The standstill in Ukrainian translation, which characterized the 17th and the larger part of the 18th centuries was broken in the last decade of the eighteenth century by the appearance of Pious Songs (Побожник) in 1791 in Pochaiv. This collection contained original Ukrainian poetic works, translations, free interpretations and free adaptations of pious songs and Psalms from different languages into Ukrainian, Old Slavic and Polish. But the real outbreak and a regular epoch making event in Ukrainian literature, culture and translation happened at the very close of the eighteenth century, in 1797, when the first parts of I.Kotliarevskyi's free adaptation (перелицювання) of Virgil's Aeneid came off the press in colloquial Ukrainian. The appearance of this brilliant work marked a significant historical turning-point in Ukrainian literature and culture. It had started a quite new period in the history of Ukrainian literary translation as well. Kotliarevskyi's free adaptation of the Aeneid immediately began the eventual rejection of further translations in old bookish Ukrainian. It paved the way to a spontaneous, and uninterrupted functioning of spoken Ukrainian in original literature and in translated works. The first to have employed the manner of free interpretation after Kotliarevskyi at the beginning of the nineteenth century was the poet and linguist P.Bilets'kyi-Nosenko who made a free adaptation of Ovid's epic poem under the title «Горпинида чи Вхопленая Прозерпина» (1818), which was published only in 1871. The artistic level of this free adaptation, however, could not compete in any way with the already popular free adaptation of the Aeneid by I. Kotliarevskyi. As a result, it remained unpublished for more than five decades and consequently was unknown to Ukrainian readers.
Much more successful were free interpretations /free adaptations accomplished at a high literary level by the well-known Ukrainian poet P.Hulak-Artemovskyi. His free interpretation of I. Krassitski's Polish short poem under the title The Landlord and His Dog (1818) which he extended to more than fifty lines to become a regular poetic narrative, brought him recognition in Ukrainian literature. Free unextended translations were also made by this poet of Mickiewicz's ballads (Mrs. Twardowska), Gothe's poems (The Fisher), Horace's odes and some Psalms (from Old Slavic).
A positively different approach existed among translators in the first half of the nineteenth century to Russian national poetry which was sometimes almost faithfully versified. It can be observed in Borovykovskyi's translation of Pushkin's poems as in this one:
Буря мглою небо кроет, Буря в хмари небо криє,
Вихри снежные крутя, Сипле сніг, як з рукава,
То как зверь она завоет, То звірюкою завиє,
То заплачет, как дитя. То застогне, як сова.
Similar, near faithful versification, can be observed in Y.Hrebinka's translation of Pushkin's Poltava (1836), which the poet himself identified, however, as «a free translation»:
Богат и славен Кочубей. Багатий дуже Кочубей:
Его луга необозримы, Його ланам конця немає;
Там табуны его коней Його отара скрізь гуляє
Пасутся вольны, не хранимы В зеленім лузі без людей
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