48.

The core of page 48 is a raw, bitter lament from a heartbroken speaker directly confronting his beloved “Mila.” He tells her not to come to him anymore, demands she return what she “took” (his heart/love), and unleashes a series of ironic “curses” (the repeated folk expression “Богдайс” — “God grant” or “may it be”) wishing her physical or emotional suffering because she only pretended to love him while actually rejecting him and turning to others. The final lines shift to a quiet, aching metaphor: the low sunset that can never be reached symbolizes the unreachable, fleeting nature of their love and the speaker’s helpless inability to forget her.

The overarching theme is the torment of betrayed or unrequited love — the toxic mix of resentment, jealousy, sarcasm, and lingering attachment that refuses to let go even when the relationship is clearly over. It captures that classic folk-song emotional spiral: anger at the betrayal mixed with the painful realization that the heart still clings to the memory.

The indented “paragraphs” (really indented lines or blocks of text) you’re noticing across some pages are deliberate formatting choices made by Gofina Hrepenyk herself while copying the songs.

Here’s why it happens on certain pages but not others:

• Verse numbers are placed at the left margin, and the actual lyrics are indented to the right of the number. This creates a clean, “book-like” look and makes each stanza easy to spot at a glance while singing or reading aloud.
• Refrains or repeated lines are often further indented (or start further in) to visually separate them from the main verse. You’ll see this especially in songs that have a chorus or a line marked “(2р.)” — the indentation signals “this part repeats.”
• Poetic structure: Ukrainian folk songs are usually couplets or quatrains. Gofina used indentation to show where one thought or melodic phrase ends and the next begins, exactly the way a printed songbook would use spacing or tabs.
• Not every page is the same because she was writing freehand over time. Some songs she copied more carefully with clear stanza breaks; others she wrote more fluidly with less indentation.

It’s a very common practice in early-20th-century handwritten Ukrainian pisni notebooks like this one. The indentation isn’t random — it’s Gofina’s way of organizing the material so the songs are easier to perform or remember. It turns a simple notebook into something that feels more like a real song collection.