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diff --git a/Master/texmf-dist/doc/latex/metre/demo.tex b/Master/texmf-dist/doc/latex/metre/demo.tex
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+\documentclass[12pt]{report}
+\usepackage{metre}
+%\usepackage[T1]{fontenc}
+\Magnitudo{0}
+\parindent 0pt
+\parskip 0pt
+%
+\newenvironment{MetricalScheme}{%
+  \let\par=\cr \obeylines %
+  \halign to \hsize \bgroup
+    \quad\quad\oldstylenums{##}\quad\quad\hfill&%
+    ##\hfill&%
+    \tabskip 0pt plus 5em minus 5em\quad\quad##\hfill
+}{\egroup}
+%
+\newcommand{\strophe}[1]{%
+  \noalign{%
+    \vspace*{4ex}
+    \quad\quad
+    \textit{#1}
+    \vspace*{2ex}
+  }%
+}
+%
+\begin{document}
+{\large\textbf{From:} \textsc{Angelo Paredi} \textit{Thesaurus}}\par 
+\vspace{5ex}
+\textbf{Il giamb\`elego.} \`E un verso composto da un dimetro giambico
+e da un trimetro dattilico catalettico \textit{in syllabam}.\par
+\vspace{2ex}
+Schema:\ \ \metra{\mb\M\s\b\M\s\bm\M\s\b\Bm\c\M\b\b\s\M\b\b\s\Bm}\par
+\vspace{2ex}
+Preceduto dall'esametro forma la strofa chiamata metro 
+\textbf{archilocheo secondo}.  Orazio lo usa una sola volta
+nell'epodo \oldstylenums{13}. Per esempio:
+\begin{verse}
+\begin{metrica}    
+H\='orr\-id\-a t\='emp\=est\='a c\={ae}l\='um c\=ontr\='ax\-it \-et \='imbr\=es\\ 
+\quad n\-iv\='esqu\-e d\='ed\=uc\='unt I\-ov\='em;\c n\='unc m\-ar\-e n\='unc s\-il\-u\='{ae}\\
+Thr\='e\-ic\-i\='o \-Aqu\-il\='on\-e s\-on\='ant. R\-ap\-i\='am\-us, \-am\='ic\=i,\\
+\quad \=occ\='as\-i\='on\=em d\='e d\-i\='e,\c d\='umqu\-e v\-ir\='ent g\-en\-u\='a\\
+\='et d\-ec\-et, \='obd\=uct\='a s\=olv\='at\=ur fr\='ont\-e s\-en\='ect\=us.\\
+\quad T\=u v\='in\-a T\='orqu\=at\='o m\-ov\='e\c  c\='ons\-ul\-e pr\='ess\-a m\-e\='o.\\
+\end{metrica}
+\end{verse}
+%
+\vspace{3ex}
+%
+\begin{verse}
+\begin{metrica} \Translatio{.125} \it   
+H\='orr\-id\-a t\='emp\=est\='a c\={ae}l\='um c\=ontr\='ax\-it \-et \='imbr\=es\\ 
+\quad n\-iv\='esqu\-e d\='ed\=uc\='unt I\-ov\='em;\c n\='unc m\-ar\-e n\='unc s\-il\-u\='{ae}\\
+Thr\='e\-ic\-i\='o \-Aqu\-il\='on\-e s\-on\='ant. R\-ap\-i\='am\-us, \-am\='ic\=i,\\
+\quad \=occ\='as\-i\='on\=em d\='e d\-i\='e,\c d\='umqu\-e v\-ir\='ent g\-en\-u\='a\\
+\='et d\-ec\-et, \='obd\=uct\='a s\=olv\='at\=ur fr\='ont\-e s\-en\='ect\=us.\\
+\quad T\=u v\='in\-a T\='orqu\=at\='o m\-ov\='e\c  c\='ons\-ul\-e pr\='ess\-a m\-e\='o.\\
+\end{metrica}
+\end{verse}
+%
+\newpage
+%
+%
+\FaciesSiglorum{} % suppress the use of italics
+\MetraStyle{en}
+{\large\textbf{From:} \textsc{Pindaro} \textit{Le Pitiche}}, Fondazione Lorenzo Valla\par 
+\vspace{5ex}
+\begin{center}
+\textsc{Pitica  VII}\par
+\vspace*{1ex}
+{\large Schema metrico}\par
+\end{center}
+\vspace*{15ex}
+Metro: strutture miste coriambico-giambiche\par
+\begin{MetricalScheme}
+  \strophe{Strofe antistrofe}%
+1&  \metra{\m\m\b\m\b\b\b\b\b\b\b\m\m\Cc\S H}&  \sigla{3ia_}
+2&  \metra{\b\m\b\b\m\s\s\s\m\b\m\s\s\s\bm\m\b\m\b\b\m\C}&%
+      \sigla{_<emiascl cr pros (>>_<<dim\S p)}
+3&  \metra{\m\m\b\m\m\C}&  \sigla{reiz}
+4&  \metra{\m\m\b\b\m\b\c\b\m\s\s\b\b\b\m\b\b\m\m\C}&%
+      \sigla{pros pherecr}
+5&  \metra{\m\m\b\b\m\b\m\Cc\S H}&  \sigla{teles}
+6&  \metra{\b\b\b\m\b\bm\Cc}&  \sigla{do}
+7&  \metra{\bm\b\b\b\m\m\Ccc}&  \sigla{reiz}
+  \strophe{Epodo}%
+1&  \metra{\m\b\m\b\b\m\s\s\s\m\b\m\b\b\m\C}&  \sigla{2hemiascl}
+2&  \metra{\b\m\m\m\b\m\C}&  \sigla{ba cr (pros\S{do})}
+3&  \metra{\m\m\b\b\m\b\m\C}&  \sigla{teles}
+4&  \metra{\b\b\b\m\b\b\m\C}&  \sigla{hemiascl}
+5&  \metra{\b\b\b\m\b\m\b\b\m\C}&  \sigla{dim\S p (tr cho)}
+6&  \metra{\m\m\m\b\m\b\b\m\C}&  \sigla{dim\S p}
+7&  \metra{\m\m\b\m\m\b\b\m\C}&  \sigla{dim\S p (ia cho)}
+8&  \metra{\b\m\b\b\m\m\Ccc}&  \sigla{reiz}
+\end{MetricalScheme}
+%
+%
+\newpage
+%
+%
+\begin{center}
+\textsc{Pitica  VIII}\par
+\vspace*{1ex}
+{\large Schema metrico}\par
+\end{center}
+\vspace*{15ex}
+Metro: strutture miste coriambico-giambiche\par
+\begin{MetricalScheme}
+  \strophe{Strofe antistrofe}%
+1&  \metra{\b\b\b\m\b\b\m\b\bm\Cc\S H}&  \sigla{glyc}
+2&  \metra{\m\b\m\b\b\b\b\b\m\Cc\S H}&  \sigla{glyc}
+3&  \metra{\m\m\b\m\b\b\bm\Cc\S H}&  \sigla{pros (>>_<<dim\S p)}
+4&  \metra{\b\m\b\m\s\s\s\m\b\b\m\b\bm\Cc\S H}&  \sigla{ia hemiascl}
+5&  \metra{\m\b\b\m\m\bm\s\s\s\m\b\m\b\b\m\b\bm\Cc}&  \sigla{hemiascl glyc}
+6&  \metra{\bm\m\b\m\b\b\m\m\s\s\s\bm\m\b\m\b\bm\Cc\S H}&  \sigla{en pros\S{do}}
+7&  \metra{\bm\m\b\m\bm\m\n{47}\mb\m\b\m\Ccc}&  \sigla{is pros\S{do}}
+  \strophe{Epodo}%
+1&  \metra{\b\m\b\m\b\b\m\n{35}\mb\s\s\s\m\m\n{55}\mb\m\b\bm\Cc}&%
+      \sigla{en pros\S{do}}
+2&  \metra{\n{36}\bm\m\b\m\b\b\m\s\s\s\m\n{56;76}\mb\m\b\b\m\bm\Cc\S H}&%
+      \sigla{pros (>>_<<dim\S p) pherecr}
+3&  \metra{\m\n{57;97}\mb\m\b\b\m\b\m\m\C}&  \sigla{hipp}
+4&  \metra{\m\m\b\b\m\bm\C}&  \sigla{reiz}
+5&  \metra{\m\m\b\b\m\s\s\s\m\b\b\m\s\s\s\b\m\b\m\C}&%
+      \sigla{_hemiascl cho ia}
+6&  \metra{\b\m\n{59}\bbm\b\b\m\b\m\s\s\s\m\b\m\b\b\m\b\m\Cc}&  \sigla{2glyc}
+7&  \metra{\m\m\n{\it a}\bm\m\n{\it a}\bm\m\b\n{20}\mb\s\s\s\b\m\b\m\m\Ccc}%
+      \ \ \numeri{a:60;100}&  \sigla{reiz cho (\r epitr\S{tr}) reiz}
+\end{MetricalScheme}
+%
+%
+\newpage
+%
+%
+\begin{center}
+{\Large  Metrische Analyse von Pi.~\textit{O.} 1}\\
+\vspace*{2ex}
+Rainer Thiel\\
+\end{center}
+\vspace*{4ex}
+\FaciesSiglorum{\it}
+\begin{center}
+str.\,/\,ant.\vspace{\bigskipamount}
+
+\begin{tabular}{rlr}
+1& \metra{\b\m\m\bb\m\b\m\s\m\b\m\b\b\m\m\c}& \sigla{gl pher\c}\\
+2& \metra{\bb\b\m\s\b\m\m\s\bb\m\bb\m\bb\m\m\cc}& \sigla{cr ba enopl\cc}\\
+3& \metra{\m\b\m\b\m\b\m\cc}& \sigla{lec (= cr ia)\cc}\\
+4& \metra{\m\b\m\b\b\m\m\cc}& \sigla{pher\cc}\\
+5& \metra{\m\b\m\b\m\b\m\cc}& \sigla{lec (= cr ia)\cc}\\
+6& \metra{\m\b\m\s\b\bb\b\m\s\b\m\b\m\s\b\m\bb\m\m\s\b\m\b\m\cc}&%
+     \sigla{cr 2\,ia reiz ia\cc}\\
+7& \metra{\m\b\m\b\s\m\b\m\b\s\m\b\b\m\s\m\b\m\cc}&%
+     \sigla{2\,tr cho cr\cc}\\
+8& \metra{\b\bb\b\bb\s\b\m\b\m\s\b\m\b\m\cc}& \sigla{3\,ia\cc}\\
+9& \metra{\b\n{20.\,38}{\bbm}\m\b\m\s\bb\b\m\cc}&%
+     \sigla{k>\D{}k cr\cc}\\
+10& \metra{\b\m\m\s\b\m\b\m\s\bb\b\m\cc}& \sigla{ba ia cr\cc}\\
+11& \metra{\n{80}{\mb}\m\b\bb\s\m\b\m\b\m}&\sigla{ia (hypo<<)>\d\ccc}\\
+\end{tabular}
+\vspace*{2\bigskipamount}
+
+ep.\vspace*{\bigskipamount}
+
+\begin{tabular}{rlr}
+1&  \metra{\b\m\b\bb\s\m\b\m\s\m\bb\m\s\b\m\m\s\b\m\b\m\cc}&\sigla{ia cr
+   cho ba ia\cc}\\
+2&\metra{\b\m\m\b\b\m\m\c\bb\d{\bb}\m\b\m\cc}&\sigla{pher
+   \d\cc}\\
+3&\metra{\m\b\m\b\m\b\m\s\bb\m\m\b\m\cc}&\sigla{lec (= cr ia)
+   \d\cc}\\
+4&\metra{\b\m\m\b\m\s\m\bb\m\b\m\s\b\m\bb\m\m\cc}&\sigla{3\,\d\cc}\\
+5&\metra{\b\b\m\b\s\m\b\b\m\s\s\m\b\m\b\m\cc}&\sigla{wilamow (hypo<<)>\d\cc}\\
+6&\metra{\m\m\bb\m\b\m\s\m\b\m\b\m\cc}&\sigla{telesil (= _gl) (hypo<<)>\d\cc}\\
+7&\metra{\b\b\b\s\m\b\b\m\s\s\m\b\m\cc}&\sigla{wilamow cr\cc}\\
+8&\metra{\b\m\m\s\b\m\m\b\b\m\b\m\s\m\b\b\m\s\b\m\m\ccc}&\sigla{ba gl
+   cho ba\ccc}\\
+\end{tabular}
+\end{center}
+\end{document}
+
diff --git a/Master/texmf-dist/doc/latex/metre/greek1.tex b/Master/texmf-dist/doc/latex/metre/greek1.tex
new file mode 100644
index 00000000000..08532d8b8f3
--- /dev/null
+++ b/Master/texmf-dist/doc/latex/metre/greek1.tex
@@ -0,0 +1,296 @@
+\documentclass[11pt]{report}
+\usepackage[polutonikogreek,english]{babel}
+\usepackage{metre}
+\textwidth 5in
+\topsep 0pt
+\partopsep 0pt
+\pagestyle{empty}
+\Magnitudo{+1}
+\newcommand{\Greek}[1]{\foreignlanguage{polutonikogreek}{#1}}
+%
+%   shorthands for the `metrike' environment
+%
+\renewcommand{\(}{\begin{metrike}}
+\renewcommand{\)}{\end{metrike}}
+% 
+%   some convenient shorhands for metres
+%
+\newcommand{\dactyl}{\metra{\m\b\b}}
+\newcommand{\spondee}{\metra{\m\m}}
+\newcommand{\enoplion}{\metra{\m\m\b\b\m\b\m\m}}
+%
+\begin{document}
+%
+\hrule height 1.5pt \vspace{1ex}
+{\large From D.L. Page's commentary to \textit{Medea} (1st ed.), pp.~182-183.}\par 
+\vspace{1ex}
+Copyright Oxford University Press.\par
+Reproduced by permission of Oxford University Press.\par 
+\vspace{1ex} \hrule height 1.5pt
+\vspace{5ex}
+{\noindent\textit{The Parodos.}}\par
+\vspace{1ex}
+As in Aeschylus' \textit{Septem} and Euripides' \textit{Bacchae}, the
+Chorus begins with a short lyric to which there is no antistrophic 
+reply, \oldstylenums{131} sqq.\,:\par
+%
+%
+\begin{tabbing}
+%
+%   defining the tab stops (note \kill at the end)
+%
+\hspace*{2em}\oldstylenums{131}\hspace{.25em}%
+\=\metra{\b\b\m}\hspace{.25em}%
+\=\metra{\m\m}\hspace{.25em}%
+\=\metra{\b\b\m}\hspace{.25em}%
+\=\metra{\b\bm}\hspace{2em}%
+\=Anapaests\kill%
+%
+\oldstylenums{131}%
+\>\metra{\b\b\m}%
+\>\metra{\m\m}%
+\>\metra{\b\b\m}%
+\>\metra{\b\b\m}%
+\>Anapaests\\%
+%
+\>\metra{\m\m}%
+\>\metra{\m\m}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>Anapaests\\%
+%
+\>\metra{\m\b\b}%
+\>\metra{\m\m}%
+\>\metra{\m\m}%
+\>\metra{\m}%
+\>Paroemiac\\%
+%
+%   redefining the tab stops (note \kill at the end)
+%
+\oldstylenums{131}\hspace{.25em}%
+\=\metra{\m\b\b}\hspace{.25em}%
+\=\metra{\m\b\b}\hspace{.25em}%
+\=\metra{\m\b\b}\hspace{.25em}%
+\=\metra{\m\b\b}\hspace{.25em}%
+\=\metra{\m\b\m}\hspace{2em}%
+\=Lyric dactyl\kill%
+%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\m}%
+\>Lyric dactyl\\%
+%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\m}%
+\>Lyric dactyl\\%
+%
+\>%
+\>\metra{\m\b\b}%
+\>\metra{\b\m\c\m\b\m\c\b\m\m}%
+\>%
+\>%
+\>Iamb.\\%
+\end{tabbing}\par
+At \oldstylenums{148} the Chorus begins a strophe which opens with
+anapaests:\par
+\vspace{1ex}
+{%    here we use the TeX primitive \halign
+\tabskip .2em %
+\halign {%
+\hspace*{2em}#\hspace*{4em}&&#\hfill\cr% the pattern
+\oldstylenums{148}&\dactyl &\spondee &\spondee &\spondee \cr
+&\spondee &\spondee &\spondee &\spondee\cr
+&\spondee &\spondee \cr
+}% \halign
+}
+
+Three enoplia follow:{\obeylines
+\hspace{6.25em}\enoplion
+\hspace{6.25em}\enoplion
+\hspace{6.25em}\enoplion
+}
+Then a reizianum, which is similar in scansion to the enoplion
+for the first six syllables:{\obeylines
+\hspace{6.25em}\metra{\m\m\b\b\m\m}
+}
+
+Then comes a trochaic metron:{\obeylines
+\hspace{6.25em}\metra{\m\b\m\b}
+}\noindent followed by three more enoplia{\obeylines
+\hspace{6.25em}\enoplion
+\hspace{6.25em}\enoplion
+\hspace{6.25em}\enoplion
+}\noindent then a molossus:{\obeylines
+\hspace{6.25em}\metra{\m\m\m}
+}
+
+And the strophe is closed by a line which is similar in scansion to
+the enoplia, being in fact a glyconic followed by a spondee:{\obeylines
+\hspace{6.25em}\metra{\m\m\m\b\b\m\b\m\m\m}
+}
+
+The Parodos is ended by a short choral lyric to which there is no
+antistrophic reply, \oldstylenums{204} sqq.\,:\par 
+\vspace{1ex}
+%\Elevatio{.5}% 
+%
+{%   here we use the TeX primitive \halign
+\tabskip 1em plus 2em minus .5em%
+\halign to \hsize{%
+#\hfill&#\hfill&\quad\quad#\hfill\cr% the pattern
+\oldstylenums{204}&\(\=aq\=an \=a-\)\-&molossus\cr
+&\-\(-\-i\=on p\-ol\=u\C st\-on\=on g\-o\=wn\)&iambic\cr
+&\(l\-ig\-ur\-a d \-aq\-e\-a\c m\-og\-er\-a b\-o\={a|}\)&iambic\cr
+% 
+\noalign{Then another iambic metron leads to a reizianum, similar in
+scansion to a dactylo-epitrite:}
+%
+&\(t\-on \=en l\-eqe\=i\c pr\-od\-ot\=an k\-ak\-on\=umf\=on\)\cr
+%
+\noalign{Then follow two more iambic metra:}
+%
+&\(j\-e\=okl\-ute\=i\c d \-ad\-ik\-a p\-ajo\=usv\C\-a\)\cr
+%
+\noalign{Then another quasi-dactylo-epitrite:}
+%
+&\(t\=an Z\=hn\-os \=or\C k\-i\=an J\-em\-in \=a n\-in \-eb\=asv\-en\)\cr
+%
+\noalign{\noindent followed by a hemiepes, repeating the scansion of
+%
+\-\-\ \(-\=an J\-em\-in \=a n\-in \-eb\=a-\)\ \-\-\,:}
+&\(\=Ell\-ad \-es \=ant\-ip\-or\=on\)\cr
+%
+\noalign{Then a return to the opening iambic rhythm:}
+%
+&\(d\-i \-al\-a n\-uq\-i\-on\c \-ef \=alm\-ur\=an\)\cr
+%
+\noalign{\noindent and finally a pherecratean clausula:}
+%
+&\(P\=onto\=u kl\={h|}d> \-ap\-er\=ant\=on\)\cr
+}% halign
+}%
+\vspace{5ex}
+\hrule height 1.5pt \vspace{1ex}
+{\large From E.R. Dodds' commentary to \textit{Bacchae} (2nd ed.), pp.~72-73.}\par 
+\vspace{1ex}
+Copyright Oxford University Press 1960.\par
+Reproduced by permission of Oxford University Press.\par 
+\vspace{1ex} \hrule height 1.5pt
+\vspace{5ex}
+\Greek{pros'imion} and \Greek{str}+\Greek{>ant.\,a$^\prime$}: ionics
+\textit{a minore}.  This is the characteristic metre of the
+\textit{Bacchae}.  Its use was doubtless traditional for Dionysiac
+plays, since it is proper to Dionysiac cult-hymns; it appears
+in the refrain of Philodamos' Delfic hymn to Dion. and in the
+Iacchos-hymn of the \textit{Frogs} (\oldstylenums{324} ff.).
+The standard line consists of two \Greek{m'etra} (\oldstylenums{65}
+and \oldstylenums{69} have three), either
+
+\begin{list}{}{}
+%
+\item[(\textit{a})] `straight' form, \metra{\b\b\m\m \c \b\b\m\m}
+(Hor., \textit{Odes} \oldstylenums{3}, \oldstylenums{12} is composed
+entirely in this form),
+%
+\item[or (\textit{b})] `anaclastic' or broken form (anacreontics),
+\metra{\b\b\m\b\c\m\b\m\m}.
+\end{list}
+%
+(\textit{b}) yields a swifter and more emotional rhythm than
+(\textit{a}). Both forms are illustrated by Kipling's line:\par
+\begin{metrica}
+\-And th\-e s\='unsh\=ine\c \-and th\-e p\='almtre\=es \-and th\-e
+t\=inkl\-y t\=empl\-e b\=ells\ \metra[\m{-2}\ss{1.225}\ms{st}]{\K\m}%
+\end{metrica}\par
+Variations include (\oldstylenums{1}) `catal\=exis', suppressing the
+last syllable of the second \Greek{m'etron} and occasionally of the
+first (\oldstylenums{64} = \metra{\b\b\m\k\m \c \b\b\m\k\m});
+(\oldstylenums{2}) `syncopation', suppressing a short syllable within
+the \Greek{m'etron} (\oldstylenums{71} = \metra{\b\b\m\b\c\m\p\m\m});
+(\oldstylenums{3}) `resolution' of either long into two shorts
+(\oldstylenums{79} = \metra{\b\b\bb\m\c\b\b\m\m}); (\oldstylenums{4})
+the reverse substitution of a long for two shorts
+(\oldstylenums{81} = \metra{\m\m\m\c\b\b\m\m}).\ [\ldots]
+
+\Greek{str.}+\Greek{>ant.\,b$^\prime$}. In \oldstylenums{105}%
+-\oldstylenums{10} = \oldstylenums{120}-\oldstylenums{5} the first element
+is a choriambus \metra{\m\b\b\m} (resolved in
+\oldstylenums{107}-\oldstylenums{122} into \metra{\bb\b\b\bb}); the
+second is either an iambic \Greek{m'etron}
+(\oldstylenums{109}-\oldstylenums{124}, with the last long resolved)
+or a bacchius \metra{\b\m\m} (perhaps equivalent to a syncopated
+iambic \Greek{m'etron} \metra{\b\m\p\m}). 
+
+In the remainder, ionics (\oldstylenums{113}-\oldstylenums{14})
+are mixed with glyconics (see on stasimon \oldstylenums{1},
+\oldstylenums{402} ff., which for the beginner forms a
+better introduction to the metre) and dactyls. The last
+named describe the rush of the dancers to the mountains
+(\oldstylenums{116}-\oldstylenums{17}); and in general the excited and
+swiftly changing rhythms seem to reflect, as Deichgr\"aber observes,
+the Dionysiac unrest.
+\strut\strut\par
+Scheme:
+\begin{tabbing}
+%
+%    defining the tab stops (note \kill at the end)
+%
+\oldstylenums{115}-\oldstylenums{130}\hspace{2em}
+\=\metra{\m\b\b\bbm}%
+\=\metra{\b\m\s\b\b\m}\hspace{3em}%
+\=? glyc. with trisillabic close. \kill
+%
+\oldstylenums{105}-\oldstylenums{120}%
+\>\>\metra{\m\b\b\m}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\>\metra{\m\b\b\m}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\>\metra{\bb\b\b\bb}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\>\metra{\m\b\b\bbm}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\>\metra{\m\b\b\m}\'\metra{\b\m\b\bb}%
+\>chor{.}+iamb.\\
+%
+\oldstylenums{110}-\oldstylenums{125}%
+\>\>\metra{\m\b\b\m}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\metra{\m\m\s\m\b\b\m\s\b\m}%
+\>\>glyc.\\
+%
+\>\metra{\bb\b\s\m\b\b\m\s\b\b\m}%
+\>\>? glyc. with trisillabic close. \\
+%
+\>\metra{\m\m\m\s\b\b\m\m\s\b\b\m\m}%
+\>\>\oldstylenums{3} ion.\\
+%
+\>\metra{\bb\m\m\s\b\b\m\m\s\b\b\m\m}%
+\>\>\oldstylenums{3} ion.\\
+%
+\oldstylenums{115}-\oldstylenums{130}%
+\>\metra{\bb\b\s\m\b\b\m\s\b\b\m}%
+\>\>? glyc. with trisillabic close. \\
+%
+\>\metra{\m\b\b\s\m\b\b\s\m\b\b\s\m\K\m}%
+\>\>\oldstylenums{4} dact.\\
+%
+\>\metra{\m\b\b\s\m\b\b}%
+\>\>\oldstylenums{2} dact.\\
+%
+\>\metra{\b\m\s\m\b\b\m\s\b\m}%
+\>\>glyc.\\
+%
+\>\metra{\m\m\s\m\b\b\m\s\m}%
+\>\>pher.\\
+\end{tabbing}
+\end{document}
diff --git a/Master/texmf-dist/doc/latex/metre/greek2.tex b/Master/texmf-dist/doc/latex/metre/greek2.tex
new file mode 100644
index 00000000000..d5d9c386e98
--- /dev/null
+++ b/Master/texmf-dist/doc/latex/metre/greek2.tex
@@ -0,0 +1,70 @@
+\documentclass[11pt]{article}
+\usepackage[polutonikogreek,german]{babel}
+\usepackage{metre}
+\DeclareTextFontCommand{\textgreek}{\selectlanguage{polutonikogreek}}
+\thispagestyle{empty}
+\begin{document}
+\begin{center}
+{\Large\bf Metrische Formen in Archilochos' Fragmenten}\\
+\vspace{2ex}
+{\small Rainer Thiel, 2. Dezember  2000}
+\end{center}
+\begin{enumerate}
+\item Elegisches Distichon (\sigla{6da_\cc hem\c hem},
+frgg.~1--17\,W.):\\
+  \metra{\n1\m\mbb\n2\m\mbb\n3\m\mbb\n4\m\mbb\n5\m\mbb\n6\m\a\cc}
+  \metra{\m\mbb\m\mbb\m\c\m\bb\m\bb\m}
+\item Iamb. Trimeter, stichisch (\sigla{3ia}, frgg. 18--87):
+  \metra{\a\m\b\n1\m\s\a\m\b\n2\m\s\a\m\b\n3\m}\\ (Horazens Epodisches \glq
+  System\grq\ VII, Hor. epod. 17)
+\item Troch. Tetrameter, stichisch (\sigla{4tr_}, frgg. 88--167):\par%
+\metra{\m\b\m\a\s\m\b\m\a\c\m\b\m\a\s\m\b\m}
+
+\item In Archilochos' Epoden-Fragmenten vorfindliche Systeme:
+
+\begin{enumerate}
+\item \sigla{enopl\c ith} (frgg. 168--171):
+  \metra{\bbmb\m\bbmb\m\bbmb\m\bm\c\m\b\m\b\m\bm}
+
+\item \sigla{3ia\cc 2ia} (frgg. 172--181):
+  \metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\a\m\b\m\s\a\m\b\m}\\(
+  Horazens Epodisches System I, vgl. Hor. epod. 1--10)
+
+\item \sigla{3ia\cc hem} (frgg. 182--187): %
+  \metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\m\bb\m\bb\m}
+
+\item \sigla{alcm\c ith\cc 3ia_} (frgg. 188--192):\par%
+\metra{\m\mbb\m\mbb\m\mbb\m\mbb\c\m\b\m\b\m\bm\cc\a\m\b\m\s\a\m\b\m\s\b\m\m}
+
+\item \sigla{6da_\cc 2ia} (frg. 193, evtl. frg. 194):\par%
+\metra{\m\mbb\m\mbb\m\mbb\m\mbb\m\mbb\m\a\cc\a\m\b\m\s\a\m\b\m}\\
+(Horazens Epodisches System V, vgl. Hor. epod. 14. 15)
+
+\item \sigla{6da_\cc alcm_}   (frg. 195, nicht ganz sicher):
+  \\\metra{\m\mbb\m\mbb\m\mbb\m\mbb\m\mbb\m\a} 
+\metra{\m\mbb\m\mbb\m\bb\m\m} \\(vgl. Horazens Epodisches System III,
+Hor. epod. 12)
+\item
+\begin{enumerate}
+\item \sigla{hem 2ia} (evtl. nur ein Teil von
+  \addtocounter{enumiii}{1}(\roman{enumiii})\addtocounter{enumiii}{-1};
+  frg. 196)\par Heph. 19,9, p. 50, 14--17:\par \textgreek{{\small Tr'iton d'e
+      >estin par`a >Arqil'oqw| >asun'arthton \textit{>ek daktuliko~u
+        penj\-hmi\-me\-ro~us} (\metra{\m\bb\m\bb\m}) \textit{ka`i
+        >iambiko~u dim'etrou >akatal'hktou} 
+(\metra{\a\m\b\m\s\a\m\b\m});}\\
+    >all`a m'' <o lusimel'hs, >wta~ire, d'amnatai p'ojos.}
+
+\item K\"olner Epodenfragment (frg. 196\,a): \sigla{3ia\cc hem\cc 2ia}\\
+\metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\m\bb\m\bb\m\cc\a\m\b\m\s\a\m\b\m}\\
+(Horazens Epodisches System II, vgl. Hor. epod. 11)
+
+\end{enumerate}
+\item \sigla{3tr_} (frg. 197):
+\metra{\m\b\m\a\s\m\b\m\a\s\m\b\m}
+
+\end{enumerate}
+\end{enumerate}
+
+\end{document}
+
diff --git a/Master/texmf-dist/doc/latex/metre/greek3.tex b/Master/texmf-dist/doc/latex/metre/greek3.tex
new file mode 100644
index 00000000000..5100c23cb5d
--- /dev/null
+++ b/Master/texmf-dist/doc/latex/metre/greek3.tex
@@ -0,0 +1,110 @@
+\documentclass[11pt]{report}
+\usepackage[polutonikogreek,english]{babel}
+\usepackage{metre}
+\textwidth 5in
+\topsep 0pt
+\partopsep 0pt
+\pagestyle{empty}
+\Magnitudo{+1}
+\begin{document}
+\vspace{5ex}
+\hrule height 1.5pt \vspace{2ex}
+\selectlanguage{english}
+{\large Examples of Greek text typeset with \texttt{Babel} and %
+  \texttt{metre}}
+\vspace{2ex}
+\hrule height 1.5pt
+\selectlanguage{polutonikogreek}
+\vspace{7ex}
+{\obeylines\everypar{\quad}
+ka`i g`ar a>i fe'ugei, taq'ews di'wxei,
+a>i d`e d~wra m`h d'eket'', >all`a d'wsei,
+a>i d`e m`h f'ilei, taq'ews fil'hsei
+ko>uk >ej'eloisa.\linea* 
+>'elje moi ka`i n~un, qal'epan d`e l~uson
+>ek mer'imnan, >'ossa d'e moi t'elessai
+j~umos >im'errei, t'eleson, s`u d'' a>'uta
+s'ummaqos >'esso.\geminata*
+}
+\vspace{5ex}
+\begin{verse}
+tejn'akhn d'' >ad'olws j'elw;\\
+>'a me yisdom'ena katel'impanen\linea
+p'olla ka`i t'od'' >'eeip\punctum\lbrack\\
+>'wim'' >ws de~ina pep['onj]amen;\\
+Y'apf'', >~h m'an s'' >a'ekois'' >apulimp'anw.\linea
+t`an d'' >'egw t'ad'' >ameib'oman;\\
+qa'irois'' >'erqeo k>'amejen\\
+m'emnais''; o>~isja g`ar >'ws se ped'hpomen.\linea
+a>i d`e m'h, >all'a s'' >'egw j'elw\\
+>'omnaisai\lbrack\punctum[3]\Punctum\rbrack%
+ \lbrack\punctum[2]\Punctum\rbrack\punctum[2]ai\\
+ \punctum[2]\lbrack\kern 6.5em\rbrack%
+   ka`i k'al'' >ep'asqomen;\linea
+\end{verse}
+\vspace{5ex}
+{\obeylines\everypar{\quad}
+Sikel'ia t' a>uto~u pi'ezei
+st'erna laq\positio n'aenta; k'iwn d'' o>uran'ia sun'eqei,
+nif'oess' A'>itna, p'anetes
+qi'onos <oxe'ias tij'hna;\lunata*[.1]
+t~as >er'eugontai m`en >ap\positio l'atou pur`os >ag\positio n'otatai
+>ek muq~wn paga'i; potamo`i
+\quad d'' <am'eraisin m`en proq'eonti <r'oon kap\Positio no~u
+a>'ijwn'';
+}
+\newpage
+{\obeylines\everypar{\quad}
+o>ud`e e<~is [se m'em]yetai plhs'ion qroso~u
+st~asan o>u[d`e] \dubia{>e}[xel]'egxei se qrus'os, >all`a
+dio'iseis a>ut'on;\,{\fontseries{b}\selectfont %
+o>u g`ar polup'hnwn K'a-}\bifida*[.1]
+\postlineam{\fontencoding{OT1}\fontfamily{cmr}\fontseries{b}\selectfont
+\tiny\,]}%
+{\fontseries{b}\selectfont %
+la]isos >an`er ped'' >andr~wn o>u[d''] >'agrios;} >e[k-
+to~u >enant'iou t`o >enant'ion; o>uk >est`i polup'h-
+mwn <o K'alaiso[s >a]ll'' e>uda'imwn o>ud'' '>agrios
+>all`a '<hmeros. {\fontseries{b}\selectfont %
+n~un d'' >'iones t~w da'imonos}\bifida*[.1]
+\postlineam{\fontencoding{OT1}\fontfamily{cmr}\fontseries{b}\selectfont
+\tiny\,]}%
+'<ew(s) to~u %
+{\fontseries{b}\selectfont pai[d~wn] >ar'istan;}\,Lewtuq'idas
+L]akedai[mon'i]\dubiae{wn} basile'us.  '>adhlon d`e
+\leavevmode\kern 7em j]ug'athr <h Timasimbr'ota
+\leavevmode\kern 7.5em]\punctum ai t\dubia{i}nos. {\fontseries{b}\selectfont %
+fu`an d'' '>e\dubiae{oik}en}\bifida*[.1]
+\leavevmode\kern 7.5em{\fontseries{b}\selectfont p]aid`i xanj~wi Polud'w[r]w[}
+\leavevmode\kern 8em] Lewtuq'ida u<i'os >esti to~u 
+Lakedaimon'iwn] basil'e[w]s; [to]~u d'' E'uru\dubia{k}[r]\dubia{'a}-
+tous u<i`os Pol'ud]wros kai Tim[asim]br'ota
+jug'a[thr. {\fontseries{b}\selectfont%
+M~w]\dubiae{{sv}a} l'issoma'i t[e si]~wn m'a-\coronis*
+lista} [; t`as Mo]'usas <uper \punctum\lbrack\kern 3em]\punctum atros
+t~hs t[\kern 5em]ntidwn fu\dubia{l}[\kern 5.5em q]or'os (>esti)
+D'uma[inai, <~wn p'a]tra Dum~a[nes;]
+}
+\vspace{5ex}
+{\obeylines\everypar{\quad}
+fhsi kokut`o\dubia{n} [\linea*
+to'utwi <o Sim\dubia{w}[n'ides
+noito per`i tou[\punctum]\dubiae{ou}[
+\margini[-2.5em]{\Obelus*}\punctum n e>ul'ogws h par\punctum[2]\lbrack
+\dubia{t}on >ejr'hnoun >epio\punctum\lbrack
+'>eoiken daimoni\punctum\lbrack
+}
+\vspace{5ex}
+{\obeylines\everypar{\quad}
+\leavevmode\kern 7.5em k'alliston m'artur >'ejento p'onwn
+qrouso~u tim'hentos >e\semi]n a>ijer\semi[i; ka'i sfin >a'exei
+\leavevmode\kern 4em a>ut~wn t'' e>urei~an kl\semi]hd'on\semi[a ka`i pat'erwn.
+\leavevmode\kern 11em]\dubia{p}ol\dubia{u}[
+}
+\vspace{5ex}
+\Lineola[-.3]{mr\gravis[.5]s}\ \ \ %
+>'eq\structa[.1]{oi}{\tiny oisv}\ \ \ %
+>amfi\acutus[.3]{{\metrike\=a}}rewn\ \ \ %
+>a\erasa{}x'ewn\ \ \ %
+-\structa[.25]{ai}{\tiny \kern .05em h}si
+\end{document}
diff --git a/Master/texmf-dist/doc/latex/metre/igreek1.tex b/Master/texmf-dist/doc/latex/metre/igreek1.tex
new file mode 100644
index 00000000000..eaaad0f96e1
--- /dev/null
+++ b/Master/texmf-dist/doc/latex/metre/igreek1.tex
@@ -0,0 +1,298 @@
+\documentclass[11pt]{report}
+\usepackage{ibycus4}
+\usepackage[en]{metre}
+\textwidth 5in
+\topsep 0pt
+\partopsep 0pt
+\pagestyle{empty}
+\Magnitudo{+1}
+\newcommand{\Greek}[1]{\bgroup\fontencoding{OT1}\greek #1\egroup}
+%
+% 	shorthands for the `metrike' environment
+%
+\renewcommand{\(}{\begin{metrike}}
+\renewcommand{\)}{\end{metrike}}
+% 
+%	some convenient shorhands for metres
+%
+\newcommand{\dactyl}{\metra{\m\b\b}}
+\newcommand{\spondee}{\metra{\m\m}}
+\newcommand{\enoplion}{\metra{\m\m\b\b\m\b\m\m}}
+%
+\begin{document}
+%
+\hrule height 1.5pt \vspace{1ex}
+{\large From D.L. Page's commentary to \textit{Medea} (1st ed.), pp.~182-183.}\par 
+\vspace{1ex}
+Copyright Oxford University Press.\par
+Reproduced by permission of Oxford University Press.\par 
+\vspace{1ex} \hrule height 1.5pt
+\vspace{5ex}
+{\noindent\textit{The Parodos.}}\par
+\vspace{1ex}
+As in Aeschylus' \textit{Septem} and Euripides' \textit{Bacchae}, the
+Chorus begins with a short lyric to which there is no antistrophic 
+reply, \oldstylenums{131} sqq.\,:\par
+%
+%
+\begin{tabbing}
+%
+%	defining the tab stops (note \kill at the end)
+%
+\hspace*{2em}\oldstylenums{131}\hspace{.25em}%
+\=\metra{\b\b\m}\hspace{.25em}%
+\=\metra{\m\m}\hspace{.25em}%
+\=\metra{\b\b\m}\hspace{.25em}%
+\=\metra{\b\bm}\hspace{2em}%
+\=Anapaests\kill%
+%
+\oldstylenums{131}%
+\>\metra{\b\b\m}%
+\>\metra{\m\m}%
+\>\metra{\b\b\m}%
+\>\metra{\b\b\m}%
+\>Anapaests\\%
+%
+\>\metra{\m\m}%
+\>\metra{\m\m}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>Anapaests\\%
+%
+\>\metra{\m\b\b}%
+\>\metra{\m\m}%
+\>\metra{\m\m}%
+\>\metra{\m}%
+\>Paroemiac\\%
+%
+%	redefining the tab stops (note \kill at the end)
+%
+\oldstylenums{131}\hspace{.25em}%
+\=\metra{\m\b\b}\hspace{.25em}%
+\=\metra{\m\b\b}\hspace{.25em}%
+\=\metra{\m\b\b}\hspace{.25em}%
+\=\metra{\m\b\b}\hspace{.25em}%
+\=\metra{\m\b\m}\hspace{2em}%
+\=Lyric dactyl\kill%
+%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\m}%
+\>Lyric dactyl\\%
+%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\b}%
+\>\metra{\m\b\m}%
+\>Lyric dactyl\\%
+%
+\>%
+\>\metra{\m\b\b}%
+\>\metra{\b\m\c\m\b\m\c\b\m\m}%
+\>%
+\>%
+\>Iamb.\\%
+\end{tabbing}
+
+At \oldstylenums{148} the Chorus begins a strophe which opens with
+anapaests:\par
+\vspace{1ex}
+{%  here we use the TeX primitive \halign
+\tabskip .2em %
+\halign {%
+\hspace*{2em}#\hspace*{4em}&&#\hfill\cr%	the pattern
+\oldstylenums{148}&\dactyl &\spondee &\spondee &\spondee \cr
+&\spondee &\spondee &\spondee &\spondee\cr
+&\spondee &\spondee \cr
+}% \halign
+}
+
+Three enoplia follow:{\obeylines
+\hspace{6.25em}\enoplion
+\hspace{6.25em}\enoplion
+\hspace{6.25em}\enoplion
+}
+Then a reizianum, which is similar in scansion to the enoplion
+for the first six syllables:{\obeylines
+\hspace{6.25em}\metra{\m\m\b\b\m\m}
+}
+
+Then comes a trochaic metron:{\obeylines
+\hspace{6.25em}\metra{\m\b\m\b}
+}\noindent followed by three more enoplia{\obeylines
+\hspace{6.25em}\enoplion
+\hspace{6.25em}\enoplion
+\hspace{6.25em}\enoplion
+}\noindent then a molossus:{\obeylines
+\hspace{6.25em}\metra{\m\m\m}
+}
+
+And the strophe is closed by a line which is similar in scansion to
+the enoplia, being in fact a glyconic followed by a spondee:{\obeylines
+\hspace{6.25em}\metra{\m\m\m\b\b\m\b\m\m\m}
+}
+The Parodos is ended by a short choral lyric to which there is no
+antistrophic reply, \oldstylenums{204} sqq.\,:\par 
+\vspace{1ex}
+%\Elevatio{.5}% 
+%
+{%	here we use the TeX primitive \halign
+\tabskip 1em plus 2em minus .5em%
+\halign to \hsize{%
+#\hfill&#\hfill&\quad\quad#\hfill\cr%	the pattern
+\oldstylenums{204}&\(\=ax\=an \=a-\)\-&molossus\cr
+&\(-\-i\=on p\-ol\=u\C s|t\-on\=on g\-o\=wn\)&iambic\cr
+&\(l\-ig\-ur\-a d \-ax\-e\-a\c m\-og\-er\-a b\-o\={a|}\)&iambic\cr
+% 	
+\noalign{Then another iambic metron leads to a reizianum, similar in
+scansion to a dactylo-epitrite:}
+%	
+&\(t\-on \=en l\-exe\=i\c pr\-od\-ot\=an k\-ak\-on\=umf\=on\)\cr
+%
+\noalign{Then follow two more iambic metra:}
+%
+&\(q\-e\=okl\-ute\=i\c d \-ad\-ik\-a p\-aqo\=us|\C\-a\)\cr
+%
+\noalign{Then another quasi-dactylo-epitrite:}
+%
+&\(t\=an Z\=hn\-os \=or\C k\-i\=an Q\-em\-in \=a n\-in \-eb\=as|\-en\)\cr
+%
+\noalign{\noindent followed by a hemiepes, repeating the scansion of
+%
+\ \(-\=an Q\-em\-in \=a n\-in \-eb\=a-\)\ \-\-\,:}
+&\(\=Ell\-ad \-es \=ant\-ip\-or\=on\)\cr
+%
+\noalign{Then a return to the opening iambic rhythm:}
+%
+&\(d\-i \-al\-a n\-ux\-i\-on\c \-ef \=alm\-ur\=an\)\cr
+%
+\noalign{\noindent and finally a pherecratean clausula:}
+%
+&\(P\=onto\=u kl\={h|}d' \-ap\-er\=ant\=on\)\cr
+}% halign
+}%
+\vspace{5ex}
+\hrule height 1.5pt \vspace{1ex}
+{\large From E.R. Dodds' commentary to \textit{Bacchae} (2nd ed.), pp.~72-73.}\par 
+\vspace{1ex}
+Copyright Oxford University Press 1960.\par
+Reproduced by permission of Oxford University Press.\par 
+\vspace{1ex} \hrule height 1.5pt
+\vspace{5ex}
+\Greek{prosi'mion} and \Greek{str}+\Greek{a)nt.\,a$^\prime$}: ionics
+\textit{a minore}.  This is the characteristic metre of the
+\textit{Bacchae}.  Its use was doubtless traditional for Dionysiac
+plays, since it is proper to Dionysiac cult-hymns; it appears
+in the refrain of Philodamos' Delfic hymn to Dion. and in the
+Iacchos-hymn of the \textit{Frogs} (\oldstylenums{324} ff.).
+The standard line consists of two \Greek{me'tra} (\oldstylenums{65}
+and \oldstylenums{69} have three), either
+
+\begin{list}{}{}
+%
+\item[(\textit{a})] `straight' form, \metra{\b\b\m\m \c \b\b\m\m}
+(Hor., \textit{Odes} \oldstylenums{3}, \oldstylenums{12} is composed
+entirely in this form),
+%
+\item[or (\textit{b})] `anaclastic' or broken form (anacreontics),
+\metra{\b\b\m\b\c\m\b\m\m}.
+\end{list}
+%
+(\textit{b}) yields a swifter and more emotional rhythm than
+(\textit{a}). Both forms are illustrated by Kipling's line:\par
+\begin{metrica}
+\-And th\-e s\='unsh\=ine\c \-and th\-e p\='almtre\=es \-and th\-e
+t\=inkl\-y t\=empl\-e b\=ells\ \metra[\m{-2}\ss{1.225}\ms{st}]{\K\m}%
+\end{metrica}\par
+Variations include (\oldstylenums{1}) `catal\=exis', suppressing the
+last syllable of the second \Greek{me'tron} and occasionally of the
+first (\oldstylenums{64} = \metra{\b\b\m\k\m \c \b\b\m\k\m});
+(\oldstylenums{2}) `syncopation', suppressing a short syllable within
+the \Greek{me'tron} (\oldstylenums{71} = \metra{\b\b\m\b\c\m\p\m\m});
+(\oldstylenums{3}) `resolution' of either long into two shorts
+(\oldstylenums{79} = \metra{\b\b\bb\m\c\b\b\m\m}); (\oldstylenums{4})
+the reverse substitution of a long for two shorts
+(\oldstylenums{81} = \metra{\m\m\m\c\b\b\m\m}).\ [\ldots]
+
+\Greek{str.}+\Greek{a)nt.\,b}$^\prime$. In \oldstylenums{105}%
+-\oldstylenums{10} = \oldstylenums{120}-\oldstylenums{5} the first
+element is a choriambus \metra{\m\b\b\m} (resolved in
+\oldstylenums{107}-\oldstylenums{122} into \metra{\bb\b\b\bb}); the
+second is either an iambic \Greek{me'tron}
+(\oldstylenums{109}-\oldstylenums{124}, with the last long resolved)
+or a bacchius \metra{\b\m\m} (perhaps equivalent to a syncopated
+iambic \Greek{me'tron} \metra{\b\m\p\m}). 
+
+In the remainder, ionics (\oldstylenums{113}-\oldstylenums{14})
+are mixed with glyconics (see on stasimon \oldstylenums{1},
+\oldstylenums{402} ff., which for the beginner forms a
+better introduction to the metre) and dactyls. The last
+named describe the rush of the dancers to the mountains
+(\oldstylenums{116}-\oldstylenums{17}); and in general the excited and
+swiftly changing rhythms seem to reflect, as Deichgr\"aber observes,
+the Dionysiac unrest.
+\strut\par
+Scheme:
+\begin{tabbing}
+%
+%	defining the tab stops (note \kill at the end)
+%
+\oldstylenums{115}-\oldstylenums{130}\hspace{2em}
+\=\metra{\m\b\b\bbm}%
+\=\metra{\b\m\s\b\b\m}\hspace{3em}%
+\=? glyc. with trisillabic close. \kill
+%
+\oldstylenums{105}-\oldstylenums{120}%
+\>\>\metra{\m\b\b\m}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\>\metra{\m\b\b\m}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\>\metra{\bb\b\b\bb}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\>\metra{\m\b\b\bbm}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\>\metra{\m\b\b\m}\'\metra{\b\m\b\bb}%
+\>chor{.}+iamb.\\
+%
+\oldstylenums{110}-\oldstylenums{125}%
+\>\>\metra{\m\b\b\m}\'\metra{\b\m\m}%
+\>chor{.}+ba.\\
+%
+\>\metra{\m\m\s\m\b\b\m\s\b\m}%
+\>\>glyc.\\
+%
+\>\metra{\bb\b\s\m\b\b\m\s\b\b\m}%
+\>\>? glyc. with trisillabic close. \\
+%
+\>\metra{\m\m\m\s\b\b\m\m\s\b\b\m\m}%
+\>\>\oldstylenums{3} ion.\\
+%
+\>\metra{\bb\m\m\s\b\b\m\m\s\b\b\m\m}%
+\>\>\oldstylenums{3} ion.\\
+%
+\oldstylenums{115}-\oldstylenums{130}%
+\>\metra{\bb\b\s\m\b\b\m\s\b\b\m}%
+\>\>? glyc. with trisillabic close. \\
+%
+\>\metra{\m\b\b\s\m\b\b\s\m\b\b\s\m\K\m}%
+\>\>\oldstylenums{4} dact.\\
+%
+\>\metra{\m\b\b\s\m\b\b}%
+\>\>\oldstylenums{2} dact.\\
+%
+\>\metra{\b\m\s\m\b\b\m\s\b\m}%
+\>\>glyc.\\
+%
+\>\metra{\m\m\s\m\b\b\m\s\m}%
+\>\>pher.\\
+\end{tabbing}
+\end{document}
+
+
diff --git a/Master/texmf-dist/doc/latex/metre/igreek2.tex b/Master/texmf-dist/doc/latex/metre/igreek2.tex
new file mode 100644
index 00000000000..a2db904cb2e
--- /dev/null
+++ b/Master/texmf-dist/doc/latex/metre/igreek2.tex
@@ -0,0 +1,65 @@
+\documentclass[11pt]{article}
+\usepackage{ibycus4}
+\usepackage{metre}
+\thispagestyle{empty}
+\begin{document}
+\begin{center}
+{\Large\bf Metrische Formen in Archilochos' Fragmenten}\\
+\vspace{2ex}
+{\small Rainer Thiel}
+\end{center}
+\vspace{2ex}
+\begin{enumerate}
+\item Elegisches Distichon (\sigla{6da_\cc hem\c hem}, frgg.~1--17\,W.):\\
+  \metra{\n1\m\mbb\n2\m\mbb\n3\m\mbb\n4\m\mbb\n5\m\mbb\n6\m\a\cc}
+  \metra{\m\mbb\m\mbb\m\c\m\bb\m\bb\m}
+
+\item Iamb. Trimeter, stichisch (\sigla{3ia}, frgg. 18--87):
+  \metra{\a\m\b\n1\m\s\a\m\b\n2\m\s\a\m\b\n3\m}\\ 
+  (= Horazens Epodisches System VII, Hor. epod. 17)
+\item Troch. Tetrameter, stichisch \sigla{4tr_}, frgg. 88--167):\par
+  \metra{\m\b\m\a\s\m\b\m\a\c\m\b\m\a\s\m\b\m}
+\item In Archilochos' Epoden-Fragmenten vorfindliche Systeme:
+\begin{enumerate}
+\item \sigla{enopl\c ith} (frgg. 168--171):
+  \metra{\bbmb\m\bbmb\m\bbmb\m\bm\c\m\b\m\b\m\bm}
+\item \sigla{3ia\cc 2ia} (frgg. 172--181):
+  \metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\a\m\b\m\s\a\m\b\m}\\
+  (= Horazens Epodisches System I, vgl. Hor. epod. 1--10)
+\item \sigla{3ia\cc hem} (frgg. 182--187): %
+  \metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\m\bb\m\bb\m}
+\item \sigla{alcm\c ith\cc 3ia_} (frgg. 188--192):\par
+\metra{\m\mbb\m\mbb\m\mbb\m\mbb\c\m\b\m\b\m\bm\cc\a\m\b\m\s\a\m\b\m\s\b\m
+\m}
+\item \sigla{6da_\cc 2ia} (frg. 193,  evtl. frg. 194):\par
+  \metra{\m\mbb\m\mbb\m\mbb\m\mbb\m\mbb\m\a\cc\a\m\b\m\s\a\m\b\m}\\
+(= Horazens Epodisches System V, vgl. Hor. epod. 14. 15)
+\item \Angus\sigla{6da_\cc<<}\Angud\sigla{alcm_} (frg. 195, nicht ganz
+  sicher):\\\Angus\metra{\m\mbb\m\mbb\m\mbb\m\mbb\m\mbb\m\a}\Angud
+  \metra{\m\mbb\m\mbb\m\bb\m\m} \\(vgl. Horazens Epodisches System
+  III, Hor. epod. 12)
+\item
+\begin{enumerate}
+\item \sigla{hem 2ia} (evtl. nur ein Teil von
+  \addtocounter{enumiii}{1}(\roman{enumiii})\addtocounter{enumiii}{-1};
+  frg. 196)\par Heph. 19,9, p. 50,14--17:\par {\greek {\small Tri'ton de'
+      e)stin para` )Arxilo'xw| a)suna'rthton \textit{e)k daktulikou=
+        penq\-hmi\-me\-rou=s} (\metra{\m\bb\m\bb\m}) \textit{kai`
+        i)ambikou= dime'trou a)katalh'ktou} 
+(\metra{\a\m\b\m\s\a\m\b\m});}\\
+    a)lla' m' o( lusimelh's, w)tai=re, da'mnatai po'qos.}
+
+\item K\"olner Epodenfragment (frg. 196\,a): \sigla{3ia\cc hem\cc2ia}\\
+\metra{\a\m\b\m\s\a\m\b\m\s\a\m\b\m\cc\m\bb\m\bb\m\cc\a\m\b\m\s\a
+\m\b\m}\\ (= Horazens Epodisches System II, vgl. Hor. epod. 11)
+
+\end{enumerate}
+\item \sigla{3tr_} (frg. 197): 
+\metra{\m\b\m\a\s\m\b\m\a\s\m\b\m}
+
+\end{enumerate}
+\end{enumerate}
+
+\end{document}
+
+
diff --git a/Master/texmf-dist/doc/latex/metre/igreek3.tex b/Master/texmf-dist/doc/latex/metre/igreek3.tex
new file mode 100644
index 00000000000..4eac22f6dc1
--- /dev/null
+++ b/Master/texmf-dist/doc/latex/metre/igreek3.tex
@@ -0,0 +1,111 @@
+\documentclass[11pt]{report}
+\usepackage{ibycus4}
+\usepackage{metre}
+\textwidth 5in
+\topsep 0pt
+\partopsep 0pt
+\pagestyle{empty}
+\Magnitudo{+1}
+\begin{document}
+\vspace{2ex}
+\hrule height 1.5pt \vspace{2ex}
+{\large Examples of Greek text typeset with \texttt{Ibycus4} and %
+  \texttt{metre}}
+\vspace{2ex}
+\hrule height 1.5pt
+\vspace{7ex}
+\fontencoding{OT1}\fontfamily{ibycus}\selectfont
+{\obeylines\everypar{\quad}
+kai` ga`r ai) feu'gei, taxe'ws diw'cei,
+ai) de` dw=ra mh` de'ket', a)lla` dw'sei,
+ai) de` mh` fi'lei, taxe'ws filh'sei
+kou)k e)qe'loisa.\linea* 
+e)'lqe moi kai` nu=n, xale'pan de` lu=son
+e)k meri'mnan, o)'ssa de' moi te'lessai
+qu=mos i)me'rrei, te'leson, su` d' au)'ta
+su'mmaxos e)'sso.\geminata*
+}
+\vspace{5ex}
+\begin{verse}
+teqna'khn d' a)do'lws qe'lw;\\
+a)' me yisdome'na kateli'mpanen\linea
+po'lla kai` to'd' e)'eip\punctum\lbrack\\
+w)'im' w)s dei=na pep[o'nq]amen;\\
+Ya'pf', h)= ma'n s' a)e'kois' a)pulimpa'nw.\linea
+ta`n d' e)'gw ta'd' a)meibo'man;\\
+xai'rois' e)'rxeo ka)'meqen\\
+me'mnais'; oi)=sqa ga`r w)'s se pedh'pomen.\linea
+ai) de` mh', a)lla' s' e)'gw qe'lw\\
+o)'mnaisai\lbrack\punctum[3]\Punctum\rbrack%
+ \lbrack\punctum[2]\Punctum\rbrack\punctum[2]ai\\
+ \punctum[2]\lbrack\kern 6.5em\rbrack%
+   kai` ka'l' e)pa'sxomen;\linea
+\end{verse}
+\vspace{5ex}
+{\obeylines\everypar{\quad}
+Sikeli'a t' au)tou= pie'zei
+ste'rna lax\positio na'enta; ki'wn d' ou)rani'a sune'xei,
+nifo'ess' Ai)'tna, pa'netes
+xio'nos o(cei'as tiqh'na;\lunata*[.1]
+ta=s e)reu'gontai me`n a)p\positio la'tou puro`s a)g\positio no'tatai
+e)k muxw=n pagai'; potamoi`
+\quad d' a(me'raisin me`n proxe'onti r(o'on kap\Positio nou~
+ai)'qwn';
+}
+\newpage
+{\obeylines\everypar{\quad}
+ou)de` ei)=s [se me'm]yetai plhsi'on xrosou=
+sta=san ou)[de`] \dubia{e)}[cel]e'gcei se xruso's, a)lla`
+dioi'seis au)to'n;\,{\fontseries{b}\selectfont %
+ou) ga`r poluph'nwn Ka'-}\bifida*[.1]
+\postlineam{\fontencoding{OT1}\fontfamily{cmr}\fontseries{b}\selectfont
+\tiny\,]}%
+{\fontseries{b}\selectfont %
+la]isos a)ne`r ped' a)ndrw=n ou)[d'] a('grios;} e)[k-
+tou= e)nanti'ou to` e)nanti'on; ou)k e)sti` poluph'-
+mwn o( Ka'laiso[s a)]ll' eu)dai'mwn ou)d' a)'grios
+a)lla` h('meros.\ {\fontseries{b}\selectfont %
+nu=n d' i)'ones tw= dai'monos}\bifida*[.1]
+\postlineam{\fontencoding{OT1}\fontfamily{cmr}\fontseries{b}\selectfont
+\tiny\,]}%
+e('w{((}s{))} tou= %
+{\fontseries{b}\selectfont pai[dw=n] a)ri'stan;}\,Lewtuxi'das
+L]akedai[moni']\dubiae{wn} basileu's.  a)'dhlon de`
+\leavevmode\kern 7em q]uga'thr h( Timasimbro'ta
+\leavevmode\kern 7.5em]\punctum ai t\dubia{i}nos. {\fontseries{b}\selectfont %
+fua`n d' e)'\dubiae{oik}en}\bifida*[.1]
+\leavevmode\kern 7.5em{\fontseries{b}\selectfont p]aidi` canqw=i Poludw'[r]w[}
+\leavevmode\kern 8em] Lewtuxi'da ui(o's e)sti tou= 
+Lakedaimoni'wn] basile'[w]s; [to]u= d' Eu'ru\dubia{k}[r]\dubia{a'}-
+tous ui(o`s Polu'd]wros kai Tim[asim]bro'ta
+quga'[thr. {\fontseries{b}\selectfont%
+Mw=]\dubiae{{s|}a} li'ssomai' t[e si]w=n ma'-\coronis*
+lista} [; ta`s Mo]u'sas u(per \punctum\lbrack\kern 3em]\punctum atros
+th=s t[\kern 5em]ntidwn fu\dubia{l}[\kern 5.5em x]oro's (e)sti{))}
+Du'ma[inai, w)=n pa']tra Duma=[nes;]
+}
+\vspace{5ex}
+{\obeylines\everypar{\quad}
+fhsi kokuto`\dubia{n} [\linea*
+tou'twi o( Sim\dubia{w}[ni'des
+noito peri` tou[\punctum]\dubiae*{ou}[
+\margini[-2.5em]{\Obelus*}\punctum n eu)lo'gws h par\punctum[2]\lbrack
+\dubia{t}on e)qrh'noun e)pio\punctum\lbrack
+e)'oiken daimoni\punctum\lbrack
+}
+\vspace{5ex}
+{\obeylines\everypar{\quad}
+\leavevmode\kern 7.5em ka'lliston ma'rtur e)'qento po'nwn
+xrousou= timh'entos e)\semi]n ai)qer\semi[i; kai sfin a)e'cei
+\leavevmode\kern 4em au)tw=n t' eu)rei=an kl\semi]hdo'n\semi[a kai` pate'rwn.
+\leavevmode\kern 11em]\dubia{p}ol\dubia{u}[
+}
+\vspace{5ex}
+\Lineola[-.3]{mr\gravis[.5]s}\ \ \ %
+e)'x\structa[.1]{oi}{\tiny ois|}\ \ \ %
+a)mfi\acutus[.3]{{\metrike\=a}}rewn\ \ \ %
+a)\erasa{}xe'wn\ \ \ %
+-\structa[.25]{ai}{\tiny \kern .05em h}si
+\end{document}
+
+
diff --git a/Master/texmf-dist/doc/latex/metre/metre.pdf b/Master/texmf-dist/doc/latex/metre/metre.pdf
new file mode 100644
index 00000000000..ee832a505bb
--- /dev/null
+++ b/Master/texmf-dist/doc/latex/metre/metre.pdf