Leoš Janáček’s String Quartet No. 1 gives its public the opportunity of speculating about its contents in numerous ways. Janáček marked the title page of its autograph „Z podnětu L. N. Tolstého Kreutzerovy sonáty” [Instigated by L. N. Tolstoy’s Kreutzer Sonata], and, in his letter to Kamila Stösslová, from October 15th, 1924, he noted: ‘I was thinking of a poor woman, tormented, beaten, killed, such as the Russian writer Tolstoy wrote about in his work The Kreutzer Sonata.’ Speculations based on these statements lead musicologists towards a general stressing of the abstract nature of the work. The aim of this article is to show that Janáček’s String Quartet No. 1 is neither programmatic nor purely abstrakt music. To negate the non-musical background of the work is not possible. As a source of inspiration, L. N. Tolstoy’s Kreutzer Sonata is not only the first existing point of research, but, considering Janáček’s printed edition of the novel and its annotations, also a rich source of hidden information. It was not jealousy, as was so often believed, but marital life and the power of music which attracted Janáăek. Apart from the impact of the music, its dramaturgy also concerned him. All the outcome of this research is important; it forms the base for extending the outlines of the creative process, to clarify the relation between the inspiration and the work.
This paper presents the most frequent marked position of attribute in Čapek’s novel Hordubal - the postposition of the unextended congruent adjective attribute - in its functions in the novel text. The inverse position of adjective attribute is mainly used to epmhasize the semantics of the postpositional adjective or its leading noun and for the contrastive accenting of the postposed attribute. It also works as a vehicle for poetisation and vivification of the text or is motived by the rhythm of the sentence. The postpositions used by Čapek are confronted with the translation solutions of three different German authors, that have translated the novel into German during several periods of the 20th century. The extent of preservation of the form and the function of the Czech postpositions in the translation process is evaluated. Special attention is paid to the efforts of the German translators to reproduce Čapek’s word order. and Příspěvek představuje nejčastější příznakové postavení atributu v Čapkově románu Hordubal - postpozici nerozvitého shodného adjektivního přívlastku - v jejích funkcích v textu díla. Inverzní postavení přívlastku je užito zejména ke zdůraznění sémantiky postponovaného adjektiva či jeho řídícího substantiva a ke kontrastivnímu vyzdvižení postponovaného atributu. Postpozice přívlastku je také prostředkem poetizace a oživení textu nebo je motivována rytmicky. Čapkem užité postpozice jsou konfrontovány s překladatelskými řešeními tří německých autorů, kteří román v různých obdobích 20. století přeložili do němčiny. Je posuzována míra zachování formy a funkce těchto postpozic při překladu. Zvláštní pozornost je přitom soustředěna na snahy překladatelů o napodobení Čapkova slovosledu.