The principal logacedic forms are: I, Dipody (two feet); II, Tripody (three feet); III, Tetrapody (four feet) • and IV, Composite: (a) Pentapody (five feet) and (b) verse containing more than five feet.
Examples are: Most of Horace's 'Odes' are in logacedic verse. He adopted his measures from the Greek poets, but in his practice he generally shows greater strictness than his models. Thus, for instance, he always has a spondee (— —) or irrational trochee (—>), instead of a trochee proper (—%,,), before the first occurring cyclic dactyl Li). When he uses anacrusis, its quantity is usually long, and in the fourth book of the 'Odes' always so. Catullus, Horace's predecessor, as a rule uses the trochee as the basis of his Glyconic and Pherecratic verse, more rarely the spondee or the iambus. In his Asclepiadic lines he uses the spondee as the basis. Great variety of Glyconic verse is found in Greek poetry. The tragedians use as the basis not only the trochee and the spondee, but also the iambus (%-o—), the pyrrhic and the tribrach and Euripides even admits the anapaest Sophocles, and more frequently Euripides, secured still greater variety by the displacement of the dactyl and other licenses. Such verses are known as Glyconei polysche matisti.
On account of the frequent occurrence of an apparent Choriambus as, for example, in the Adonic and the Greater Sap phic, logacedic verses were formerly, and some times still are, called Choriambic, and it is possible to scan them so; but it is doubtful if they are truly Choriambic, and it is in conform ity with the practice of modern scholarship to name and scan them as logacedic.
Logacedic verse is found in English but rarely, and then generally in imitation of a classic form. Thus Tennyson has the follow ing reproduction of the Alcaic strophe: 0 mighty-mouth'd inventor of harmonies. 0 skill'd to sing of Time or Eternity, God-gifted organ-voice of England.
Milton. a name to resound for ages.
And Swinburne has this imitation of the Sap phic strophe: Clothed about with flame and with tears, and singing Songs, that move the heart of the shaken heaven, Songs, that break the heart of the earth with pity, Hearing, to hear them.
See VERSIFICATION.
Bibliography.—Schmidt, j. H. H., 'Intro duction to the Rhythmic and Metric of the Classical Languages' (tr. by J. W. White, Boston 1878; new ed., 1902); Hadley, J., and Allen, F. De F., 'Greek Grammar' (New York 1887) ' • Muller, L., 'Greek and Roman Versifi cation) (tr. by S. B. Planter, Boston 1892); Moore, C. H. (ed.), 'Horace: The Odes, etc.' (New York 1892); Greenough, J. B., and Allen, J. H., 'Latin Grammar) (revised ed., Boston 1895); Goodell, T. D., 'Chapters on Greek Metric' (New York 1901) ; White, J. W., 'Verse of Greek Comedy' (London 1912); Journal of Classical Philology (Vol. VIII, Chi cago 1913); Shorey, P., and Laing, G. J. (ed.), 'Horace: Odes and Epodes> (Chicago 1916).