音节的

Of all these lines the most splendid is clearly the hendecasyllable, both for its measured movement and for the scope it offers for subject matter, constructions, and vocabulary; and the beauty of all these features is most greatly magnified by this metre, as will be readily apparent: for whenever things of value are magnified, their value itself is magnified also.

在所有这些诗行中最华美的无疑是11音节诗，既是因为它有节律的动感，也是因为它为主题材料、结构和词汇提供的空间；所有这些要素的美被这一格律以最华美的方式呈现出来，正如我们已经证明了的：无论何时只要有价值的事物被赋予了荣光，那赋予荣光的事物本身也拥有了华美。

Second, From the internal comparison of linzhang dialect,I find that the difference from east to west is smaller and the difference is larger from south to north ,particularly the southern Zhanghe is affected by vicinity dialects, the tail is abundant and the suffixation of the northen Zhanghe is increasing under the influence of the Standard Chinese. The exterior comparison includes the comparison of the linzhang dialect vocabulary to that of the vicinity and that of the Standard Chinese. The comparison with the vicinity dialects reveals the ralationship of the Linzhang dialects with the vicinity dialects and inquire into its reason. Third, Through the comparison between the dialect and the Standard Chinese from the aspects of sallable, morpheme,affixation, I reveal the vocabulary-made characteristics of the Linzhang dialect---- to have abundant affix. Last, we divide the vocabulary in the Linzhang dialect into the Ancient Chinese words,the Medieval Chinese words,the Modern Chinese words,the Modern Chinese words by the historical view.

漳河北受普通话影响比较大，儿化现象比较突出；外部比较主要通过临漳与周围县，如安阳、魏县、磁县、成安县等，方言词汇的比较以及与普通话词汇的比较，揭示了临漳方言与周围县方言的亲疏关系，并探讨了其原因； 3、临漳方言词汇的构词特点，主要从构词的角度，从音节、语素、附加式构成几个方面与普通话进行了比较，突出了临漳方言词汇词缀构词的特点； 4、临漳方言词汇的历史层次是从汉语史的角度对词汇进行的分类研究，从词汇产生的时代划分出上古汉语词汇、中古汉语词汇、近代汉语词汇以及现代汉语词汇。

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

Llane charged in return, but at the last moment veered to one side, dancing aside the spear's point. Thetroll took two more steps forward, which brought him up to the campfire itself, and where Medivh waswaiting.Now the mage seemed to be full of energy and, limned by the coals before him, looked demonic in his

最后一个音节唱完，营火突然爆炸，窜起的火焰冲上天空，化成一个巨大的火狮头，烧向巨魔，巨魔就像是被浇了沥青一样燃烧，他尖叫着跳进附近的池塘，想扑灭身上熊熊燃烧的火焰，但那根本无济于事，饥饿的地狱之火将绝望的巨魔渐渐吞噬。

Based on destroying the narrative distance and aesthetic distance of epics, Tom Jones overturned the syllable and rhyme of epics , belittled refined phraseology, while Ulysses further belittled words and carnivalized language. Meanwhile, by way of parodying various styles in history Ulysses strode across a new style which nobody else could imitate and surpass till now.

在破坏史诗的叙事距离和审美距离的基础上，《汤姆·琼斯》颠覆了史诗的音节格律，并对典雅用语脱冕，《尤利西斯》则进一步对词语脱冕，使语言狂欢化，并通过对历史上各种文体的讽拟，跨越进一种新的文体——使旁人至今无法模仿和超越的文体。

Obstruents—stops and fricatives----classified as voicedare voiced through only a small part of the articulation when they occur at the end of an utterance or before a voiceless sound.2,so-called voiced stops and affricates/b,d/are voiceless when syllable initial,except when immediately preceded by a voiced sound 3,the approximants/w,r/are at least partially voiceless when they occur after initial /p,k/This is due to the overlapping of the gesture required for aspiration with the voicing gesture required for the approximant.

1 ， Obstruents站和fricatives ----列为表达的通过表示只有一小部分的衔接当他们出现在年底的话语或之前清音。 2 ，所谓表示停止与affricates / B辑，数/音节时有发言权的初始，除非立即之前表示无害 3 ，逼近/ w中，俄/至少部分是无声这种情况发生时经初步/磷，钾/这是由于重叠的手势所需的愿望与呼声姿态所需逼近。

For instance, through the response which is made to the child's instinctive babblings the child comes to know what those babblings mean; they are transformed into articulate language and thus the child is introduced into the consolidated wealth of ideas and emotions which are now summed up in language.

比方说，对儿童出于本能的那些呀呀学语的声音做出的反应，儿童借此就知道那些呀呀之声是什么意思；那些声音转变成了音节清楚的语言，因此儿童就被介绍进了观念和情感的那个巩固而统一的宝库当中，那些观念和感情如今概括在语言当中了。

On this topic it must first be realised that our predecessors used lines of varying lengths in their canzoni, as do our contemporaries; but I have not yet found any case in which the number of syllables in a single line exceeds eleven or falls short of three.

对这个话题我们必须首先认识到我们的祖先用在在歌曲中的每一行的长度是变化的，正如我们今天的人所为；但我没有发现在一个单行中出现音节数量超过11个或者少于3个的情况。

If thou workest at that which is before thee, following right reason seriously, vigorously, calmly, without allowing anything else to distract thee, but keeping thy divine part pure, as if thou shouldst be bound to give it back immediately; if thou holdest to this, expecting nothing, fearing nothing, but satisfied with thy present activity according to nature, and with heroic truth in every word and sound which thou utterest, thou wilt live happy.

当你做摆在你面前的工作时，你要认真地遵循正确的理性，精力充沛，宁静致远，不分心于任何别的事情，而保持你神圣的部分纯净，仿佛你必定要直接把它归还似的；若你坚持这一点，无所欲望亦无所畏惧，满足于你现在合乎本性的活动，满足于你说出的每个词和音节中的勇敢的真诚，你就能生存得幸福。

If thou workest at which is before thee, following right reason seriously, vigorously, calmly, without allowing anything else to distract thee, but keeping thy divine part pure, as if thou shouldst be bound to give it back immediately; if thou holdest to this, expecting nothing, fearing nothing, but satisfied with thy present activity according to nature, and with heroic truth in every word and sound which thou utterest, thou wilt live happy.

当你做摆在你面前的工作时，你要认真地遵循正确的理性，精力充沛，宁静致远，不分心于任何别的事情；而且保持你那原本神圣的部分纯净，就像你必须要直接把它归还似的；若你坚持这一点，无所欲望以无所畏惧，满足于你现在合乎本性的活动，满足于你说出的每个词和音节中的勇敢的真诚，你就能生存得幸福。

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。