PYRRHIC : In classical Greek or Latin poetry, this foot consists of two unaccented syllables--the opposite of a spondee . At best, a pyrrhic foot is an unusual aberration in English verse, and most prosodists (including me!) do not accept it as a foot at all because it contains no accented syllable. Normally, the context or prevailing iambs, trochees, or spondees in surrounding lines overwhelms any potential pyrrhic foot, and a speaker reading the foot aloud will tend artificially to stress either the first or last syllable. See meter for more information.
The chief device of ancient Hebrew Biblical poetry , including many of the psalms , was parallelism , a rhetorical structure in which successive lines reflected each other in grammatical structure, sound structure, notional content, or all three. Parallelism lent itself to antiphonal or call-and-response performance, which could also be reinforced by intonation . Thus, Biblical poetry relies much less on metrical feet to create rhythm, but instead creates rhythm based on much larger sound units of lines, phrases and sentences.  Some classical poetry forms, such as Venpa of the Tamil language , had rigid grammars (to the point that they could be expressed as a context-free grammar ) which ensured a rhythm.  In Chinese poetry , tones as well as stresses create rhythm. Classical Chinese poetics identifies four tones : the level tone, rising tone, departing tone, and entering tone .