Abstract
The present paper provides a critical analysis of the controversial moments of the theory of speech rhythm as well as the history of the issue. The author classifies the types of rhythm and the basic ways of rhythmization. The definition of rhythm is also specified, and the sources for the inner rhythm relevant for accentual syllabics (e.g. foot-based segmentation, caesura, etc.) are considered. In the second part of the paper, the typology of caesuras and the means to mark them is presented.
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