he staffe of seuen and sixe do almost as much a misse, for they
shut vp the staffe with a _disticke_, concording with none other verse
that went before, and maketh but a loose rime, and yet bycause of the
double cadence in the last two verses serue the eare well inough. And as
there is in euery staffe, band, giuen to the verses by concord more or
lesse busie: so is there in some cases a band giuen to euery staffe, and
that is by one whole verse running alone throughout the ditty or ballade,
either in the middle or end of euery staffe. The Greekes called such
vncoupled verse _Epimonie_, the Latines _Versus intercallaris_. Now
touching the situation of measures, there are as manie or more proportions
of them which I referre to the makers phantasie and choise, contented with
two or three ocular examples and no moe.

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Which maner or proportion by situation of measures giueth more efficacie
to the matter oftentimes then the concords them selues, and both
proportions concurring together as they needes must, it is of much more
beautie and force to the hearers mind.

To finish the learning of this diuision, I will set you downe one example
of a dittie written extempore with this deuice, shewing not onley much
promptnesse of wit in the maker, but also great arte and a notable
memorie. Make me saith this writer to one of the comnpanie, so many
strokes or lines with your pen as ye would haue your song containe verses:
and let euery line bearue his seuerall length, euen as ye would haue your
verse of measure. Suppose of foure, fiue, sixe, or eight or more
sillables, and set a figure of euerie number at th'end of the line,
whereby ye may knowe his measure. Then where you will haue your rime or
concord to fall, marke it with a compast stroke or semicircle passing ouer
those lines, be they farre or neare