Kazimierz Jaworski contributed to a great extent to popularising Yevhen Malaniuk’s poetry in the interwar period. Most of Jaworski’s translations of Malaniuk’s poems into Polish were published in the years 1933–1937 in the magazine Kamena in Chełm. The poet from Lublin undertook to translate less popular poems, unknown to Polish readers. He opted not to work with the Ukrainian poet’s patriotic works, familiar to Polish literary circles, and chose poems of intimate and existential nature instead. From the two collections which were known in Poland, Earth And Iron (1930) and The Earthly Madonna (1934), he selected poems which in a special way correlate with his own lyrical works from the To a Red And White Mistress (1924) collection. What deserves special attention among Kazimierz Jaworski’s translating techniques is his exceptional diligence in choosing suitable Polish semantic equivalents and in rendering an appropriate rhythm of poems. Most of his translations can be described as adequate. They are not absolute, but they convey the originality of a given work through preserving the form and contents of the translated poem in the most faithful way possible. Jaworski’s translations show his inclination to poetise and dynamise the text. The translator readily uses his own metaphors and expands phrases with emotionally charged elements. Kazimierz Andrzej Jaworski was also a tireless propagator of information concerning the most recent translations of Yevhen Malaniuk’s poetry as well as the publishing activities of one of the most valued representatives of the Ukrainian immigration in Poland.

The current article is an attempt at demonstrating the sacred in Tychyna’s poems translated into Polish by Czechowicz. The sphere of the sacred in the works of the Ukrainian poet mainly derives from Christianity and focuses around Biblical motifs and symbols. Pavlo Tychyna (1891‐1967) was one of those Ukrainian writers whose works attracted a lot of attention in the interwar period amongst representatives of Lublin’s literary circles, including Józef Czechowicz, who translated over twenty of his poems from the collections Clarinets of the Sun 1918, The Plow 1920 and Instead of Sonnets and Octaves 1920. The volume Clarinets of the Sun is dominated by man’s harmony with God and the Universe, while in the two subsequent ones religious motifs appear in apocalyptic visions.

The article is an attempt to present Józef Czechowicz’s relationships with the early works of Oleh Olzhych from the Камінь (1932) and Бронза (1932) cycles, preceding his debut collection of poems entitled Рінь (1935). Oleh Kandyba’s poems became the subject of interest of Polish literary circles as early as in the 1930s. His poems were translated mostly by writers associated with the Kamena magazine based in Chełm, a group whose member was also Józef Czechowicz. Kandyba’s poetry, described as “tragic optimism,” is to a large extent analogous with the works of the poet from Lublin. Both authors include apocalyptic and Arcadian motifs in their poems. Their compositions, based on contrast, are accompanied by Biblical and classical motifs, in which the imagery of stone played a special role. Both Olzhych and Czechowicz took care over the clarity of their poetry and focused on the right choice of words. Poems provided them with a means of escape from the realities of war and constituted a kind of an appeal to the nation.