The metre used by the Spanish writer Juan de Mena in his long allegorical work Laberinto de fortuna has been puzzling metrists for over five centuries. Usually identified as a variety of the verse called arte mayor, this metre has been analysed, among other things, as a divided line – one systematically allowing internal extrametricality – and as an amphibrachic line. Here it will be argued that the arte mayor exemplified by Mena’s Laberinto does not allow internal extrametricality and that it is a dolnik, a syllable-stress form not usually discussed in connection with the Spanish language. At the same time as it introduces the main problems encountered by traditional approaches, this article analyses the constant and necessary characteristics of the metre used in Mena’s composition, advocating the reliance on the notion of the metrical maximum. Next come some comments on other phenomena that are constant in Laberinto but not necessary in other kinds of arte mayor, and on several characteristics displayed by those other kinds but absent from Mena’s work. The Conclusion offers a series of suggestions for further research into the limits of this metre.

中文翻译：

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胡安·德·梅纳 (Juan de Mena) 在 Laberinto de fortuna 中的市长艺术诗：识别和描述西班牙 dolnik

西班牙作家胡安·德·梅纳（Juan de Mena）在其长篇寓言作品《福图纳》（Laberinto de fortuna）中使用的计量器在五个多世纪以来一直困扰着计量师。通常被认为是各种称为 arte mayor 的诗句，除其他事项外，该米已被分析为一条分割线 - 一条系统地允许内部测量之外的线 - 以及一条双臂线。在这里，人们会争辩说，以 Mena 的 Laberinto 为代表的艺术市长不允许内部的超音阶，并且它是一种 dolnik，一种通常不与西班牙语相关的音节重音形式。在介绍传统方法所遇到的主要问题的同时，本文分析了Mena作曲中使用的计量表的恒定和必要的特性，提倡对格律最大值概念的依赖。接下来是对 Laberinto 中常见但在其他类型的艺术市长中不必要的其他现象的一些评论，以及其他类型所表现出但在 Mena 的作品中没有的几个特征。结论为进一步研究这一米的极限提供了一系列建议。