krashanky. The articles have been previously published in a Ukrainian journal Kievskaya Starina [Kyivan Antiquity]. The articles vary in style and length as well as volume and depth of information on the Easter eggs. Some ofer a properly structured story on pysanky and krashanky, their history, characteristics, tales, legends and traditions connected with them, whereas others briefy touch upon the subject and mention the Easter Pavlo Rybalko. eggs in passing, rather concentrating on other topics such as museums or folk games in . The diversity of the writings ofers a more comprehensive insight into the signifcance of the pysanky and krashanky enjoyed in . *** 12

The sacred custom to ornate eggs as part of Easter celebrations has been popular among many cultures for centuries. However, it seems that in the Ukrainian culture pysanka also enjoys special reverence and is often regarded as a symbol of the country. Thus, in his poem Kniazhna (1858), the much beloved Ukrainian classic poet, (1814–1861), turned to pysanka to convey the beauty of his native land. There are monuments and other testaments to pysanka throughout Ukraine and abroad. In 1987, the was established in , Ivano-Frankivsk region. In 2009, the released commemorative coins ‘Ukrainian pysanka’: nickel silver coins with nominal value of 5 hryvni and silver coins with nominal value of 20 hryvni. In 2016, 2017, 2018 and 2019 Canada, the country with the largest , released two silver-coloured coins in a shape and with the design of Ukrainian pysanka. Canada was also one of the frst countries to erect a monument to pysanka in 1974, in Vegreville. Other countries, like and Lithuania, also have monuments dedicated to their traditional Easter eggs. Periodically, some countries of Europe release philatelic and postal products depicting images of their Easter attributes, including eggs. An impressive assortment of Ukrainian ancient pysanky is found in collections of famous world museums, including London, Saint Petersburg, Prague and Krakow. A signifcant event for pysanky lovers took place in 2011, when 210 ancient pysanky were returned to Ukraine from Germany, having been appropriated during the Second World War and kept in Höchstädt an der Donau Regional Museum for about seventy years. For the most part of the last century the pysanka-making custom has been suppressed by the Soviet government russifcation and anti- religious policies. However, during the recent decades various measures have been taking place in Ukraine to ofer the original pysanka-making art its proper place in the nation’s modern culture. The authentic traditions are being revived with the establishment of pysanka-making classes, publication of specialised literature, organisation of various competitions and exhibitions as well as enrichment of the museum collections. Thus, in 2012, on the initiative of a modern Ukrainian musician, Oleh Skrypka, and The Initiatives of the Capital Organisation in , the frst nationwide festival, Dyvo-Pysanka [Wonder-pysanka], took place, where 25 giant pysanky-models representing styles of each Ukrainian region were presented. Since then, each year, during the Independence Day celebrations these giant pysanky are important participants of the event 15

Mykola Sumtsov

The author of the most comprehensive article on the Ukrainian Easter eggs in the present compilation is Mykola Fedorovych Sumtsov (1854–1922) (Sumtsov 1891). In fact, this book contains two articles written by this author, ‘Ritual egg’ (Sumtsov 1889) and ‘Pysanky’ (Sumtsov 1891). The name of Mykola Sumtsov is known in the felds of ethnography and history as an unsurpassed expert on Sloboda Ukraine. In his writings he ofered a thorough account of numerous aspects of the Ukrainian folk traditional life and culture of the area, Mykola Sumtsov. including mythology (Sumtsov 1893), folk songs (Sumtsov 1886) and wedding customs (Sumtsov 1885). Mykola Sumtsov was born into a well- to-do family, descendants of kozaks. His father, Fedir Sumtsov, originally from Kharkiv, worked in the Ministry of Finance in Saint Petersburg, where Mykola was born. After his father’s retirement in 1856, the Sumtsovs returned to Sloboda Ukraine, their homeland. The leading topics of Mykola Sumtsov’s areas of interest included history, ethnography and folklore of Ukraine, which were often presented in a form of a comparative analysis. His fascination with the homeland’s heritage was frstly nurtured by his mother, Anna Ivanivna, who brought up Mykola on her own since he was two years old, when her husband died. Later, in his student years, Mykola Sumtsov’s choice of studies was supported by his mentor, a philosopher and linguist, a known Ukrainophile, Oleksandr Potebnia (1835–1891) (Mandebura 2011, p. 17). Other outstanding Ukrainian scholars whose works infuenced Mykola Sumtsov include Izmail Sreznevskyi (1812–1880), Mykhailo Maksymovych (1804– 16

1873), Osyp Bodianskyi (1808–1877), Oleksandr Kotliarevskyi (1837– 1881) and Mykola Kostomarov (1817–1885) (Dmytrenko 2004, p. 5). Mykola Sumtsov graduated History and Philology Studies at Kharkiv university in 1875, where he was awarded a gold medal for one of his theses. In 1876 he undertook several courses at Heidelberg university. In 1878 Mykola Sumtsov became a lecturer at Kharkiv university. In 1881 he obtained his Master’s degree. In 1885 he was awarded a doctorate and in 1888 he became a professor. To name only a few topics covered by Mykola Sumtsov in his writings: koliadky and shchedrivky (Sumtsov 1886), a legend about a sinful mother (Sumtsov 1893), the infuence of the Ukrainian scholastic literature of the 17th century on the Russian schismatic literature of the 18th century (Sumtsov 1895), literary tendencies of the Ukrainian writers of the 17th century (Sumtsov 1906) and so on. During the period of 1889–1890, Kievskaya Starina [Kyivan Antiquity] published Mykola Sumtsov’s extensive ethnographic observations entitled ‘Kulturnye perezhyvaniya’ [Cultural experiences], with its forty-frst chapter dedicated to the ritual egg (Sumtsov 1889) (published here under the same title, ‘Ritual egg’, see page 107). This piece is a succinct comparative account of the signifcance of krashanky and pysanky in the ’ celebration of Easter. The author here touched upon the pre-Christian tradition of honouring the dyed egg as a symbol of the Sun and upon the diference of various methods of making the Easter eggs. Two years later the same Kievskaya Starina [Kyivan Antiquity] published another article by Mykola Sumtsov on the Ukrainian Easter eggs, entitled ‘Pysanky’ (see page 33) (Sumtsov 1891). ‘Pysanky’ was the outcome of the analysis of a large volume of material based on the author’s own observations and information he gathered from others. The scholar examined publications on the Easter eggs, pysanka- making methods and techniques, the origin of various pysanky’s ornaments and names, the symbolism of the egg in diferent cultures and belief systems. He also pointed out characteristics of the Ukrainian pysanky that were common with other peoples’ ritual eggs or which were typical only to the Ukrainian ones. Discussing the aesthetic signifcance of pysanka-making art, Mykola Sumtsov expressed his concern regarding the disappearance of this distinguished form of folk art (Sumtsov 1891) (see page 101). Mykola Sumtsov was one of the organisers of a regional ethnographic exhibition that was presented at the 12th Archaeological 33

1891 Pysanky Mykola Sumtsov

Mykola Sumtsov, a renowned Ukrainian ethnographer, published this article on pysanky in Kievskaya Starina [Kyivan Antiquity] in 1891 – the frst part in issue no. 5 and the second part in the following issue no. 6. Although he published an earlier overview in 1889 – extracted here in the chapter ‘Ritual egg’ – this work is positioned frst since it is the most comprehensive out of all the works ofered in the compilation.

In Western Europe scholarly studies on pysanky Pysanky in date back to the late 17th century. In 1682, in his essay Dissertatio de Ovis Paschalibus, von ancient and Ostereiern, which was published in Heidelberg, modern Arztes Johannes Richier suggested ancient ethnography Greek origins of the pysanka (Richier 1682). In his description of the German customs involving Easter eggs, he noted that on Easter eve adults would bury dyed eggs in the ground and then would show them to children and tell them that the eggs had been laid there by hares; furthermore, these eggs received a specifc name: ‘Haseneier’. 1. It is likely that there is Köber, in his Dissertatio de Ovo Paschali a mistake in the reference (Leipzig, 1690),1 expressed an opinion of pysanka and that the author meant Johann Friedrich having Christian Church origins. Tobiae Kraskii Köber’s Dissertatiuncula held the same view (Kraskii 1705). Kraskii saw de Ovo, Quod Vocant, pysanka as a symbol of the future resurrection of Paschali (Köber 1672). 34

2. It seems that the the dead. His book contains references to some original publication of folk customs, such as the ‘rolling’ of pysanky. the article contains a Erdmann in 17052 (Erdmann 1736) and Jensen mistake in the reference’s in 1706 (Lauterbach & Jensen 1706) wrote about date. It is likely that the author meant the work of Easter eggs along the same lines. The latter Johann Friedrich Gottlieb asserted that the krashanka symbolised blood Erdmann’s Commentatio spilled by the Saviour for the sake of mankind.3 Critica de Ovo Paschali The contemporary writings of German (Erdmann 1736). scholars which relate to Easter eggs include Das Heidenthum und dessen Bedeutung für das Christenthum [Paganism and its importance for 3. The author refers to the ] by Johann Sepp (Sepp 1853), Das most popular colour of Christliche Kirchenjahr [The Christian Church krashanky – red. Year] by Gottlob Wunderlich (Wunderlich 1884) and Hessische Volks-Sitten und Gebräuche im Lichte der heidnischen Vorzeit [Hessian Folk Customs and Traditions in the Light of Pagan Antiquity] by Wilhelm Kolbe (Kolbe 1888). These scholars held the view that the pysanka originated in Pagan antiquity, and once upon a time served as a symbol of the spring sun (Zibrt 1890). Currently the interest in pysanka within German scholarly circles has stalled. In the 17th century they found it necessary to devote a special study to pysanka, whereas in the 18th (Köber 1672). and 19th centuries they mention pysanka only in passing, when discussing other customs associated with the folk calendar. In the Russian Empire – with the exception of the 17th century, when the foreign travellers Olearius and Beauplan (1651) mentioned pysanky in their travel accounts – Easter eggs drew attention for the frst time only in the late 1870s. Fedir Vovk’s article (Vovk 1878, p. 318 & p. 325) includes brief notes on the ornamentation of pysanky. In 1876 Olha Kosach’s book entitled Ukrainskiy Narodnyi Ornament: Vyshyvki, Tkani, Pysanky [Ukrainian Folk Ornament: Embroidery, Fabrics and (Kraskii 1705). Pysanky] was published. There is a note about 35

the ornamentation of pysanky in the preface (Kosach 1876, pp. 13–14), as well as 23 colour images (see page 50) which are contained in its appendix. In 1882, Oskar Kolberg made some interesting remarks about the Galician Rus [Halychyna or , Ukraine] pysanky (Kolberg 1882). In 1887 there were short articles by Bartels about Ukrainian pysanky in Zeitschrift fur Ethnologie [Journal of Ethnology] and about Polish ones in the Wisła journal. Two monographs on pysanky came out this year: in the Polish language on Polish pysanky by (Erdmann 1736). Udziela (1888) and a more extensive work in the Czech language on Moravian pysanky entitled Moravske ornamenty [Moravian ornaments] that included the articles by Jindřich Wankel and Františka Stranecka (Havelkova 1888). The Czech publication includes an extensive addendum with drawings of pysanky. The article of Wankel (Wankel 1888), a famous archaeologist, presented solid research on the archaeological signifcance of pysanky. In recent years the ethnographers of all Slavic countries, but mostly Polish ethnographers, have expressed a great interest in pysanky. In 1889, in issue no. 76 of Kharkovskie Hubernskie Vedomosti [Kharkiv Provincial News], I addressed the public with an appeal for information on pysanky to be delivered to me by way of a survey that consisted of eight paragraphs, which I ofered therein. My article was later reprinted in whole and in part in the following periodicals: Elisavetgradskiy Vesnik [Elysavethrad Herald], Volyn, Kievskaya Starina [Kyivan Antiquity] and Etnografcheskoe Obozrenie [Ethnographic Review]. The same year, independently from my appeal to the public, in issue no. 328 of the Polish illustrated Tygodnik and in other illustrated Polish editions, a request to the public (Kosach 1876). 36

appeared regarding gathering and delivering pysanky as well as information about them. The request was signed by two young Polish academics, the ethnographer Zygmunt Wolski and archaeologist Tadeusz Dowgird, with the inclusion of a brief explanation and four photographs of pysanky, three of which were Polish and one Ukrainian. At the end of 1889, in a new Serbian magazine Glasnik Zemaljskog Muzeja Bosne i Hercegovine [Herald of the National Museum of Bosnia and Herzegovina], (Lauterbach & Jensen Mr Svitlic reported that Mihailo Valtrovich 1706). collects Serbian and Bosnian pysanky in order to study their ornamentation (Svitlic 1889, p. 60). Among all these appeals to the educated public the most fruitful one appeared to be the Polish appeal. In issue no. 4 of Tygodnik and a little later in Wisła supplement Z. Wolski and T. 4. Rezultat wypadl Dowgird (1890) reported that they had received nadspodziewanie swietnie. – Pol., ‘the result was a few dozen descriptions and 2800 specimens surprisingly great’. of pysanky from 220 villages from various areas of and the Right-bank Ukraine. The gatherers themselves were surprised by the success of their appeal to the society and noted that ‘rezultat wypadl nadspodziewanie swietnie’.4 The interesting fact is that the largest number of collections have been given by the provinces with predominantly or entirely Ukrainian population: Podillia – 13, Kyiv – 5, Volyn – 4 and Siedlce province – 6, whereas Warsaw – 3, Suwalki – 2, Piotrkow, Kalisz and Plock – 1 specimen each. In 1890 Wisła published a brief account by Mrs Sadowska about pysanky in the Novominsk district of Warsaw province (Sadowska 1890) as well as a short article by T. Dowgird on pysanka- making methods in Poland and the distinctive features of the ornamentation of the Easter eggs (1890, book 4) (see page 38 and page 39). (Wolski & Dowgird 1890). Issue 15 of Tygodnik Ilustrowany Dla Index of Personalities

See also ‘Index of religious, philosophical and mythological names’ on page 161.

A Ciszewski, S 105, 136 Gloger, Z 105, 137 Cosquin, E 45, 136 Gonzenbach, L 45, 137 Afanasyev, A 43, 44, Gottlieb, J 34 65–67, 70, 96, 135 D Granstrem, E 44, 137 Andreev, [?] 40 Antonovych, V 18, 32 Dmytrenko, M 16, 136 H Attay, M 45 Dmytriev, I, Fr 40, 41, 83, 90 Hamaley, O 127, 139 B Dontsov, K 40 Havelkova, V 35, 137, Dowgird, T 36, 38, 39, 143, 145 Bahaliy, D 27 41, 55, 57, 60, 61, 136, Heinecke, H 51, 137 Baraniecki, A 41 145 Herberstein, S 52 Baranovska, E 40, 41 drabyna 99 Herodotus 43 Bartels, [M?] 35, 41 Drahomanova, E 20 Hertsik, [?] 139 Beauplan, de G 34, 54, Drahomanova, O 20. Hlynskyi, D 40, 41 65, 135 See also Kosach, O Hohol, [?] 139 Beliashivskyi, M 27 Drahomanov, M 18, 20, Holovchykha, A 86, 102 Bobyn, [?] 40, 41 32, 46, 136 Horlenko, D 31 Bodianskyi, O 16 Drahomanov, P 20 Horlenko, L 31 Boltenkov, [?] 41 Druzhynin, [?] 40 Horlenko, V 27, 28, 31, Bosa, L 23, 24, 135 Dudok, [?] 40 111, 117, 137, 138, 142 Bosyi, O 23, 24, 135 d’Urville, D J 75 Horlenko, Y 31 Braker, N 23, 24, 135 Dzieduszycki, W 41 Hrepachevskyi, A 133, Brinton, D 82, 135 137 Bruijn, de C 43 EF Hrushevskyi, M 18 Hryhorovych, V 23 C Erdmann, J 34, 35, 136 Falenko, A 102 I Carnoy, E 51, 135 Feoflaktov, K 26 Child, F 47, 48, 136 Filonov, V 104 Ilchenko, O 27, 137 Ch., L 23, 24, 135 Ivanchenko, Y 18, 19, Christmann, Fr 44, 136 G 137 Chubynskyi, P 48, 71, Ivanov, P 40, 70, 101, Giovio, P 52 136 137 Glik, L 86–89, 136 Chykalenko, L 19, 136 Ivanyk, [?] 104 167

J 101, 102, 104, 113, Nicolaides, J 51, 135 115–118, 121–125, Nomys, M 29, 30, 127, Jensen, J 34, 36, 139 128, 130, 139 140, 141, 143 Juvenal (Decimus Kvitka-Osnovyanenko, Nowosielski, A 81, 140 Iunius Iuvenalis) 43 H 62, 73, 92, 95, 96, 139 O K Kyryakov, H 26 Oberländer, R 44, 136 Kadłubek, W 105 L Odarchenko, P 29, 141 Kalinskiy, I 46, 52, 137 Oikonomos, C 46 Kaminskyi, F 26 Lapushniak, [?] 40 Olearius, A 34, 52 Kantarovskyi, Fr 127, Lauterbach, H 34, 36, Ovid 43 128 139 Karazin, N 69, 70, 138 Lazarevskyi, O 127, 139 P Karlovych, I 40 Lebedyntsev, F 32 Patera, [?] 40 Khalanskyi, M 41 Léger, L 20 Pavlutskyi, H 75–77, Kharuzin, N 81, 138 Lenin, V 28 87, 141 Kobeliatskyi, V 40 Levchenko, M 59, 139 Pavlyn, [?] 41 Köber, F 33, 34 Levenson, A 124 Paziak, M 29, 30, 141 Kobrynska, N 21, 138 Lönnrot, E 44, 139 Pchilka, O 20–22, 138, Kolberg, O 35, 109, 138 Lozynskyi, I 62, 72, 139 141, 144, 145. Kolbe, W 34, 138 Lysenko, M 20 See Kondratovych, O 18, also Kosach, O 138. See also Vovk, O M Pelykhov, D 40 Koropchevskiy, D 45, Petreius, P 52 138 Maksymovych, M 15, Petronius 105 Kosacheva, O 20. See 64, 66, 67, 72, 83, 139 Petrow, A 44, 72, 141 also Kosach, O Mandebura, O 15, 17, Petrushevskyi, P 41 Kosach-Kvitka, L 20. 140 Pilate, P 48 See also Ukrainka, L Manzhura, I 40, 101 Pliny the Elder 43 Kosach, O 20–22, 34, 35, Margeret, J 52 Plutarch 43 41, 50, 61, 76, 78, 80, Markovych, O 30 Potebnia, O 15, 32, 47, 83, 89, 124, 138 Maspero, G 45, 140 141 Kostomarov, M 16, 31, Mazurewicz, F 51, 140 Prasolov, A 40 32 Metlynskyi, A 73, 140 Proskura, O 40 Kotliarevskyi, O 16 Michajlyszyn, R 13, 140 Pstrak, Y 37, 64 Kozar, L 31, 32, 138 Milićević, M 105 Pymonenko, M 98, 103, Kraskii, T 33, 34, 138 Minaev, I 45, 140 105 Kulish, P 30, 45, 138 Mohyla, P, Metropolitan Kulzhenko, S 122, 124, 54 R Mykhalevych, I 22, 140 125 Raizer, K 26. See Kulzhynskyi, S 25–28, Myshniv, [?] 40 also Skarzhynska, K 40, 52, 56, 58, 62, 67, N Rambaud, A 20 68, 70, 72–74, 80, Reville, A 44, 142 82, 87, 90–95, 99, Narbut, H 27 Riabinin, M 45 168

Richier, A 33, 142 Sumtsova, A 15 W Rodkevych, F Fr 40, 41, Sumtsov, F 15 96, 99 Sumtsov, M 5, 14–18, Wankel, J 35, 76–79, 81, Romanov, E 45, 142 20, 23, 24, 29, 33, 73, 82, 137, 145 Rosavskyi, [?] 40 75, 77–79, 107, 117, Wanklova, M 67, 76–81, Roslavskyі-Petrovskyі, 118, 136, 140, 143, 84, 85, 89, 94, 96, 137, O 43, 142 144, 148, 153 145 Rudanskyi, S 46 Suvorov, A 52 Wolski, Z 36, 38–41, 145 Rudynska, E 31, 142 Svet, V 40 Wunderlich, G 34, 145 Rybalko, P 11, 115–118, Svitlic, D 36, 55, 60, 94, 142, 153 96, 144 Y Symonov, M 29. See Yanchuk, M 41 S also Nomys, M Yastrebov, V 11, 23–25, Sadovnikov, D 45, 142 29, 64, 115, 135, 142, Sadowska, J 36, 55, 142 T 146 Yizhakevych, I 63 Saltykov-Shchedrin, M Tereshchenko, A 52, 144 61, 142 Tiberius, Emperor 46 Savyniv, M 40, 41 Tovpekyn, [?] 40 Z Sementovskyi, K 70, Trachevskyi, A 82, 144 Zabelin, I 52, 146 143 Trofymovskyi, [?] 40 Zhukov, [?] 40 Sepp, J 34, 143 Trutovskyi, K 53, 71 Zhytetskyi, P 32 Serebriakova, T 22 Tylor, E 95, 144 Zibrt, C 34, 65, 146 Serhienko, D 26–28, 143 Tytarenko, V 20, 21, 144 Zmigrodzki, M 51, 82, Shein, P 73, 143 146 Shevchenko, T 12, 19, U 30, 66 Skarzhynska, K 9, Udziela, S 35, 37, 48, 55, 25–27, 31, 41, 111, 58, 74, 94, 97, 99, 144 118, 121–125, 137, Ukrainka, L 20, 21 139, 143 Ulanowska, S 48, 144 Skarzhynskyi, M 26 Uspenskiy, H 42–44, Sklobynska, A 40 145 Skovoroda, H 17 Skrypka, O 12 V Skubak, M 40 Valtrovich, M 36 Soter, Antiochus I 81 Vasnetsov, V 69, 70, 145 Sreznevskyi, I 15 Voevodskyi, L 42, 145 Starytskyi, M 20 Volkov, F 18, 19, 119, Stepaniv, [?] 40 145. See also Vovk, F Stranecka, F 35, 44, 64, Volters, E 65, 72, 145 66, 137, 143 Vovk, F 18–20, 29, 34, Struk, H 30, 143 137 Sukhodolova, M 56 Vyshnevska, N 20, 145 Sova Books’ Ukrainian Scholar Library

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