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A metrical foot consisting of one accented syllable followed by two unaccented or of one long syllable followed by two short, as in flattery.

扬抑抑格诗韵的韵脚，由一个重音节紧接两个非重音节或一个长音节接两个短音节组成，如在flattery中

The call developmental process of Psittacula agapornis consists of five instinct phases according to its call character. In the first phase （congenital cal1 phase, CCP, 0~12 day of age）, the juveniles only produce single syllable with short syllable length. The second phase（blank-model-forming phase,BMFP, 13~30 day of age） is important for formation of vocal learning pathways. During this phase, the calls characterized by more and longer syllables. In the third phase （call-model-forming phase,CMFP, 31~45 day of age）, the call development is guided by a model system for vocal learning, vocal learning is engendered so that some calls with multi-syllables with UP1 are produced, principal frequency has increased about by 920 cent, the number of note is double that of second phase. The short-term memories are transformed into long-term memories in the forth phase （call-feedback-learning phase,CFLP, 46~90 day of age）. The call of juveniles is a close match to tutor call which accompanied by double various sounds with BS and UP1, and more resonance components were formed. Second principal frequency has increased about by 970 cent, the number of note increases by 2.6~3.0 times. During the fifth phase （excellent call phase,ECP, after 91 d）, vocal motor pathway is developed and the calls are accompanied with most stable, harmonious vari-tone and complex repertoire.

牡丹鹦鹉的鸣声发育分为5个时期。0~12 d为先天性鸣声期，鸣声特征为以基本音为主音的单音节单音调声，声长短。13~30 d为空白模板形成期，鸣声特征为以基本音为主音的多音节单音调声，声长和音量显著性增加，表明发声学习通路开始形成。31~45 d为鸣声模板形成期，鸣声特征为以第1陪音（UP1）为主音的多音节单变调声，声长和音量显著性增加，主音频提升约920音分，涵盖的律音数增加1倍，表明发声学习模板逐渐形成，发声学习开始。46~90 d为鸣声反馈学习期，鸣声特征为以BS和UP1为主音的双变调声，声长和音量显著性增加，主音频涵盖的律音数增加2.6~3.0倍，第2主音频提升约970音分，表明稳定模板逐渐形成，短期记忆逐渐向长期记忆转化。91 d后为完美鸣声期，鸣声特征为以UP1为主音的复合变音调声，声长、音量、主音频的提升和涵盖的律音数都趋于平稳，鸣声稳定而和谐，表明发声运动通路基本形成。

And then did we, the seven, start from our seats in horror, and stand trembling, and shuddering, and aghast, for the tones in the voice of the shadow were not the tones of any one being, but of a multitude of beings, and, varying in their cadences from syllable to syllable fell duskly upon our ears in the well-remembered and familiar accents of many thousand departed friends.

这下就把我们七个人都吓得从文化合作上一跃而起，一个个战战兢兢直打哆嗦；因为那影子的声音所包含的不是一个的声调，而是许许多多人的声调，它说话时每发出一个音节就变换一种声调，这些声调阴沉沉地钻进我们的耳朵，使我们回忆起成千上万死去的朋友们那熟悉的口音。

Chapter five looks at the mutation in language stream with contemporary philologic theories. The characteristics of mutation in changshan dialect are supposed to be show by tone changing , light syllable, r-suffixation, z-suffixation,etc.我每is possibly the r-suffixation of women我们;Some final varied pattern of suffix子is actually r-suffixation;Changshan dialect"s light syllable lies in every level of language and it has multifold forms; There is rich tone change of verbs which can present certain grammatical meanings in Changshan"s dialect.

第五章动态的描写了长山方言中的语流音变，利用当代语音、语法、语义理论从轻声变调、语法变调、小称变韵、子变韵等几个方面考察长山方言语流音变的特点，认为&我每&有可能是&我们&的小称形式；以闻喜方言为代表的&子变韵&并不是&子&音转变而来，而是&儿化&的一种形式；长山方言的轻声变调存在于词汇、短语、句子等多个语言层面，有三种表现形式；轻声助词&了&、&着&、&到&省略后，会引起前面动词的语法变调，等等。

Investigations are conducted in the 2nd chapter into examples reasons the co-ordinate double-syllable attributive adjectives can be reduplicated into the construction of AABB. It is found that , on the static lever, it is probable for those double-syllable attributive adjectives, which are semantic-concrete, degree-hidden and colloquial, to be reduplicated while, on the dynamic level, such restrictions can be ignored.

第二章探讨了并列式双音节性质形容词可重叠为AABB式的理据，在静态平面上，语义具体、程度量隐匿、口语化强的双音节性质形容词重叠的可能性较大，但在动态平面上，有时可以超越这些限制。

The finals and tones reduplicates, the initial of the latter syllable sticks to /l/ whose loudness is the highest, the sound-divided-words gets its syllabic characteristic that the latter syllable of a sound-divided-word always takes the primary stress.

从词汇衍生的模式上说，它是汉语词汇双音化的一种表现形式，其形成可能与上古汉语的复辅音声母有关，由复辅音声母演变而来的那部分分音词提供了一条双音化的途径。

"Dactyl:a metrical foot consisting of one accented syllable followed by two unaccented or of one long syllable followed by two short, as in flattery ."

&扬抑抑格：诗韵的韵脚，由一个重音节紧接两个非重音节或一个长音节接两个短音节组成，如在flattery中。&

"Dactyl:a metrical foot consisting of one accented syllable followed by two un accented or of one long syllable followed by two short, as in flattery."

&扬抑抑格：诗韵的韵脚，由一个重音节紧接两个非重音节或一个长音节接两个短音节组成，如在flattery中。&

The first chapter describes the phonetic system, and arranges the words in the same syllable, at the same time introduces some characteristic vocabularies(mostly the single-syllable vocabularies)as far as possible, then analizes the phonetic changes in initials, finials and tones; the second chapter divides the often-used words into three parts by investigations, then analizes the cause of the change; the third chapter makes a complement to the grammar which other researchers haven"t spoken of; in the end, the paper talks about the author" elementary idea on the relationship between dialect"s research and Putonghua"s use. With the development of our society, this question will be put on more eyes.

论文首先介绍徐州市区方言的语音部分，描写了音系及其特点，在同音字汇部分整理并排列了徐州方言的同音字，同时也尽量搜罗有特色的方言词列入相应的音节内，然后从声母、韵母、声调三个方面分析徐州市区方言的语音变化；其次是词汇部分，通过调查对徐州市区方言常用词的变化情况作了区分，并分析其变化原因；接着在语法部分对前人尚未涉及的语法现象作了补充；最后结合方言研究与普通话使用的关系谈了自己初步的认识，随着社会的不断发展，这个问题将日益引起人们的重视。

Most two-syllable words in English are stressed on the first syllable.

英语中的很多单词的重音都是在第一个音节。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。