Iambic dimeter is not that easy to find, but luckily the spirit of
experimentation in the Renaissance produced this:
* / | * /
WITH serving still
This I have won, [/ * | */--with a trochaic substitution]
For my goodwill
To be undone.
And
for redress
Of all my pain,
Disdainfulness
I have again.
And
for reward
Of all my smart,
Lo, thus unheard,
I must depart.
Wherefore
all ye
That after shall
By fortune be,
As I am, thrall,
Example
take
What I have won,
Thus for her sake
To be undone.
-- Sir Thomas Wyatt
William Blake's "The Fly" is an example of iambic dimeter, though many of the lines (marked +) are headless. But enough are complete iambic dimeters to identify it as basically that.
+Little Fly,
Thy summer's play [ * / | * /]
My thoughtless hand
Has brushed away.
+Am not I
A fly like thee?
Or art not thou
A man like me?
+For I dance
And drink, and sing,
Till some blind hand
Shall brush my wing.
The plethora of feminine rhymes and hypermetric syllables makes Swinburne's "Song of the Four Seasons" hardly similar to Blake's poem above, but the despite the abundant substitutions and extra syllables, it remains fundamentally iambic dimeter, except for the tetrameter last line.
Through fell and moorland,
And salt-sea foreland,
Our noisy norland
Resounds and rings;
Waste waves thereunder
Are blown in sunder,
And winds make thunder
With cloudwide wings;
Sea-drift makes dimmer
The beacon's glimmer;
Nor sail nor swimmer
Can try the tides;
And snowdrifts thicken
Where, when leaves quicken,
Under the heather the sundew hides.