GLOSSARIUM DE RE METRICA GRAECA ET LATINA

A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z

P

Paeana - paia/n, sanans [Apollo] - est hymnus in honorem Apollinis salutem ferentis, postea quoque cantus victoriae, vel cantus ad hortandos milites ad bellum:
''Paian'' iterabatur.

Paeon - paiw/n vel paia/n - 4 formas habet:

Palimbacchaeus seu antibacchaeus: - ` v:
soi/, Foi=be, Mou=sai/ te su/mbwmoi 3mpal
[soifòibemusáitesumbòmoi]

Palinodia - palin%dika\ poih/mata - fit cum ordo versuum in stropha sit ABBA.

Palillogia est iteratio verborum non alia ac anadiplosis et reduplicatio.

Palliata est fabula in qua personae pallio utebantur.

Parabasis est libera pars comoediae, in qua chorus colloquitur cum populo.

Paraclausithyron - paraklausi/quron - est carmen quod canitur ante ostium, variis metris exaratum.

Paradoxon - para/docon - est sententia quae admirationem parit.

Paraenesis - parai/nesij - est exhortatio.

Paragliconeus dicitur a quibusdam versus glichoneus acephalus hypercatalecticus:
x - v v - v - x

Paragoges - supplementum, manubrium - est additio syllabae in fine verbi: induce. Si additur in initio vocatur adiectio vel prosthesis, si in medio, epenthesis.

Parakataloge est declamatio ad sonum fistulae trimetrorum inter strophas, 4tr et systematum anapaestorum.

Paralipsis est occultatio.

Parallelismus est symmetrica dispositio membrorum periodi ut concinna sit.

Paranomasia est adnominatio.

Paraphrasis est sententiam vel quandam vocem amplioribus verbis declarare. Apud poetas christianos paraphrasis Evangeliorum maximi fuit momenti.

Parasclepiadeus M est versus 16 sy.

Parembolé est interiectio alius sensus medio sermone.

Paremptosis est interclusio vel tmesis.

Parentalia sunt in rhetorica elogia propinquorum defunctorum.

Parodos - pa/rodoj - est cantus Chori ingredientis in orchestram.

Paroemiacus est 2m an^:
vv ` vv ` v v ` -
[forma myurica: vv ` vv ` v v v/ -]
po/te d' )/Artemij ou)k e)xo/reuse

venient cito saecula cum iam.

Paronomasia est adnominatio seu agnominatio, id est iunctio vocum eiusdem fere sonus sed non sensus:
grata gratitudo;
Quibus occidere non licet sed occidi necesse est;
Qui vivit in aeternum et vivificat servos suos (CYP. ep. 58,4).

Parrhèsia - licentia - est loquendi libertas.

Parsing [angl.] est analysis grammaticalis verborum.

Parthenius - parqe/noj - carmen est deabus dicatum a choro puellarum cantitatum.
Parteneum colon est 2mchor aceph vel 2mio m^:
v v ` ` v v `
ti/ ga\r h)/ Labdaki/daij (SOPH., Oed.tyr. 489)
[tigarè-làbdakidàis]

Partitiones rhetoricae sunt:

Passiva forma - paqhtikh\ fwnh/ - verbum spectat.

Pastorale carmen sive bucolicum personas pastorales inducit loquentes.

Pattern [angl.] est exemplar schematicum cum variationibus.

Pentameter constat 5 metris.
Usitatissimus est 5mda (elegiacus).
lectio vocalis

Pentapodia est metrum 5 pedum.

Penthemimera est caesura principalis in hexametro;
Penthemimerum colarion habet formam:
x ` v ` x.

Performance est Anglica vox quae indicat executionem ante spectatores.

Periodus - peri/odoj - est terminus neuter: indicat unitatem rhythmicam maiorem versu sed minorem stropha.

Periphrasis est circonlocutio.

Permutatio est tropus, qui esse potest commutatio vel allegoria.

Perrotta Lex:
non datur 1sy orthotonicum post c5 vel c7.

Personae in fabulis comicis et tragicis sunt actores, apud Romanos fere semper servi et liberti.
Ingenio et artificio summus fuit Ambivius Turpio, Terentii comoediarum curator; recoluntur Esopus et Roscius, coaevi Ciceronis.
Personae in greges coalescebant.
Communes in fabulis erant:

Personificatio idem est ac Prosopopaea.

PES - h( ba/sij - est fundamentalis unitas rhythmica, quae fere pedis fungitur officio in carminibus exequendis:
sicut nos pedibus incedimus, ita etiam metra per pedes incedunt (SERV., gr. 4,425).

Pes - ut docet Beda - est syllabarum et temporum certa dinumeratio.

Phalaecìus - falai/kion [-keion] - est 11s aeolicus, de cuius varia natura Caesius Bassus testatur septem tradens scansiones:
lectio vocalis


Potissimum adhibitus est a Catullo:

i)/swj kai\ poluanqe/moij a)rou/raij [S. 10,9)
ìsoskàipoluànthemòisarùrais]

Lugete, o Veneres, Cupidinesque,
[lùgetòvenerès-cupìdinèsque]
et quantum est hominum venustiorum
[ètquantèstominùm-venùstiòrum]

Stropha mediaevalis:
ò quam glòrificùm / solùm sedère.

De metro falleucio Beda: Est igitur - inquit - metrum dactylicum falleucium pentametrum, quod constat ex spondeo et dactylo et tribus trocheis.
Huius exemplum:
cantemus domino deoque nostro, |
cui gloria cum honore pollens.

Pherecratì[è]us - ferekrate=ion - a Pherecrate poeta comico s.V a.Ch., est gl^
= s + da + s = s + ch + sy:
x/ x ` v v ` - vel x/ x ` v v ` -

a)/ndrej pro/sxete to\n nou=n
[àndrespròsketetònnun]
xeimw=nej patageu=si
[kèimonèscataghèusi]

crás donáberis haédo (HOR. C. 3,13,3) pùellaèque canàmus (CAT. 34,4).

Est III versus str as V:
1.2 ascl m + 3.ph + 4.gl.

Phonosymbolicus est onomatopeicus.

PINDARUS

(522 - c.440 a.Ch.): Pindarum quique studet aemulari ... ceratis ope Daedalea / nititur vitreo daturus nomina ponto (HOR., Od. 4,2.1-4). Libri eius sunt XVII: hymni, paeani, dithyrambi (L.2), prosodi (L.2), partheni (L.3), hyporchemi (L.2), encomia, threni, epiniciorum L.IV: 14 Olympica, 12 Pythica, 11 Nemea, 8 Isthmica.

Pythica VI (6 str non triadicae)

v ` v ` v, v v ` v v ` v ` - r + enhop

A. )Akou/sat': h)/ ga\r e)likw/pidoj )Afrodi/taj
v ` v ` v v ` pros
2 a)/rouran h)/ xari/twn
v/ v v ` v v ` v v_v/, ` v x/ gl + cr
3 a)napoli/zomen, o)mfalo\n e)ribro/mou
v v ` -, v ` v ` v v ` io m + pros
4 xqono\j e)j na/ /on prosoixo/menoi:
` v v ` v `, ` v ` v, ` v v ` dodr I + 2tr + chor

5 Puqio/nikoj e)nq' o)lbi/oisin )Emmeni/daij
v/ v v ` v v ` v `, ` v/ v v ` gl + 2ia
6 potami/v t' )Akra/ganti kai\ ma\n Xenokra/tei
v ` v ` - enhopl
7 e(toi/moj u(/mnwn
- - v v v ` v `
8 qhsauro\j e)n poluxru/s%
v ` ` v `, v ` x ` v x/ doc + pros
9 )Apollwni/v tetei/xistai na/pv

The Dorian tradition of composition in large, elaborate strophes and triads reaches its culmination in the Iyrics of these three great professionals. Mostly they used the triadic system. A poem may consist of a single triad. Pindar often goes up to five triads, but exceeds this number only in the enormous Fourth Pythian, which has thirteen; Bacchylides goes up to at least eight.

The poems and fragments fall into three main metrical categories (with some intermediate mixtures): dactylo-epitrite, aeolic, and iambic. In the case of Bacchylides and Pindar, detailed analyses for each poem will be found in the Teubner editions by B. Snell (revised by H. Maehler).

Dactylo-epitrite (D / e)

We will take this category first because it is the easiest, and includes a large number of poems. For the most part they can be treated as being constructed from the following units:

d - v v - e - v -
D - v v - v v - E - v - x - v -
D2 - v v - v v - v v - E2 - v - x - v - x - v -

put together with or without a 'link-svllable' (usually long) before, between, and after them. For example, the strophe of Pindar's Twelfth Pythian can be analysed [P 12:64]

Ai)t<4e/w>4 se, fila/gŒlae, kalli/sta brotea=n poli/wn, - D - D ||
Fersefo/naj e(/doj, a(/ t' o)/xqaij e)/pi mhlobo/tou D - D |

nai/eij )Akra/gantoj e)u/+dŒmaton kolw/nan, w)= a)/na, - D - E ||
i(/laoj a)qana/twn a)ndrw=n te su\n eu)meni/# D - D ||
de/cai stefa/nwma to/d' e)k Puqw=noj eu)do/c% Mi/d# - D - E ||

au)to/n te nin (Ella/da nika/santa te/xŒn#, ta/n pote - D - E ||
Palla\j e)feu=re qraseia=n D v e ||
ou)/lion qrh=non diapŒle/cais' )Aqa/na: E2 - |||

2 There may be period-end after melobo/tou, but in none of the four strophes is there anything to prove it. 3 Hiatus before (F) a/na. -na is brev in longo, as is (po)te in 6.

This metre is a developed form of something we found in Stesichorus, with an increased proportion of iambotrochaic elements. Note that although the e and E symbols are conventional in this context, we could equally well put ^ia for e, lk (lekythion) for E, D ia instead of D-e, D 2ia instead of D-E, etc.

Resolution can occur in the sequences (v) vv v - and (less common) - v vv - - v -; exceptionally, to accommodate proper names, in - v vv x D (Pind. I. 6.63) and even - v v vv v v - (I.3 63). In about ten cases it recurs in each responding strophe, bllt rather more often it appears as a licence taken in a single place. Contraction of the first biceps in the D-colon occurs, as in Stesichorus, but only very rarely.

In Simonides PMG 581 we find periods ending with catalec tic forms of e and E. The catalectic form of e is - - ( = ^ia^); this also occurs in two odes of Pindar, and both he and Simonides seem to use it to lend emphasis to a particular word: Sim. 581.6 a/ntitiqe/nta me/noj sta/laj D | e^ ||

Pind. P. I.8 a(du\ kl £ q'ron kate/xeuaj: o( de\ k'nw/sswn e - De^ ||

The catalectic form of E is the ithyphallic, - v - v - - ; this is not found in Pindar or Bacchylides, but reappears as a D/e clausula in tragedy.

Other abnormal sequences occur occasionally in Pindar, especially v v - at the beginning of a period.

Bacchylides' fifth ode is unique ill that in three places in the strophe x - v - responds with - v -. In each case one form or the other becomes constant after the first triad. Another remarkable irregularity of responsion perhaps occurs in his Asine Paean, fr. 4. 70, where a)raxna=n i(stoi\ pe/lontai (v v - - - v - -) ~ paidikoi/ q'u(/mnoi fle/gontai (E -).

[There are two apparent parallels in tragedy. Possibly all three passages are corrupt.]

Aeolic

Most of the poems that are not D/e fall into the aeolic category, so called because of the part played in it by the asymmetrical cola, particularly gl and gl''; tl and tl''; ph, r, dod, and dod'' (o o - v v -). The aeolic base is now o o, with the first position resolvable, so that a glyconic, for example, may take the forms - -
- v
v v - - v v - v -
vv v
v -

The v - form is not found in responsion with the others. A double-short form v v - v v - v - does occur, but again, not in responsion with any of the others, and this variant seems to have taken on an independent identity. Similarly - v v - x - v v - and v v - v v - -.

Pindar also admits resolution later in the colon, e.g. vv v - v v vv v vv vv v vv v - v v - x - v v vv -

Occasionally he admits contraction, as - v - v/v/ - (dod'').

A few of the simplest poems are immediately analysable in these terms. Here is the first strophe of Pindar's Fourth Nemean: N 4:84

)/Aristoj eu)frosu/na po/nwn kekŒrime/nwn tl'' dod'' ||
2 i)atro/j: ai( de\ sofai/ tl'' ||
3 Moisa=n qu/gatŒrej a)oidai\ qe/lcan nin a(pto/menai. tl'' gl'' ||

4 ou)de\ qermo\n u(/dwr to/son ge malqaka\ teu/xei gl r ||
5 gui=a, to/sson eu)logi/a fo/rmiggi suna/oroj gl'' tl ||
6 r(h=ma d' e)rgma/twn xroniw/teron bioteu/ei, gl r ||.
7 o(/ ti ke su\n Xari/twn tu/x# gl ||
8 glw=ssa fŒreno\j e)ce/loi baqei/aj. tl ia^ |||

The final iambic metron is something we have met before as appendage to an aeolic colon. In these poets it appears in a great variety of forms, not only prefixed or suffixed to an aeolic colon but in independent sequences. Here and there we also meet v v - v - and 'dochmiac' units, v - - v - (d, doch), - v - v - (hd, hypodochmius), x - v - v - (kd, dochmius kaibelianus).

Most aeolic poems are more difficult than the Fourth Nemean. The opening of the strophe is usually easy to analyse, but having stated an initial 'motif' the poets often proceed to develop and embroider it as the strophe or triad continues, producing sequences which appear bewildering when we look at them in isolation and try to label them, but which are easily derived from what has gone before. Their etymology is more important than their definition.
Addition or subtraction of a syllable may transform an aeolic colon into one in symmetrical rhythm.
For example, in 11. 3-5 of the strophe of the Sixth Nemean, a resolved glyconic vv v - v v - v vv is followed by - v v - v v - v v - (the resolutions vv at each end being replaced by - v and v -), then by v v - v v - v v - plus vv v- v - v - (lekythion, produced from the glyconic by reducing the two shorts in the middle to a single anceps), and then by vv - - v v - v v - (again a variation on gl).

Bruno Snell's method of setting out the metrical schemes in his edition of Pindar helps one to follow these mutations, the principle of which he was the first to grasp. So far as possible he arranges related sequences in vertical alignment so that their kinship is apparent to the eye even when it cannot be indicated by the accompanying descriptive formula. He uses bracketed symbols for mutant forms: e.g. - - - v v - v v -, as a variation on a glyconic, is noted as (gl). This does not define the colon, because the same siglum elsewhere may stand for - - - v - v -, but it interprets it.

Iambic

A few odes are almost wholly composed of iambic metra, with only isolated cola of other types: sim. PMG 541; Pind. O. 2 and fr. 75; Bacchylides 17 ( )H £/qeoi). [Simonides and Bacchylides have a brief dactylic burst in mid-strophe. Pindar fr. 75 is freer in technique than the other poems.]

The forms of iambic metron use are:
unsyncopated syncopated
v - v vv vv v -
- vv v - - v vv
v - -
- - (period-end only).

Not more than two unsyncopated metra occur in succession. The different forms are so juxtaposed that sequences of four short or three long syllables are generally avoided.

A dochmiac unit may appear: v vv - v vv (d, Pindar only, beginning period); vv v - v vv (hd); or X - v - v - (kd with bicepslanceps in Bacchylides, only at period-end). At period- end a trochaic metron - v - - (tr, as it were a catalectic hypodochmius) may also be found. Pind. O. 2. 1-4:

)Anacifo/rmiggej u(/mnoi, ia tr ||

ti/na qeo/n, ti/n' h(/rwa, ti/na d' a)/ndra keladh/somen; d2^iavv ^ia ||
h)/toi Pi/sa me\n Dio/j: )Olumpia/da d' e)/stasen (Hrakle/hj ia 2^iavvia^ia ||
a)kŒro/qina pole/mou: ^ia vv^ia ||

Bacchylides 17 is noteworthy for the fact that at eight places the metrical scheme admits responsion between syncopated and unsyncopated iambics, mostly between vv v - and v/ - v -. This proves that they were equivalent in time-value, the length of the suppressed short being added to one of the adjacent longs to make it a triseme.

Pindaricus versus est 3pia^ + 3pd^ + 3pia^
= 2 r 5sy in initio et in fine, in medio autem hemipes:
v ` v ` v | ` v v ` v v ` | - ` v ` -

sofoi\ de\ kai\ to\ mhde\n a(/gan e(/poj ai)/nhsan perissw=j

Platonicus (ex Platone comico) est 3pda^ + 3p ia^ + 3da^ = hem + r 5sy + hem
` v v ` v v ` | - ` v ` - | ` v v ` v v `

xai=re palaiogo/nwn | a)ndrw=n qeatw=n | cu/lloge pantoso/fwn

Pleonasmus est redundantia verborum: ut principium inciperet, ab exordio incipiendo, perfecta absolutio, usitata consuetudo, taciturna silentia.

Pluralis - plhquntiko/j - opponitur singulari - e(niko/j.

Pnigos est longa periodus cum rhythmo uniformi.
E.c. post 4mia^
x ` v ` | x ` v ` || x ` v ` | v ` -

Ar. Ran. 971-91:
{EU.} Toiau=ta me/n tou)gw\ fronei=n
tou/toisin ei)shghsa/mhn,
logismo\n e)nqei\j tv= te/xnv
kai\ ske/yin, w(/st' h)/dh noei=n
a(/panta kai\ dieide/nai
ta/ t' a)/lla kai\ ta\j oi)ki/aj
oi)kei=n a)/meinon h)\ pro\ tou=
ka)naskopei=n: ''Pw=j tou=t' e)/xei; Pou= moi todi/; Ti/j tou=t' e)/labe;''
.{DI.} Nh\ tou\j qeou/j, nu=n gou=n )Aqh-
nai/wn a(/paj tij ei)siw\n
ke/krage pro\j tou\j oi)ke/taj
zhtei= te: ''Pou= 'stin h( xu/tra;
Ti/j th\n kefalh\n a)pedh/doken
th=j maini/doj; To\ tru/blion
to\ perusino\n te/qnhke/ moi;
Pou= to\ sko/rodon to\ xqizino/n;
Ti/j th=j e)la/aj
pare/tragen;''.

Saepe invenitur conexio (enjambement), ut Ar. Eq. 911 -40:
{AL.} )Emou= me\n ou)=n.
{PA.} )Emou= me\n ou)=n.
)Egw/ se poih/sw trih- +
rarxei=n, a)nali/skonta tw=n
sautou=, palaia\n nau=n e)/xont',+
ei)j h(\n a)nalw=n ou)k e)fe/- +
ceij ou)de\nauphgou/menoj:
diamhxanh/somai/ q' o(/pwj
a)\n i(sti/on sapro\n la/bvj.

Poetismus est vox propria sermonis poetici.

Polymetria habetur cum versus habent variam naturam.

Polyptoton (-otus) est pluritas seu variatio casus vel rationis eiusdem verbi:
Pater hic tuus? Patrem nunc appellas? Patris gloriam non vides?

Polyschematicus est versus (potissimum aeolicus) anaclasi et liberate basis fruens.

Polysyndetum est abundantia coniunctionum.
Opponitur asyndeton - dissolutio.

Pons seu zeugma non sinit dari posse simul finem pedis et verbi.

Popularia carmina varia adhibent metra et formas.

Porson (1759-1808) Lex respicit 3m ia (anceps in ultimo metro) et II partem 4m tr^:
si ultima 2p incipit cum longo - - v - , haec sy non potest esse finis verbi [polysy], vetatur rhythmus -4 - | -5 v - sicut in Lege Havet III anceps [quartultima sedes] ia vel tr si coincidit cum fine verbi debet esse brevis, nisi sit ante caes. vel diaer.
At EUR., Ion: )Atlaj, o( xalke/oisi nw/toij | ou)rano/n.

Prae: prae praepositum vocali breve est: pr_ae - ustus.

Praecisio est interruptio, quae si sit cruda aposiòpesis appellatur: Quos ego...

Praeficae sunt mulieres quae praecedunt tumulum defuncti, lacrimantes et crines suos evellentes.

Praeteritio est occultatio, figura qua simulatio tacendi maior fit vis dicendi:
Caesarem pratereo, qui...

Praxilleus est pentapodia logaëdica
` v v ` v v ` v v ` v ` -

pa/rqene ta\n kefala/n, ta\ dene/rqe nu/mfa
vel Plh/rhj me\n e)fai/net' a) sela/nna [falecius acephalus]

vel

)W dia\ tw=n quri/dwn | kalo\n e)mble/poisa(PRAX., fr. 3 D.)
[òdiatònturidòn-calonèmlepòisa].

Priamel (f. = Beispielreihung, id est series exemplificativa) seu preambulum est enumeratio seu series elementorum parallelorum, quae habet suam unitatem et adhibetur artis gratia: aqua, aurum, sol, in Pind., O. I, vel CIC., Ver. 5,66,170. E.c.
Cui aurum est, cor in gaudio est
cui panis est, salus bona est
cui domestica sunt animalia, dormire non semper valet.

Priapeius - pria/peion me/tron - constat 15 sy (gl + ph):
x x - v v -v | x x - v v - x
h)ri/sthsa me\n i)tri/ou | leptou= mikro\n a)pokla/j (An. 11,1)

O Colonia quae cupis ponte ludere longo (CATUL. 17,1).

Princeps est prima pars pedis, e. gr. in dactylo: - (princeps) v v (biceps).

Proceleu(s)maticus est anapaestus resolutus: v v v v.

Prodelision est aphaeresis.

Prolepsis est anticipatio.

Pronominatio est nomen, puta Arpinas, quod pro alio adhibetur, ad extollendam peculiarem qualitatem.

Prologus - pro/logoj - est prima pars dramatis praecedens ingressum Chori.

Pronomina - a)ntqonumi/ai -, demonstrativa - deiktikai/, interrogativa - e)rwthmatikai/, possessiva - kthtikai/, indefinita - posotikai/, personalia - proswpikai/, relativa - a)naforikai/.

Proodos - pro%do/j - est distichus cum II versu longiore I.
Opponitur epodo.
Propria nomina utuntur peculiari licentia in metris.

Prosodia - pros%di/a (accentus, ad cantum) - pervestigat syllabarum quantitatem, spirituum, positionem accentus, et est pars grammaticae phoneticae.
Metrica Graeca et Latina innititur quantitate syllabarum. Graecum systema vocalium clare distinguit longas et breves: e et o semper breves; h et w semper longae. Diphthongi semper longae sunt. Vocales autem a i u breves vel longae esse possunt. Usus plura docebit. Omnes vocales Graecae flexo accentu ditatas longae et omnes Latinae penultimae accentu ditatae item longae sunt. Vocales quae ex contractione derivant longae sunt: e)ti/ma (-ae), Di/filoj (Dii/-), dis (deis).
Omnia neutra pluralia Graeca -a et Latina -a semper brevia esse.

Voces latinae accentus acutus, gravis, (circum)flexus resonant pros%di/a o)cei=a, barei=a, perispwme/nh.
Definitur: rationum complexus ad metricam spectans, quae docet quantitatem seu tempora syllabarum distinguere ac metiri.
Licet accentu non quantitate innixi sint versus linguarum plurimarum coaevarum tamen adhuc spectat versuum compositionem.
In re linguistica prosodia appellatur pervestigatio omnium phaenomenorum phonicorum, quae innituntur segmentis sententiae verbalis, quaeque habent partem peculiarem in versibus exarandis (R.JACOBSON, Questions de poétique. Saggi 1919-1972, Paris 1973), inter quae phaenomena potissimum accentus et quantitas declaranda sunt.
Ergo notio coaeva prosodiae est magis extensa quam antiqua, quia praeter phaenomena melodica antiquorum pervestigat quoque intensitatem [accentus] et moras [tempora].
Caterva notionum tanta est ut prosit magis poetas inquirere, quam omnia complecti leges: usus plura docet.

Prosodiacus - proso/dion - est processionalis versus:
x - x - x - ,
cuius variae sunt formae, communiores autem enh^ et 8sy:
au)=ta de\ su\ Kallio/pa (S., fr.155 D)
[autàdesuKàlliopà]
w)= du/smoroj, o(\j xeri\ me/n
[odùsmorosòskerimèn]

Prosopopoeia est personarum ficta inductio; saepe fit progymnasma seu exercitium compositionis.

Prò(s)thesis est additio litterae in initio verbi: a)/-paj (it. istòria).

Protagonistes est prima in dramatis personis, cui opponitur Antagonistes.

Proteron-hysteron est immutatio ordinis logici.

Prototypa - prwto/tupa - et derivatio sunt systemata metrica scholasticorum, quae pedem habent mensuram metrorum: brevis - braxei/a sullabh/ - in versu, mora in musica = tempus primum - xro/noj prw=toj.

Psylosis - yilw=sij - est unius spiritus lenis - yilo/j - usurpatio, apud Lesbicos.

Pyrrhichius - purri/xioj - constat duobus brevibus v v.

Pythius seu versus delphicus est 6mda.

Pythiambica I est systema quod constat 6mda + 2m ia ac.

Nox erat et caelo | fulgebat luna sereno
inter minora sidera (HOR., epod. 15,1-2).

Pyth. II constat 6mda + 3mia puro

Altera iam teritur | bellis civilibus aetas
suis et ipsa Roma viribus ruit (HOR., epod. 16,1-2)

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