A trisyllabic metrical foot having an unaccented or short syllable between two accented or long syllables, as in Peter Pan. Also called cretic.

[Latin amphimacrus, from Greek amphimakros : amphi-, amphi- + makros, long; see māk- in Indo-European roots.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(Poetry) prosody another word for cretic
[C16: from Latin amphimacrus, from Greek amphimakros both ends being long, from amphi- + makros long]
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(æmˈfɪm ə sər)

a trisyllabic metrical foot whose syllables are long, short, long in quantitative meter, and stressed, unstressed, stressed in accentual meter.
[1580–90; < Latin amphimacrus < Greek amphímakros long at both ends. See amphi-, macro-]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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References in periodicals archive ?
The first line begins with an iambic foot ("But lo!") followed by a caesura, a dactylic foot ("Arion"), and an amphimacer (29) ("leaped on high").
(29) An amphimacer is a trisyllabic foot with an unstressed syllable between two stressed syllables.
"[And] there was no wind" becomes "and not a breath of wind any-where" (2:04): anapest and spondee become three dactyls and an amphimacer; "groping their way in" becomes "groping blindly in" (2:06): dactyl and trochee become three insistent trochees, the last catalectic; "took a ship's shape as she past within" becomes "took on the shape of a ship as she passed within" (2:14): trochee, spondee, anapest, and iamb become three rocking dactyls and an amphimacer; and "my view a live-sea" becomes "my view, a proper, live-sea" (3:15): spondee, pyrrhic syllable, spondee become spondee, amphibrach, sponde e.
The iconic design, along with its overtones of 'destinationality', is intended to embody those signs of wear which are the poem's preoccupation; but such signs may be deceptive, thanks to the reversibility of, or relationship of dialectical complementarity between - see the rhythm of Jaccottet's final lines - the principal forms of the trisyllabic foot used here: the amphibrach (x/x) (the 'benign' foot of our first poem) and the amphimacer (/x/).