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It is impossible to construct a whole, serious poem with spondees. So spondees mainly occur as variants within, say, an anapaestic structure.
For example (from G. K. Chesterton, Lepanto):
This whole verse is rather unusual in structure, making it difficult as an example, unfortunately. The following is a possible analysis, and shows the role of the spondee.
A simpler version of the first line might be:
Two short syllables are added at the beginning, and "founts" is lengthened to "fountains." These extra syllables add "filler," so that when the poem is read stress no longer naturally falls on the syllable "fount" (or, does so to a lesser degree). As a result there are unstressed syllables just before the "fall," so that naturally becomes an anapaest ("fountains fall-," duh-duh-DAH), and the "ing" slips into the following anapaest. Chesterton's original version changes all this; it is less intuitive to write and has a more unusual sound. The spondee effects this.
In grammar, a spondee is a two-syllable word in which there is equal emphasis placed on both syllables. Examples include "pancake", "railroad" and "robot".
"Spondee" is also the title of a piece composed by IDM duo Matmos. It is the third track on their 2001 album "A Chance To Cut Is A Chance To Cure." The piece revolves around audio samples from a hearing test: a woman's voice reciting two-syllable words, stressing both syllables.