音节

If you want knowledge,you must toil for it.

上一篇：什么叫音节你知道吗？

Grief is a Mouse -- And chooses Wainscot in the Breast For His Shy House -- And baffles quest -- Grief is a Thief -- quick startled -- Pricks His Ear -- report to hear Of that Vast Dark -- That swept His Being -- back -- Grief is a Juggler -- boldest at the Play -- Lest if He flinch -- the eye that way Pounce on His Bruises -- One -- say -- or Three -- Grief is a Gourmand -- spare His luxury -- Best Grief is Tongueless -- before He'll tell -- Burn Him in the Public Square -- His Ashes -- will Possibly -- if they refuse -- How then know -- Since a Rack couldn't coax a syllable -- now.

格瑞夫是一个鼠标-壁板和选择的乳腺癌他害羞房子-挡板和追求-格瑞夫是一个贼-快速一惊-扎伤他的耳朵-听取报告辽阔的黑暗-席卷他是-返回-格瑞夫是Juggler -大胆的发挥-否则，如果他退缩-眼睛这样突袭对他的伤痕-一个-说-或3-格瑞夫是一个美食-备用他的豪华-最佳格瑞夫是Tongueless -之前，他会告诉-烧伤了他的公共广场-他的骨灰-将也许-如果他们拒绝-那么，怎么知道-由于机架不能哄音节-现在

Of any such formal technicality the verses of ohelet bear no trace in their existing form; yet there are places where the introduction of words would be more intelligible if the author had a fixed number of syllables to make up eg, xii.

任何此类正式的技术性该诗的ohelet承担任何痕迹，在其现有的形式，但有些地方引进的话会更理解如果作者有一个固定数量的音节，以弥补

We prefer to use the method of translation according to the pronunciation so as to avoid the loss of meaning in the process of translation. To achieve the best result, efforts must be made to adjust both the original version and the translation by balancing the number of characters in the original and the syllables needed in the English translation.

我们主张尽量使用音译，以求最大限度地避免原文含义在翻译过程中的流失；在翻译过程中，要根据中文原文字数和英文音节数来平衡需要，对原文和译文进行适当的调整和裁剪，以求获得最佳的效果。

Or a mere name can trip you up, such as that given the silent movie actor in " A Sky Full of Bright, Twinkling Stars," Shall we translate it straight and call him "Crimson Flame," or simply transliterate the characters "Chu Yen," two syllables utterly without meaning to a foreign ear, Our solutions is something of a compromise, just as throughout the book personal and place names are sometimes romanized and on occasion colorfully and significantly represented, in the best tradition of the Red Chamber translations.

有时单是一个名字就已煞费周章。譬如说《满天里亮晶晶的星星》那个默片明星「朱焰」，我们是该把他名字意译为Crimson Flame呢？还是音译为两个毫无意义的音节—— Chu Yen？我们采用的是一个折衷的办法。一如在全书中我们对人名、地名有时仅采音译有时力求其生动和表达含义，也就师法《红楼梦》英译的最佳传统。

The short or unaccented part of a metrical foot, especially in quantitative verse.

弱音节音步中短的或非重读的部分，尤指在长短步诗中

A metrical foot having two short or unaccented syllable s.

二短音步一种有节奏的步伐，上有两个短或无重音的音节

These nouns are compared as they denote the regular patterned ebb and rise of accented and unaccented sounds, especially in music, speech, or verse.

当这些名词意为有规律地形式化的重读与非重读音节的降低和升高时，尤其在音乐、演说或韵文中，它们有所区别。

The vowel change of -ae- to -i- in Latin is due to a Latin phonetic rule involving unaccented syllables in compounds.

在拉丁语中，元音-ae-变成-i-，这是在复合词中非重读音节的语音规则。

He used to utilize concise language and plain poetic form: vocabulary in his poems is mainly informal, and most of them belong to monosyllables; on syntax, Frost mainly adopts normal, prosaic lingual orders and strict and orthodox grammars; on the poetic form, he often writes traditional blank verse, sonnet and pays more attention to the phonetic natural rhythm, lines' musical effect and the relations between sound and meaning, which form his unostentatious artistic style.

他的诗歌通常运用简洁凝炼的语言和平淡的诗歌形式：诗歌中出现的大多是口语化的词语，并且大多数词都属于单音节词；在句法方面，大多的句式采用的都是正常的、散文化的语序和严格正统的语法；在诗歌形式上，他主要使用无韵诗和十四行诗，他也十分重视语音的自然节奏和诗句的音乐效果以及音与义之间的联系，从而形成质朴无华的艺术风格。

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。