This chapter investigates how Dmytro Chyzhevs'kyi, starting in the 1930s, developed an implicit national typology of Ukrainian literature alongside his in terest in pan-European and pan-Slavic historical typologies. By examining Chyzhevs'kyi's studies of Skovoroda, Kulish, and Gogol', Frank shows that he consistently emphasized the importance of religious-philosophical worldview, the Baroque literary tradition, and transnational intellectual entanglements, even as he left aside such issues as language or imperial asymmetries. Although Chyzhevs'kyi consistently focused on European interconnections, Frank argues that these essays reveal a second, largely unarticulated dimension: a specifically national, epoch-spanning Baroque tradition running through the entire history of Ukrainian literature. Chyzhevs'kyi's nascent national typology predates and complicates his later, more systematic model of oscillating European styles. The contribution thus uncovers a previously overlooked tension in Chyzhevs'kyi's work – between universalist comparativism and an implicitly national literary logic.