The study deals with the polymetrics of Milota Zdirad Polák’s (1788—1856)Vznešenost přírody (1819, The Sublime of Nature). This topic was not yettreated, not even in specialized studies (Jan Mukařovský, 1934; MiroslavČervenka, 1995).After a list of applied meters (Polák used a syllabotonic as well as quantitativeprosody) the focus turns to a traditional hypothesis that meter is changedin relation to topic (or subtopic). This was not confirmed. However, metric alternation is not totally random: with the exception of cantos II. and V.,there is some regularity: Písně (Songs) are in trochaic tetrameter, other parts(called Slavozpěvy, Chvalozpěvy, Mnohozpěvy etc) make, regarding to theirnumbers, length, and labeling, metrically heterogeneous lyrical insets. Theirheterogeneity corresponds their very lyrical basis (link to the Boileau’s “unbeau desordre” could be made as well).Trochaic tetrameter, an unusual meter not only in Czech literature, is withits 69 % presence a preponderant meter. Motivation of its use could beseen in its inherent character (long verse lands to descriptions), but also inpossible literary inspiration (in particular in European descriptive poetry, e.g.Thomson, Wieland, Ewald von Kleist). Although the trochaic tetrameter wasnot used in any of these examples, it appears in Brockes’ verse prologue to his(German) translation of Thomson’s The Seasons (translated 1745). On theother hand we cannot totally neglect the Czech context of the XVIII-Century.Descriptive poetry is very demanding for the reader. Yet Thomson sought wayshow to make descriptive parts more vivid. Polák decided to solve this problemby rhythmical/metrical heterogeneity. (In coincidence with his main topic:heterogeneity of Nature.) This heterogeneity is better seen when one comparesthe former redaction of Vznešenost přírody (called Vznešenost přirozenosti,1813) where the use of polymetrics is not so striking.The use of polymetrics in Vznešenost přírody was a novelty not only in theframes of genre (European descriptive poetry used just the monometrics),but also in the context of modern Czech literature — Mácha’s Máj (May), alsopolymetric, was published nearly twenty years later.