Czech Prose Research Articles

Conceptualizing Literary History: A Survey of Poetics in Czech Fiction 1860–1910. Part Two

The article provides an innovative model of poetics (or isms, styles, etc.) in Czech prose in the latter half of the long 19th century. It gives an overview of seven individualized and mutually distinct poetics, including ideal, analytical, and psychological realisms, Parnassism, naturalism, impressionism, and decadence. The individual poetics do not represent periods, but exist in parallel, allowing confrontations and intersections either within the author’s work or in a specific text, as in the model of Czech literature developed by Dalibor Tureček in the past decade. They are always set in the context of European literature and supported by many illustrative examples. The model is not only typological, but also assumes a diachronic perspective, which can be developed in future scholarly work on the history of Czech literature. The aim is to create a system that can potentially be applied not only to Czech fiction, but possibly also to poetry or drama, in other periods and literatures. Part Two of the article concentrates on psychological realism, Parnassism, naturalism, impressio- nism, and decadence.

Vidění znaku a účinnost slova. Turnaj ve staročeské povídce o Štilfridovi

The bulk of the Old Czech prose tale of Štilfrid (preserved in three manuscripts from the post-Hussite period and in early modern chapbooks) consists of a tournament in which the protagonist triumphs over twelve representatives of an enemy king, killing most of them. The present study builds in particular on the work of Jaroslav Kolár and Michel Stanesco and examines this tournament as a semantic spectacle. In doing so, it focuses primarily on the connections between the names and coats of arms present in the story and other medieval narratives, and shows how Štilfrid’s verbal and physical prowess and specific virtue (dangerously bordering on sinful pride) are construed through them.

Conceptualizing Literary History: A Survey of Poetics in Czech Fiction 1860–1910 (Part One)

The article provides an innovative model of poetics (or isms, styles, etc.) in Czech prose in the latter half of the long 19th century. It gives an overview of seven individualized and mutually distinct poetics, including ideal, analytical, and psychological realisms, Parnassism, naturalism, impressionism, and decadence. The individual poetics do not represent periods, but exist in parallel, allowing confrontations and intersections either within the author's work or in a specific text, as in the model of Czech literature developed by Dalibor Tureček in the past decade. They are always set in the context of European literature and supported by many illustrative examples. The model is not only typological, but also assumes a diachronic perspective, which can be developed in future scholarly work on the history of Czech literature. The aim is to create a system that can potentially be applied not only to Czech fiction, but possibly also to poetry or drama, in other periods and literatures. Part One of the article concentrates on a general overview and on ideal and analytical realisms.

ЧЕСЬКИЙ ПИСЬМЕННИК АЛЕКСЕЙ ПЛУДЕК У ЛИСТАХ ДО УКРАЇНСЬКОГО БОГЕМІСТА ВОЛОДИМИРА МОТОРНОГО

Personal letters of the Czech writer, of the middle of the second half of the twentieth century Alexej Pludek (1923–2002) to the Ukrainian scholar-slavist, literary scholar, professor of Lviv University Volodymyr Motornyi (1929-2015) are presented in this work. The issues, given in the letters are considered on the background of the specifics of the development of the literary process in Czechoslovakia in so-called “normalization period”. There are also issues related to the creation of individual works by the Czech writer and further evaluation of them by Czechoslovak and foreign literary criticism. Problems related to the history of the creation of individual works of the Czech prose writer and their subsequent assessments by Czechoslovak and foreign literary critics are also covered. Special attention is paid to the place of Serbo-Lusatian themes both in V. Motornyi's literary studies and in A. Pludek's literary work. The presented letters cover the 70s – 90s of the last century, which were the period of particularly active socio-political and creative activity of Alexei Pludek. Alexei Pludek, whose literary debut took place in the 1940s, was a Czech writer, politician, playwriter, editor and public figure whose works were especially popular in the 1970s and 1980s. The author is known primarily for his novels on historical themes, as well as works in the genre of science fiction. Volodymyr Motornyi (1929–2015) was a Ukrainian scholar, professor of Slavic philology at National Ivan Franko University of Lviv, author of numerous works on Czech and Serbo-Lusatian literature as well as on Czech-Ukrainian, Lusatian-Ukrainian and Czech-Lusatian literary and cultural ties.

The Digital Humanities in the Czech Republic

This paper is devoted to the issue of Digital Humanities (DH) in Czech literary studies. Over the last decade, various methods primarily connected with DH have had a substantial impact on the development of numerous areas of the humanities. In Czech literary studies, this impact is visible only from 2017 onwards, when official discussion between Czech scholars about the topic was initiated. The recent development of this tradition is the main reason why DH have not gained as strong position in Czech literary studies as they have abroad. However, there exists a tradition of the use of so-called exact methods in literary studies in the Czech scholarly milieu, and this tradition serves as an important domestic source for the full development of DH in Czech literary studies. While these exact methods are examined in the paper, its main purpose is to introduce two contemporary Czech DH projects in literary studies – the first being the Corpus of Czech Verse and the second the Corpus of Czech Prose, the latter of which currently serves as a base for a subject-project on Prague Fictional Topography. These two projects can be viewed as representatives of the situation and role of DH in contemporary Czech literary studies.

Returning to the Past: The Germans as a Historical Trauma in Contemporary Czech Prose

This study describes reflections of wartime and postwar historical trauma in contemporary Czech prose, taking into account the issues surrounding Central Europe, which entirely overlap with the traditional confrontation between the Czechs and Germans. It also includes the changing reflections on Germany and the Germans, the Second World War and the subsequent expulsion found in the prose work of the new millennium, the unifying topic being deemed to be the issue of the ambiguous national identification of the protagonists, the detabooization of previously hushed-up subjects and the subject of the Holocaust, particularly in the family saga genre. It also takes into account groups of texts focusing on reflections of anti-German resistance activities, both in the genre of the novel (with detective elements) and in output on the boundaries between fiction and factographic prose.

Pamięć jako forma terapii — autobiografizm w prozie Oty Pavla

Ota Pavel byl jedním z nejznámějších českých prozaiků. Je autorem autobiografických próz s tématy z vlastního života. Pavel trpěl duševní chorobou, jednou z forem jeho terapie było zapisování vzpomínek. Autobiografismus se stal jedním z hlavních prvků jeho práce, ve které se prolínal s beletrizovanými příběhy.

ПРОСТІР ТА ЧАС У ПОЕЗІЇ ІВАНА ВЕРНІША

The article examines the poetic world of the modern Czech prose writer, poet, translator from several European languages, a participant in the Prague Spring, whose works have not been printed for a long time and were banned, author of poetry collections “Kam letí nebe” (1961), “Zimohrádek” (1965), “Loutky” (1970), “Doupě latinářů” (1992), “Blbecká poezie” (2002), “Penthesilea” (2019), Ivan Wernisch. The writer has a great creative legacy that dates back to the sixties of the last century. During this long time, he managed to publish about thirty poetry books. Surrealism, interweaving of temporal and spatial indicators, interweaving of poetic and prosaic forms, rich poetic world are typical features of I. Wernisch’s poetry. The article explores the spatio-temporal relations of the Ivan Wernisch’s poetic world, the features of the image of the lyrical hero. Some poetry by Ivan Wernisch was used over time as lyrics of songs by Czech rock bands. The Ivan Wernisch’s son Michal Wernisch (also known as Ewald Murrer) followed his father’s footsteps and today is also known as a poet.

Kołowrót religijnych symboli: od Hrabala do czeskiej prozy lat 90. XX wieku. Przypadek „Mefitis” Martina Komárka

The ambiguous presence of religious themes in Czech prose of the end of the twentieth century is not sufficiently described by literary scholars. Czech literary critics did not appreciate the importance of this phenomenon. From the post-secular perspective it is clear that religious themes in literature are a manifestation of the search for metaphysics, crossing the rationalist vision of the world. The author reconstructs the symbolic language used by Martin Komárek when raising the subject of religion. His novel Mefitis is a record of contemporary experience of religiousness.    &nbsp

Alegoria w czeskiej powieści historycznej lat 60. XX wieku (Václav Kaplický „Kladivo na čarodějnice” i Jiri Šotola „Tovaryšstvo Jezišovo”)

The article concerns the problem of allegory in two Czech historical novels from the beginning and the end of the 60s of the twentieth century: Kladivo na čarodějnice by Václav Kaplický and Tovaryšstvo ježišovo by Jiři Šotola. Both novels are also considered to be important political ‘clearing accounts’ novels. Application of allegory as a method of reception allows us to answer the question about the participation of the reader in the setting up of allegory in the Czech prose of the twentieth century .

Téma vykořenění a ztrát v současné próze : nad románem Jakuby Katalpy Němci

The study analyzes the novel Němci (The Germans, 2012) of the Czech prose writer Jakuba Katalpa as an attempt at a new perspective on the issue of the life of the German minority in Czechoslovakia from the interwar period to the wild expulsion and subsequent organized displacement of German-speaking inhabitants after the end of the Second World War. The novel represents a concealed polemic with ideologically and morally accented approaches to the subject. The author made in the novel Němci (The Germans) an interesting combination of cultivated contemporary language, material style and ever-branching narrative structure dominating everyday life intensely perceived by all senses.

The Use of Authorial Corpora Beyond Linguistics

Abstract The study concentrates on the issue of quantitative and qualitative methods within the context of literary theory. It intends namely to present the concept of the literary corpus of Czech prose and define main parameters of the corpus. Besides the project of a specialized corpus, primarily intended for the use in the field of literary theory, the study deals with current stochastic and corpus methods applied by foreign scholars in analysis of literary prosaic texts. The study tries to incorporate the original project of Czech prose literary corpus in this contemporary context that represents one form of a recently flourishing discipline called Digital Humanities (Digital Literary Studies).

„Jestem wolą absolutną”. O boskości władzy w filozofii Ladislava Klímy

The article concerns philosophical concepts created by the Czech prose writer Ladislav Klíma. This author is nowadays counted among the most interesting Czech philosophers of the 20th century. His concepts inspired creators such as Hrabal or the Czech surrealists. The article’s author presents an outline of more important Klíma’s philosophical concepts, which allow to combine the theme of man’s deification with the divine aspect of power. In the article, a vision of the world and man created by Klíma is presented, which points out a Gnostic character of his philosophical theories. The presentation regarding a definition of freedom, which in Klíma’s depiction is the basis for achieving the divine state, is of an equal importance.

Prosaic Irony: Structure, Mode, and Subversion in The Good Soldier Švejk

Prosaic Irony:Structure, Mode, and Subversion in The Good Soldier Švejk Joshua P. Beall There are times when, after a work has entered first into a national canon and then into World Literature, its later influence masks both its unique brilliance and the manner in which it develops an aesthetic as a response to the tradition out of which it emerges. This is especially true in the case of Jaroslav Hašek's comic novel Osudy dobrého vojáka Švejka za světové války (The Fortunes of the Good Soldier Švejk during the World War, hereafter Osudy). Although Hašek's novel has been situated, predictably and properly enough, within the twentieth-century Czech literary and political context, there has been almost no corresponding effort to situate it within the broader Czech literary tradition. The seemingly peripheral but critical result of this neglect is that the aesthetic value of Hašek's novel has been overlooked. Therefore, I want to situate Osudy in relation to the Czech prose tradition inaugurated by Božena Némcová's novel Babička (Granny). My contention is that a recontexualization of Hašek's novel within this tradition will reveal its formal concern as the relation of irony to the prosaic, which I call prosaic irony. Occurring in the divide between linguistic meaning developed through everyday use and meaning imposed by a dominant ideological metanarrative, prosaic irony is simultaneously a structuring principle, a narrative mode, and a means of subversion in Hašek's novel. This examination will lead to a re-reading of the novel that suggests an overlooked element; in short, Osudy critiques and resists ideology embedded in familiar narrative structures and reveals the inability of these hegemonic narrative structures and discourse ever to become fully totalizing. Three factors obscure Osudy's position in the broader Czech literary tradition. First, the apparent influence of the Švejk archetype in twentieth-century Czech literature and cinema tends to preclude recognition of Osudy's response to the tradition of the Czech novel. Second, the vulgar language of the characters makes it easy to dismiss the novel's aesthetic merit; none other than René Wellek, a native Czech who helped to found Comparative Literature in the United States, has described the novel as "not much of a work of art, [and] full of low humour and cheap propaganda" (41). Finally, in its twentieth-century reception, the novel was often cited by the politically committed who tried to interpret the actions of the protagonist via their particular political ideologies.1 In re-situating Osudy within its national [End Page 207] context, I shall show that it is much more than a profane parody of the Austrian military apparatus. Instead, I argue, it is a novel that performs its subversion of hegemonic histories, nationalist obligations, and narrative conventions by means of prosaic irony. My conception of prosaic irony derives from Gary Saul Morson and Caryl Emerson's coining of the term "prosaics," which they define as both "a theory of literature that privileges prose in general and the novel in particular" and "a form of thinking that presumes the importance of the everyday" (15). For this reason, my use of the term prosaic irony rests on two important assumptions. First, in opposition to poetry, which is situated more heavily on the metaphoric axis of language, prosaic meaning in both the novel and everyday life rests on an interplay between the numerous, sometimes contradictory significations that occur in the metonymy of language. In Bahktinian terms, every prosaic utterance occurs within a surplus of contextual signification without which meaning is impossible. Second, prosaic speech occurs in everyday life. The meanings of words and their combinatory possibilities have developed from their everyday use within a particular lived sociolinguistic context; meaning breaks down and nonsense occurs when these contextual premises, whether explicit or implicit, are ignored.2 This speech is inherently ironic and open to mis- and re-interpretation insofar as we use words not to communicate perfectly, but adequately. For these reasons, prosaic irony acts as a structuring principle because Hašek employs it to comment metatextually and ironically on the nature and style of the novel itself, marking...

A Handbook of Czech Prose Writing 1940-2005 by Bohuslava Bradbrook (review)

346 SEER, 87, 2, APRIL 200g studies, withan acknowledgement oftheoutright hostility ofone commentator (Vitalii Makhlin, uponwhoseworkZbindenrelies almost exclusively inher accountoftheRussianresponse to Western reception ofBakhtin - in itself a significant weakness in heranalysis), againsta background ofgeneralindifference (p. 133).Hence Zbindendoes notrealizeherstatedaim ofverifying 'theexistence ofa "Frenchconnection" in Bakhtin studies'(p. 4). Probablythestrongest sustained sectionofthebook is thethirdchapter, whichis devotedentirely to the'sociality' themeand is therefore freeofthe methodological tension evident elsewhere. In it,Zbindendrawson therecent workofBrandist, Hirschkop, Poole and Tihanovtodemonstrate theinconsistency in Bakhtin' s accountofsociality in hisessayson thenovel(itis,impossibly , both'an atemporal constituitive feature oflanguage'and 'theresult of a historical processof the differentiation betweenlanguage,thought, and consciousness', p. 59) and accountforhowthisinconsistency came about.In a reasonedanalysis, she also suggests thatBakhtinsurmounts it by placing heterology (sic)and thenovelin a dialectical relationship (pp.73-74). Zbindenunderstands by 'sociality' bothinter-subjectivity and 'social and politicalorganisation as derivedfromFrenchhumanist thought' (p. 6). An HonoraryResearchFellowat Sheffield's BakhtinCentre,she broadlyallies herself withBritish (territorially speaking) Bakhtin scholarship oftheLeftin herappreciation ofthesuperiority ofa historicist - on alllevelsapproach to Bakhtin's work.Whilstthereis nothing wrongwiththis,the structural ambiguity of her studythat I have describeduncomfortably obscuresit and createstheunfortunate impression ofa hiddenagenda.Zbinden'searly declaration ofintent toneglect 'English andAmerican studies' on thegrounds that theseare 'easilyaccessibleand well known'(p. 6) turnsout to be disingenuous, as a rather thoroughly referenced 'English'positionis used to denigrateUS scholarship forits own alleged hiddenagenda of, crudely, anti-Marxism. Butinorderforsuchcriticism tobe entirely fair, inorderthat US scholarship notbe a strawtarget, itdeserves to be analysedin thesame detailthatZbindengrants all herothercommentators and Bakhtin himself. Department ofRussian Studies R. Coates University ofBristol Bradbrook, Bohuslava. A Handbook of Czech Prose Writing1940-2003. SussexAcademicPress,Brighton and Portland OR, 2007.viii+ 156pp. Bibliography. Index.£32.50. Dr Bohuslava Bradbrook's Handbook consists of a seriesof comments on one or twoworksbythirty-five Czech writers, mostofthemstillliving.She concentrates on the middle-brow (forexample,Hana Bëlohradska, Arnost Lustig) and sometimesdelves into Trivialliteratur (for example, Miloslav Svandrlik, Michal Viewegh).She omitsthe contemporary writers who are most highlyregardedby educated Czechs,Jan Balaban,JáchymTopol, Daniela HodrováandPetraHulová.Herbibliography suggests thatsheknows no Czech and littleanglophonesecondary literature; thatperhapsexplains reviews 347 someoftheerrors and falsehoods (forexample,on pp. 26,37,73,74,88, 92, 113,127,131,138).The Handbook also has a moralizing theme:thatthereis a bit too muchfilth in modernCzech literature. On Svandrlik's Cernì baroni (Pragueand Innsbruck, 1969,not Zurich,as Bradbrookhas it) she writes: 'some veryroughmaterialemergedin thisparticular book. Perhapsthere shouldhavebeenwarnings suchas: verystrong, foullanguage,rough, brutal scenes, violence, inhumanity, physical andmoralfilth? Formenonly?'(p. 132). Apparently Bradbrook's bookcame intobeingforor as a result ofherteachinga courseon Czech literature at theUniversity oftheThirdAge. Undergraduates shouldnotbe letnearitforitslazy,imprecise, anti-analytical, often emotional writing thatcontributes nothing toourknowledge orunderstanding ofCzech literature. UCL SSEES R. B. Pynsent Leving,Iurii and Soshkin,Evgenii(eds). Imperila (N': Nabokov i nasledniki. Nauchnaia biblioteka.Novoe literaturnoe obozrenie,Moscow, 2006. 538 pp. Notes.Bibliography. Index.$28.00. Nabokov's linguistic versatility has made himcommonproperty. He is both an Americanand a 'returned' Russianauthor,and thenumerouseditions, collections and adaptations ofhisworkaretestimony tothefactthatNabokov hasjoinedliterary canonson bothsidesoftheAtlantic (andPacific). To some extent, Nabokov'sglobalreachexplainsIuriiLeving'sand EvgeniiSoshkin's choiceoftitle forthiscollection ofessays, suggesting an expansive'NabokovEmpire '('Imperiia"N"') whichspanscultural, nationaland linguistic borders. The unitywhichthe titlesuggests is, however,misleading. In contrast to Nabokov'sgeneralglobalreadership, Anglo-Saxonand Russianscholarship have enduredan uneasyrelationship markedby uncertainty overterritorial claimseversinceRussian-based scholars entered theNabokov-Empire during the era of glasnost' and perestroika. This strainedrelationship can be explained, inpart,as a result oflinguistic barriers as wellas methodologically different traditions. Another factor is theperception amongRussianscholars thatuntilthe 1980stheywere deprivedof what shouldhave been theirs by right. Insteadofa novaia'zembla' theyfoundthewell-mapped terrain of Nabokovstudies, theclaimstowhichweremoreor lesshappilyapportioned amongSlavic and English/American Literature departments in theAngloSaxonworld .Much oftheworkaccomplished byRussianscholars sincethen has nevertheless filledsome important gaps in Nabokovstudies, helpingto contextualize thespecifically Russianand émigréculture ofNabokov'swork. Following earliercollections suchas V. V.Nabokov: proetcontra (StPetersburg, 1997) or Kurturarusskoi diaspory:Vladimir Nabokov- 100: materialy nauchnoi konferentsii (Tallinn,2000),thiscollection ofessays, publishedin Russian,is a further steptowardsbringing scholarsfromEast and Westclosertogether, albeitwithRussiansthistimenot as the 'poor relatives'(p. 15),whichthe editorsclaimis thecommonperception oftheirrole,but as thehoststo a ...

A handbook of Czech prose writing: 1940-2005

The turbulent events of World War II and the subsequent communist regime in Czechoslovakia strongly restricted Czech writers freedom of expression. Many sought and found literary freedom in exile. As Czech literature was developing in two very different locations and conditions, writers on both sides created diverse, yet extraordinarily interesting and commendable works; all were united in their wish to see their homeland liberated from the totalitarian regime. The suffering and generally adverse conditions of those who stayed at home are reflected in the works written both at home and in exile, especially after the two parties found secret ways of communicating between themselves. Many works abound in wit and humour, despite the difficult circumstances. After the fall of communism had brought the desired freedom of expression for all writers, the recent past still occasionally echoes in Czech literary works, but is written and read from new perspectives. As the dark age now seems to be gradually falling into oblivion, it is important to be reminded that even in the darkest times talented writers were alert to Czech national and literary undertones, and produced works which English-speaking readers would find new, fresh and captivating. While the availability of books in English may be still in a minority, synoptic interpretations of prose writings not yet translated to English provided in this Handbook add integral features that help to complete the picture of life at a time when cultural links between two parts of Europe were painfully severed.

Postmodernism and Quasipostmodernism(Michal Viewegh)

The present study deals with postmodernism and quasipostmodernism on the material of the works of the contemporary Czech prose writer Michal Viewegh, especially his pseudodetective novellas The Case of the Unfaithful Klara and The Pig-in-the-Middle (which is not the exact translation of the original Czech title Vybijena) - both published in two years's time (2003-2004) taking into account some of Viewegh's political essays and as well as a wider literary background linked with Czech traditionalists. The period of transformation in Viewegh's prose works is considered a manifestation of radicalism, of the breach of mass literature and of the permanent impact of dilettantism and imitation. The demonic character of his vision of the world means in this case the conception of the artifact as playing with man's deeds and fates which might remind us of the similar works of Milan Kundera and Pavel Kohout. This fact, of course, is closely connected with certain political circumstances; Viewegh intentionally imitates postmodernist poetics forming a specific kind of quasipostmodernism with the central subject of man's transformation. Viewegh's “new men” use the language of mass media, advertising, apply various topical hints, their greatest value is not yesterday or tomorrow, but today. Perhaps it is again the Central European environment that produced the signals of both threat and hope just before a new fatal big bang.

Original and Translation in the Czech Fiction of Milan Kundera

'Translation is everything', wrote Milan Kundera, underlining the centrality of the translation process to his novels.1 Kundera's novels written in Czech were read almost exclusively in translation following a ban on his work in the then Czechoslovakia, effective from 1970 until the fall of the Communist regime in 1989. After 1989, it seemed that translation would no longer be a necessity for achieving a wide readership; Kundera began to write novels in the language of his adopted homeland, French, and also regained his Czech audience. By the end of the 1990s, however, only three of his six novels written in the Czech language had appeared in print in the Czech Republic.2 Aggrieved readers prompted Kundera to explain the delay: he commented that no original Czech manuscript existed, and that, before they could be published, these novels had to be rendered 'definitive'.3 In this article, I wish to invert Kundera's statement and suggest that, in Kundera's fiction written in Czech, everything is translation: that the original version of each of his Czech prose works has been displaced and rewritten, partly because of their translation into French and English.4 Seven works of fiction are involved. Kundera's first two prose works written and published in Czech, Zert (The Joke) and Smesne Idsky (Laughable Loves), have been altered, the originals replaced by new versions in Czech as well as in translation. The Joke will be discussed in full shortly. Smesne Idsky was published first as three separate collections of ten short stories between 1963 and 1968, then in a collated version containing eight of the stories in 1970. The 1968 Czech version was reprinted in 1981 and contained seven stories; Kundera had decided to omit the eighth when proofing the French translation. Smesne Idsky was published in the Czech Republic as a collection of short stories in 1991, with numerous alterations from the initial versions of the stories published 1963-8 and from the 1981 version. On Kundera's initiative, Smesne Idsky is published as a novel in German and Spanish (Das Buch der lacherlichen Liebe, Frankfurt, 1989, and El Libro De Los Amoves Ridiculos, third edition, Barcelona, 1998), while remaining a collection of

Czech Prose: An Anthology. Edited and translated by William E. Harkins. Michigan Slavic Translations, no. 6. Ann Arbor, Mich.: Michigan Slavic Publications, 1983. xxi, 321 pp. Illustrations.

Czech Prose: An Anthology. Edited and translated by William E. Harkins. Michigan Slavic Translations, no. 6. Ann Arbor, Mich.: Michigan Slavic Publications, 1983. xxi, 321 pp. Illustrations. - Volume 43 Issue 3

Observations on rhythmical units with anacruses in Czech

The purpose of this paper is to show the character of both the anacruses themselves and of rhythmical units with anacruses, respectively. The material investigated was Czech prose (a language with phonological quantity and fixed stress position) analyzed on the basis of perceptual tests. Monosyllabic anacruses were examined from the standpoint of grammatical categories. Special attention was devoted to monosyllabic rhythmical units with an anacrusis and to polysyllabic rhythmical units with the anacrusis beginning with a monosyllabic word.