 The Silloi, in hexameter verse, has already been mentioned. The other poem from which a few fragments survive was called Indalmoi (Images or Appearances), which was in elegiac couplets (alternating hexameters and pentameters). The significance of this title is by no means clear. It might refer to the “appearances” on the basis of which Pyrrhonists are compelled to make their decisions; one of the surviving lines from the poem reads “But the appearance [to phainomenon] is powerful everywhere, wherever it comes” (quoted in Diogenes Laertius 9.105), and most scholars have taken this to point to the importance of appearances in shaping our actions. Another possibility is that the ‘images’ referred to in the title are images of Pyrrho himself, and that the poem was a depiction of Pyrrho and his blissful tranquility; the longest surviving fragment from the poem—a sequence of seven lines pieced together from three passages in Diogenes Laertius and Sextus Empiricus—certainly fits this description. A third suggestion is that ‘images’ or ‘appearances’ is to be taken in a negative sense, referring to the fictions or illusions by which naive non-Pyrrhonists are taken in. Possible support for this comes from a single pentameter line, which is regularly assigned to the Indalmoi because of the meter. This reads “but these things are judged by mind [or: by convention] on the part of humans” (Sextus Empiricus M 11.140); the context suggests that the ‘things’ in question are things (wrongly) taken to be by nature good or bad. None of these proposals as to the character of the work can be ruled out, but none can be regarded as more than conjecture. With the exception of a four-line fragment about “the nature of the divine and the good”, which is probably the most contentious of all the fragments of Timon, no other lines survive beyond the three passages just referred to. (See the discussion of “The Nature of the Divine and the Good” in Section 6 of the entry on  Pyrrho,  for a brief account of the difficulties surrounding this fragment.) Nor do we have any general description of the work (unlike in the case of the Silloi—see the next section); Diogenes Laertius does not even include it in his list of Timon’s works, although he does elsewhere cite it. Thus despite the importance of the few surviving pieces of the Indalmoi, the poem as a whole is almost entirely opaque to us.