[8] The opening chorus of Euripides' Bacchae begins as follows, in a mixture of anapaests (u u –) and ionic feet (u u – –): An example of pure ionics in Latin poetry is found as a "metrical experiment" in the Odes of Horace, Book 3, poem 12, which draws on Archilochus and Sappho for its content and utilizes a metrical line that appears in a fragment of Alcaeus.
Catullus used galliambic meter for his Carmen 63 on the mythological figure Attis, a portion of which is spoken in the person of Cybele.
Some modern metricians generally consider the term ionicus a maiore to be of little analytic use, a vestige of Hephaestion's "misunderstanding of metre"[12] and desire to balance metrical units with their mirror images.
[13] The Ionic and Aeolic meters are closely related, as evidenced by the polyschematist unit x x — x — u u — (with x representing an anceps position that may be heavy or light).
[14] The sotadeion or sotadean, named after the Hellenistic poet Sotades, has been classified as ionic a maiore by Hephaestion and by M. L. West:[15] It "enjoyed a considerable vogue for several centuries, being associated with low-class entertainment, especially of a salacious sort, though also used for moralizing and other serious verse.
[18] An example of English ionics occurs in lines 4 and 5 of the following lyric stanza by Thomas Hardy: Compare W. B. Yeats, "And the white breast of the dim sea" ("Who will go drive with Fergus now?"