Yet it cannot be denied that with all their weaknesses, these new men were doing a great work in the adaptation of Ukrainian literature to world models. They were rapidly forcing the literature from a narrow and almost provincial field to a world arena and if in the beginning they cut themselves off from their less fortunate fellow men, the greater writers, once they had mastered the forms steadily began a return to the world which they had formerly scorned. Yet that return was no mere repetition of the past, no slavish abjuring of the ideas that they had formerly admired. It was rather a realization of the fact that literature did have other purposes than the purely photographic repetition of details of ethnography and social philosophy, that it could affect the readers by the evocation of various moods, and could give them a deeper understanding of some phases of human psychology by the use of symbols more or less easy to penetrate than it could by plain matter of fact narration and bald statement. In other words there was again a conscious approach to that method of exposition which had been unconsciously present in the mind of a great genius as Shevchenko. His _Great Grave_ is as much of a symbolistic poem as is any work of the present writers but he did it with the spark of genius and with his eye directed at the history of his nation even more than at individual psychology. The author who was to develop this new poetry to its height was O. Oles, the pen name of Oleksander Kandyba who was born in Russian Ukraine in 1878. Like many of the more modern writers, he was well educated and from 1903 on, he was recognized as the most outstanding poet since Shevchenko. Yet at no time could he have the appeal of such a man as Franko, for Oles with all of his talent was still pitching his works on a level which was inaccessible to the average educated man and he could be admired and understood in many cases only by a relatively small audience.