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Prosody a metrical foot consisting of two long syllables (– –)



(1) In classical versification, a foot consisting of two long syllables (— —).

(2) In syllabotonic versification, a trochaic or iambic foot with an additional stress (ن ن). This type of spondee usually occurs at the beginning of an iambic line or hemistich; an example is A. S. Pushkin’s Shvéd, rússkii kolet, rubit, rezhet (”The Swede, the Russian, thrusts, slashes, cuts”).

References in periodicals archive ?
What she can do is tap out, on the bodily semaphore of that superb fifth line's rebel trochees and spondee, a coded if subconsciously inarticulate resistance to the life sentence her culture has pronounced: a condition of make-believe that is neither faith nor poetry but something impalpably in between.
A final spondee occurs with "pen down," which stresses the act of writing which the narrating Wordsworth now undertakes, and perhaps echoes the idea that the brook has been penned in, thus holding together both the idea of restriction and the activity which finally freed Wordsworth of the impediment.
Moreover, to consider one technique of meter, Simms deftly uses spondees to suggest effects of fullness in several instances: "Too far" (2), "much / too choice"(3), "set / much bet / ter" (4), and "wide wood" (11).
The line bends the iambic pattern of the rest of the poem, its three feet composed of a trochee, an iamb, and a spondee.
Iamb, anapest, trochee, dactyl, spondee," he recited, "da dee, da da dee, dee da, dee da da, dee dee.
CONSIDER FIRST THE SIMPLE, ELEGANT title, Voices and Values in Joyce's "Ulysses": three graceful dactyls (one more than "Malachi Mulligan") and a concluding spondee.
He adds to the common Spondee, Iambus, and Trochee rarer rhythms with their patterns--"Tell me, divinest / Annabella, tell me"--; and after playing with a particularly gnarled meter notes that "in English & German we form our harmony from tone not quantity--or perhaps as our quantity depends on the Intonation / & as this system of Intonation is almost always in utter discord with the position of the Latin Quantities--So no Englishman or German can read this measure in the original so as at once to let a hearer perceive the sense & the harmony" (CN 1.
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.
This test consisted of bisyllabic spondee words, for example, railroad, buckwheat, iceberg, woodchuck and horseshoe.
This covers the traditional notions anapest, dactyl, iamb, and spondee.
I agree with Steele that if the second syllable of either the pyrrhic or the spondee is the slightest bit heavier than the first, those feet should be considered iambic.
However much a poet like Robert Pinsky might seem connected to the general culture, poetry like his remains a guild activity: Its authors may play baseball and surf the Net--they may even attend poetry slams and package their books with CDs--but they also read Fulke Greville and know a trochee from a spondee.