_Moste =m=ýghty =M=áhòwne | =m=éng you with =m=ýrthe, Both of búrgh and of tówne | by =f=éllys and by =f=ýrthe; Both =k=ýng with =c=równe | and =b=árons of =b=írthe, That =r=ádly wylle =r=ówne, | many =g=réatt =g=ríthe Shalle be hápp; Take =t=énderly in=t=ént What =s=óndes ar =s=ént, Els =h=ármes shall ye =h=ént And =l=óthes you to =l=ap._
In this form of stanza the different groups of lines or even single lines are frequently, as e.g. in the so-called _Processus Noe_ (the _Play of the Flood_), very skilfully divided between several persons taking part in the dialogue. The interlaced rhyme in the long lines connects it with the stanza form of the lyric poem quoted above (p. 100), and the form of the 'cauda' relates it to that of the lyric poem quoted (p. 101), and in this respect is identical with that of _The Pistill of Susan_.
The rhythmic treatment of the verses is, both with regard to the relation between rhyme and the remnants of alliteration and to the use of the Middle English types of verse, on the whole the same as was described in §§ 62-4 treating of this form of verse in narrative poetry. The types A and A1, B C and B C1, are chiefly met with; now and then, however, type C1 also occurs in the second hemistich, as e.g. in the verses _that wold vówch sáyf_ 172, _of the tént máyne_ 487, _wille com agáne sóne_ 488, of the _Play of the Flood_ mentioned above.
But in the 'cauda' the difference explained in § 65 between first and second short lines forming the close of a stanza is often very regularly observed.
In other places of the _Towneley Mysteries_ similar stanzas are written in lines which have almost an alexandrine rhythm (cf. _Metrik_, i. 229), while, on the other hand, in the _Coventry Mysteries_ we not unfrequently meet with stanzas of the same form written in lines which, in consequence of their concise structure, approach even-beat lines of four measures, or directly pass into this metre. The intermixture of different kinds of line is even carried here to such a length that to a _frons_ of four-beat lines is joined a _cauda_ of even-beat lines of four or three measures corresponding to King James VI's rule quoted above (p. 108) for such stanzas; and on the other hand to a _frons_ of even-beat lines of four measures is joined a _cauda_ of two-beat short lines.