The meaning you mention, alasdair17, refers to the nominal expression Pyrrhic Victory, not the word Pyrrhus itself, which is why I do not exist here. However, I specify it under “Pyrrhic Victory” (note the capital “P”, which I prefer, since the word in this sense is derived from the proper name Pyrrhus). By the way, there was really no need to use four question marks in a row. I hope you have calmed down a bit. Pyrrhus is one of the most unusual metric feet. To recognize this, it is important to understand what other syllable motifs a poet might use in his verses. Consider the following types of metric feet: Thank you Rolig! There is also a Wiktionary definition in Pyrrh. Seen from other angles, however, the victory was Pyrrhic, meaning that the losses of legitimacy, collateral and direct, were significant enough to question whether victory was inexpensive. If it`s a win not to get the World Cup, then it`s definitely some kind of Pyrrhic victory. A spondee is a type of metre foot that contains two syllables stressed or stressed side by side. Usually, readers find spondees at the beginning or end of lines of verse. It is very unusual to find an entire line written in Spondees.
“In Memoriam A.H.H.” is sometimes considered Tennyson`s most important literary achievement. The poem was written as a dedication to a friend of the poet, Arthur Henry Hallam, who died at the age of twenty-two. In “Section L” of “In Memoriam,” also known as “Be Near Me When My Light Is Dim,” the poet uses a frequently quoted line that includes a pyrrhic foot. The first two stanzas of the section are: In many Western classical poetic traditions, the meter of a verse can be described as a sequence of feet, with each foot being a specific sequence of syllable types – such as relatively underscored/underlined (the standard for English poetry) or long/short (as in most classical Latin and Greek poems). But Howard Kurtz says it could prove to be a Pyrrhic victory that could jeopardize his program for the second term. Tennyson used Pyrrhus and Spondees quite frequently, for example in In Memoriam: in a broader sense, this rhythmic motif apparently formed the basis of an ancient Greek war dance of the same name. Proclus thought it was the same as hyporchemistry (hyporchēma), while Athenaeus distinguished it; It may depend on whether the song accompanied the dance. Quoting Aristoxene, Athenaeus said that Pyrrhus is a Spartan dance for boys who wear spears to prepare for war, noting the intense speed of the dance.
In Plato`s laws, dance is described as a representation of offensive and defensive movements in combat. Other Greeks associated him with Dionysus.  There are a number of classical and later reliefs depicting Pyrrhic dancers, although the motif was not widely used in Roman times.  When writing the poetic meter of a poem, open syllables are symbolized by “.” and closed syllables by “–”. Among the different types of syllables, a total of sixteen different types of poetic feet – most of which are three or four syllables long – are constructed, which are named and scanned as follows: “I know of no branch [other] of Arabic studies that embodies as many [technical] terms as [al-Khalīl`s] prosody, little and different than meters: the disciples of al-Khalīl used a large number of rare objects and attributed certain things to these objects. technical designations which, without exception, require definition and explanation. As for the rules of metric variation, they are numerous in the sense that they resist memory and impose an arduous course of study. When a student learns them, he faces a serious ordeal that obscures any connection with an artistic genre – in fact, the most artistic of all – namely poetry ……..
In this way, [various] authors have dealt with the topic discussed over a period of eleven centuries: none of them tried to introduce a new approach or simplify the rules…….. Isn`t it time for a simple new presentation that avoids inventions, has a close affinity for the art of poetry, and perhaps makes the science of prosody both appetizing and manageable? This line also provides readers with two examples of spondees. These are metric feet that contain two accentuated strokes. This isn`t the only time Tennyson has used Pyrrhus in his “In Memoriam.” For example, in the following line: However, some meters have an overall rhythmic pattern to the line, which cannot be easily described with the feet. This happens in Sanskrit poetry; see Vedic Counter and Sanskrit Counter. (Although this poetry is actually specified with feet, each “foot” is more or less equivalent to an entire line.) It also occurs in some western meters, such as the syllable of Hendekassy preferred by Catullus and Martial, which can be described as: “A” and “in a” are unstressed syllables grouped in pyrrhus. Pyrrhus, pir′ik, n. a kind of war dance among the ancient Greeks: a poetic foot composed of two short syllables.
Don`t be so stupid that you believe your garden will be celebrated if you missed dancing Pyrrhus or kordax. Pyrrhus – They cite a number of examples of the use of Pyrrhus in the most commonly seen sense – pyrrhic victory, that is, a victory at such a price that it was probably not worth winning, and yet you do not give this meaning as one of the definitions of the word???? “If that” and “and that” in the second line can be considered pyrrhics (also analyzable as ionmeters). A Pyrrhus is a set of two unstressed syllables in a poem. The use of pyrrhus is unusual in English-language verses. In most cases, scientists consider unstressed syllables to be part of the metric feet established around them. For example, attaching an unstressed syllable to an iamb or a pin. However, given the bitterness of the path to the solution, the agreement raises the question of who actually won the Pyrrhic victory and what that means for the future of connected TV distribution contracts. It is easy to define Pyrrhus. First, you need to define the main foot, and then you will determine where that foot “breaks” in one way or another. If you see 2 unstressed syllables standing together and they do not match the main foot, make sure it is a Pyrrhus. In this example, the first and second feet are dactyls; their first syllables, “Ar” or “rum”, contain short vowels, but count so long because the vowels are followed by two consonants.
The third and fourth feet are spondees, the first of which is divided by the main caesura of the verse. The fifth foot is a dactylus, as is almost always the case. The last foot is a spondee. There are many types of measuring instruments in poetry. These include Iambs, Trochees, Spondees, Dactylene, Anapests and Pyrrhics. Sometimes poets choose to use only one of these types of metric feet in their verses. But most often they use a combination of several metric feet. In Latin and Greek poetry, a caesura is a break in a foot caused by the end of a word. A Pyrrhus is a set of two syllables in formal poetry. Unlike other metric feet, Pyrrhus contains two unstressed or unascored syllables. Unlike other feet, poets also do not use them to construct entire poems. They usually create a very slow and desolate sensation when used.
What does Pyrrhus mean? Pyrrhus is a foot of two short syllables. In the syllabic-tonic system, Pyrrhus is conventionally called a replacement of iamb or trochee by two unstressed syllables. If the line has only one foot, it is called a monometer; two feet, dimeter; three is a trimeter; four is a tetrameter; five is the pentameter; six is hexameter, seven is heptameter and eight is octameter. For example, if the feet are iambs, and if there are five feet to a line, then it is called a Jumbian pentameter.  If the feet are mostly dactyls and there are six to a line, then it is a dactylic hexameter.  This is another frequently cited example of the Pyrrhic counter. There are a few lines in this poem that contain Pyrrhic feet. But the whole poem is not written in this meter. In this piece, the poet presents the beauty of a garden with skillful language. The speaker walks through a garden and appreciates the overwhelming beauty of trees, herbs and flowers.
As mentioned above, there are few, if any, examples of English-language poems written entirely in Pyrrhic meters. Here are a few lines from Marvell`s “The Garden”: Poems with a well-defined global metric model often have a few lines that violate that pattern. A common variant is the inversion of a foot, which transforms an iamb (“da-DUM”) into a trochee (“DUM-da”). A second variant is a headless verse that does not have the first syllable of the first foot. A third variant is katalexis, in which the end of a line is shortened by a foot or two or part of it – an example of this is at the end of each verse in Keats` “The Beautiful Lady Without Mercy”: the term “Pyrrhus” is used to refer to a metric foot containing two unstressed syllables. The foot is less common today than in classical Greek poetry. The US veto officially blocked the resolution, in a classic example of a Pyrrhic victory. Instead of settling for a costly Pyrrhic victory on these issues, the Commission should heed the call of national organizations – and countless others – to postpone all necessary regulatory corrections to Congress and instead focus on issues of immediate interest.