A pretty stanza with the scheme a a b b3 c c4 presents itself in the song The Fairy Queen (Percy’s Rel. III. ii. 26):
Come, follow, follow me,
You, fairy elves that be:
Which circle on the greene,
Come, follow Mab, your queene,
Hand in hand let’s dance around,
For this place is fairye ground.
For similar stanzas conforming to the schemes a a b b4 c c5, a a b b c4 c5, a a b b c ~ c ~5, a a b b6 c ~ c ~5, a a b b c4 c3 (in Moore, The Wandering Bard), &c., see Metrik, ii, § 389.
Another group is represented by stanzas of six rhyming couplets of unequal length, as a5 a4 b5 b4 c5 c4 (Sidney, Psalm XXXIX), a6 a3 b6 b3 c6 c3 (id. Psalm II); or a5 a2 b5 b2 c c5, a4 a5 b4 b5 c c4, frequently used by Herbert and Cowley, or a5 a4 b b3 c5 c4, a a b4 b3 c c4 (in Moore, St. Senanus and the Lady), the two pedes enclosing the cauda (cf. Metrik, ii, §§ 390–2).
Similar stanzas with crossed rhymes occur pretty often, especially stanzas of three Septenary verses broken up by inserted rhyme, according to the formula a4 b ~3 a4 b ~3 a4 b ~3, as in Moore, The Gazelle: