In accordance with the analogy of the isometrical stanzas or parts of stanzas this arrangement of rhymes is found also in the anisometrical ones; so that we have first parts (_pedes_) both on the scheme _a b b a₄_, _a b b a₅_ or _a₄ b b₃ a₄_, _a₅ b₄ b₄ a₅_. From the arrangement of rhymes this order was transferred to the lines themselves; thus a stanza with enclosing rhymes consisting of two longer lines with a couplet of short lines between them, as in the last example, is transformed into a similar stanza with crossed rhymes according to the formula _a₅ b₄ a₄ b₅_, the shorter lines being, as before, placed between the longer ones (or vice versa _a₄ b₅ a₅ b₄_). It is evident that here too in spite of the regular arrangement of rhymes the two _pedes_ are not alike, but only similar to each other. § =288. Six-lined stanzas= of this kind, with an isometrical first part or isometrical throughout, occur pretty often; one e.g. on the scheme _a b b a c c₄_ is met with in John Scott, _Ode_ XIX (_Poets_, xi. 757): _Pastoral, and elegy, and ode! Who hopes, by these, applause to gain, Believe me, friend, may hope in vain-- These classic things are not the mode; Our taste polite, so much refin'd, Demands a strain of different kind._ For similar stanzas according to the formulas _a b b a a b₄_, _a b b a c c₅_, _a b b a c₃ c₅_ (Milton, _Psalm_ IV), _a b b a₅ c₄ c₅_, and _a b b a c₅ c₃_, see _Metrik_, ii, § 456. Other stanzas have anisometrical first and last parts; as e.g. one on the model _a₅ b b₄ a₅ c₄ c₃_ which was used by Cowley, _Upon the shortness of Man's Life_ (Poets, v. 227): _Mark that swift arrow, how it cuts the air, How it outruns thy following eye! Use all persuasions now, and try If thou canst call it back, or stay it there. That way it went, but thou shalt find No track is left behind._ Similar stanzas are found in later poets, as e.g. Mrs. Hemans, D. G. Rossetti, Mrs. Browning, corresponding to _a₅ b b₄ a₅ c₄ c₅_, _a₃ b b₅ a₃ c c₅_, _a₅ b b₃ a₄ c₅ c₃_, _a₃ b₄ b₅ a₄ b₅ a₃_, _a b₃ b₄ a₃ c c₄_, &c. (For specimen see _Metrik_, ii, § 458.) Even more frequently we have stanzas of three quite heterogeneous parts; the lines rhyming crosswise, parallel, or crosswise and parallel. They occur both in the earlier poets (Cowley, Herbert, &c.) and in those of recent times (Southey, Wordsworth, Shelley, the Brownings, Swinburne, &c.). A song by Suckling (_Poets_, iii. 730) on the scheme _a₃ a b b₂ c c₄_ may serve as an example: _If when Don Cupid's dart Doth wound a heart, We hide our grief And shun relief; The smart increaseth on that score; For wounds unsearcht but rankle more._ For an account of other stanzas of a similar structure (e.g. _a a₅ b b₄ c c₃_, _a a₄ b b c₃ c₅_, _a₅ a₃ b b c₄ c₅_, _a₂ a b b c₄ c₁_, &c.) see _Metrik_, ii, §459.