((a) '. . . Come, child . . .' 'Who are you saying this to? . . . with me; death . . . my child . . . a cry . . . voice . . . Tereus . . .' (d) '. . . Nereus; and his corpse . . . I beheld stupefied with the Nereids . . . I lamented . . .')
These fragments are so broken that nothing can be clearly established about their metre(s). The melody on the whole respects the word accents. The compass exceeds an octave, extending down to d and c if the readings are correct. In (a) there are several leaps of a sixth or a seventh; the composer seems to favour the latter interval particularly. The focal notes here seem to be g and d', while e and b rarely appear and e' not at all; there are no semitone intervals. In (d) it is otherwise. Here the scale has instead of , and the note appears frequently. For the melisma on the name Nereus see p. 203; its exact rhythmic form is uncertain.
The notation-keys are Ionian () and Hyperionian ().
46(C) Same papyrus, fr. 3 verso
(Original a semitone lower)
(O nation, o Persian . . . my wretched father's . . . king . . . lament . . .)
There seems to be more division of syllables between notes in 46c than in 45. The key is Ionian.
instead of 
, and the note appears frequently. For the melisma on the name Nereus see p. 203; its exact rhythmic form is uncertain.
) and Hyperionian (
).