Kairy,Evring

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Kairy,Evring(共10篇)

Kairy,Evring（一）：

All you sinners drop everything
Everything
Let the melody and the harmony ring
Let it ring
Lift arms up to Heaven and sing
Ring-a-ding
Sing you sinners woncha sway n" swing
What a thing
Start with clappin" y"hands all about
All about
Don"t be silent - Let the Lord hear y"shout
Shout it out
And jus" let the music come out
Of yr snout
Sing you sinners woncha sway n" swing
Check it out
(Dig the drift of what I mean)
In a world where there"s no music
(Old Scratch)
Satan gets his kicks
(He"s up to his tricks)
He"ll be laughing up and down the banks
(Hee,hee,hee)
Of that river Styx
You"re so wicked baby,and you"re depraved
You can rave
It"s apparent that you have misbehaved
To your grave
But if you should wanna be saved
Jus" behave
Take a listen now to the bird...
Stop all that chewin" yer cud - and all that standin" in the mud there
Swing people!Swing every chortle from yer mortal portal
I dig that everyone believes that all cattle prodigies
Are like a sneeze
Hard blowin"-missin one lick of blowin" talent to show
(If y"sing - y" gotta swing!)
But remember that the day will come when you
Will be just steak on a plate
(Folks,y"know it"s fate)
So dig the music of the swing-o-sphere -
(before your swing arrives too late)
That"s a little too dark
Still,it"s true - we"ve got breath for such a limited time
What are ya,stupid,ya cows?- you"d think to sing was a crime
In defense now; hence now; Here"s comes Adele McCluck:
Mrs.Mockingbird,I must say you haven"t heard
The friendly bellowing swing of our friends the cows -
As they shed their way from Teagarden to Fuller
Instead of spendin" ev"ry day jus" sneakin" around
To life another lick -
These cats work on their cow-tone,so when they get up to blow
They blow a fatter bone-tone into the ozone
(And furthermore...)
You tweety-birds are always singin" away
Never givin" up thought of what you say
We cows do - shedding takes up most of our day
So when we start and settle in to play - we can say
A moo is an array of what we"ve always known to be
The best and only way to play
(What we mean to say is...)
Before the band will letcha sing
(Sing with Fletcher Henderson)
You"ve got to get y"self to swing
(Like the Bean or Satch)
So your horn can blow - a single note or two
Of deeper thinking
(That"s the way to swing)
So set your mind upon a tone
(When you"re shedding all alone)
And you will have a cornerstone
(Like the bass trombone)
Blow your horn and take a bow
So that you"re swinging like the cows
Pythagoras would be so proud of us

Kairy,Evring（二）：

"ELEGY WRITTEN IN
A COUNTRY CHURCH-YARD"
The curfew tolls the knell of parting day,
The lowing herd winds slowly o"er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.
Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds:
Save that from yonder ivy-mantled tower
The moping owl does to the moon complain
Of such as, wandering near her secret bower,
Molest her ancient solitary reign.
Beneath those rugged elms, that yew-tree"s shade,
Where heaves the turf in many a mouldering heap,
Each in his narrow cell for ever laid,
The rude Forefathers of the hamlet sleep.
The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock"s shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.
For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care:
No children run to lisp their sire"s return,
Or climb his knees the envied kiss to share,
Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bow"d the woods beneath their sturdy stroke!
Let not Ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the Poor.
The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e"er gave,
Awaits alike th" inevitable hour:-
The paths of glory lead but to the grave.
Nor you, ye Proud, impute to these the fault
If Memory o"er their tomb no trophies raise,
Where through the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.
Can storied urn or animated bust
Back to its mansion call the fleeting breath?
Can Honour"s voice provoke the silent dust,
Or Flattery soothe the dull cold ear of Death?
Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway"d,
Or waked to ecstasy the living lyre:
But Knowledge to their eyes her ample page,
Rich with the spoils of time, did ne"er unroll;
Chill Penury repress"d their noble rage,
And froze the genial current of the soul.
Full many a gem of purest ray serene
The dark unfathom"d caves of ocean bear:
Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.
Some village-Hampden, that with dauntless breast
The little tyrant of his fields withstood,
Some mute inglorious Milton here may rest,
Some Cromwell, guiltless of his country"s blood.
Th" applause of list"ning senates to command,
The threats of pain and ruin to despise,
To scatter plenty o"er a smiling land,
And read their history in a nation"s eyes,
Their lot forbad: nor circumscribed alone
Their growing virtues, but their crimes confined;
Forbad to wade through slaughter to a throne,
And shut the gates of mercy on mankind,
The struggling pangs of conscious truth to hide,
To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
With incense kindled at the Muse"s flame.
Far from the madding crowd"s ignoble strife,
Their sober wishes never learn"d to stray;
Along the cool sequester"d vale of life
They kept the noiseless tenour of their way.
Yet e"en these bones from insult to protect
Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture deck"d,
Implores the passing tribute of a sigh.
Their name, their years, spelt by th" unletter"d Muse,
The place of fame and elegy supply:
And many a holy text around she strews,
That teach the rustic moralist to die.
For who, to dumb forgetfulness a prey,
This pleasing anxious being e"er resign"d,
Left the warm precincts of the cheerful day,
Nor cast one longing lingering look behind?
On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
E"en from the tomb the voice of Nature cries,
E"en in our ashes live their wonted fires.
For thee, who, mindful of th" unhonour"d dead,
Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
Some kindred spirit shall inquire thy fate, --
Haply some hoary-headed swain may say,
"Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away,
To meet the sun upon the upland lawn;
"There at the foot of yonder nodding beech
That wreathes its old fantastic roots so high.
His listless length at noontide would he stretch,
And pore upon the brook that babbles by.
"Hard by yon wood, now smiling as in scorn,
Muttering his wayward fancies he would rove;
Now drooping, woeful wan, like one forlorn,
Or crazed with care, or cross"d in hopeless love.
"One morn I miss"d him on the custom"d hill,
Along the heath, and near his favourite tree;
Another came; nor yet beside the rill,
Nor up the lawn, nor at the wood was he;
"The next with dirges due in sad array
Slow through the church-way path we saw him borne,-
Approach and read (for thou canst read) the lay
Graved on the stone beneath yon aged thorn."
The Epitaph
Here rests his head upon the lap of Earth
A youth to Fortune and to Fame unknown.
Fair Science frowned not on his humble birth,
And Melacholy marked him for her own.
Large was his bounty, and his soul sincere,
Heaven did a recompense as largely send:
He gave to Misery all he had, a tear,
He gained from Heaven ("twas all he wish"d) a friend.
No farther seek his merits to disclose,
Or draw his frailties from their dread abode
(There they alike in trembling hope repose),
The bosom of his Father and his God.
By Thomas Gray (1716-71).
下面是赏析
Commentary by Ian Lancashire
(2002/9/9)
Critics have spent entire books interpreting Gray"s "Elegy." Is it ironic, as Cleanth Brooks would have us believe, or is it sentimental, as Samuel Johnson might say? Does it express Gray"s melancholic democratic feelings about the oneness of human experience from the perspective of death, or does Gray discuss the life and death of another elegist, one who, in his youth, suffered the same obscurity as the "rude forefathers" in the country graveyard? Should Gray have added the final "Epitaph" to his work?
Readers whose memories have made Gray"s "Elegy" one of the most loved poems in English -- nearly three-quarters of its 128 lines appear in the Oxford Book of Quotations -- seem unfazed by these questions. What matters to readers, over time, is the power of "Elegy" to console. Its title describes its function: lamenting someone"s death, and affirming the life that preceded it so that we can be comforted. One may die after decades of anonymous labour, uneducated, unknown or scarcely remembered, one"s potential unrealized, Gray"s poem says, but that life will have as many joys, and far fewer ill effects on others, than lives of the rich, the powerful, the famous. Also, the great memorials that money can buy do no more for the deceased than a common grave marker. In the end, what counts is friendship, being mourned, being cried for by someone who was close. "He gave to Mis"ry all he had, a tear, / He gain"d from Heav"n ("twas all he wish"d) a friend" (123-24). This sentiment, found in the controversial epitaph, affirms what the graveyard"s lonely visitor says earlier: "On some fond breast the parting soul relies, / Some pious drops the closing eye requires" (89-90). Gray"s restraint, his habit of speaking in universals rather than particulars, and his shifting from one speaker to another, control the powerful feelings these lines call up. They frame everything at some distance from the viewer.
The poem opens with a death-bell sounding, a knell. The lowing of cattle, the droning of a beetle in flight, the tinkling of sheep-bells, and the owl"s hooting (stanzas 1-3) mourn the passing of a day, described metaphorically as if it were a person, and then suitably the narrator"s eye shifts to a human graveyard. From creatures that wind, plod, wheel, and wander, he looks on still, silent "mould"ring" heaps, and on turf under a moonlit tower where "The rude forefathers" "sleep" in a "lowly bed." Gray makes his sunset a truly human death-knell. No morning bird-song, evening family life, or farming duties (stanzas 5-7) will wake, welcome, or occupy them. They have fallen literally under the sickle, the ploughshare, and the axe that they once wielded. They once tilled glebe land, fields owned by the church, but now lie under another church property, the parish graveyard.
This scene remains in memory as the narrator contrasts it with allegorical figures who represent general traits of eighteenth-century humanity: Ambition (29), Grandeur (31), Memory (38), Honour (43), Flattery and Death (44), Knowledge (49), Penury (51), Luxury and Pride (71), Forgetfulness (85), and Nature (91). In shifting from individuals to universal types that characterize the world at large, the poem exchanges country "darkness" for civic and national life. Yet, against expectations, the narrator defends the dead in his remote churchyward cemetery from the contempt of abstractions like Ambition and Grandeur. He makes four arguments. First, the goals of the great, which include aristocratic lineage, beauty, power, wealth, and glory, share the same end as the "rude forefathers," the grave. Human achievements diminish from the viewpoint of the eternal. The monuments that Memory erects for them ("storied urn or animated bust"), the church anthems sung at their funeral, and the praise of Honour or Flattery before or after death also cannot ameliorate that fate. The narrator reduces the important, living and deceased, to the level of the village dead. Secondly, he asks pointedly why, were circumstances different, were they to have been educated with Knowledge"s "roll" and released from "Chill Penury," would they not have achieved as much in poetry and politics as did figures like Hampden, Milton, and Cromwell? Thirdly, the narrator suggests that his unimportant, out-of-power country dead lived morally better lives by being untempted to commit murder or act cruelly. Last, "uncouth rhymes," "shapeless sculpture," and "many a holy text" that characterize their "frail" cemetery memorials, and even those markers with only a simple name and age at death, "spelt by th" unlettered muse" (81), serve the important universal human needs: to prompt "the passing tribute of a sigh" (80) and to "teach the rustic moralist to die" (84).
In the next three stanzas, the narrator -- the "me" who with darkness takes over the world at sunset (4) -- finally reveals why he is in the cemetery, telling the "artless tale" of the "unhonour"d Dead" (93). He is one of them. Like the "rude Forefathers" among whom he is found, the narrator ghost is "to Fortune and to Fame unknown" (118). Like anyone who "This pleasing anxious being e"er resigned," he -- in this narrative itself -- casts "one longing, ling"ring look behind" to life (86-88). As he says, "Ev"n from the tomb the voice of Nature cries" (91). He tells us the literal truth in saying, "Ev"n in our ashes live their wonted fires" (92). These fires appear in his ashes, which speak this elegy. He anticipates this astounding confession earlier in saying:
Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway"d,
or wak"d to ecstasy the living lyre.
As Nature"s voice from the dead, the "living lyre," he addresses himself in the past tense as having passed on, as of course he did. Should some "kindred spirit" ask about his "fate," that of the one who describes the dead "in these lines," an old "swain" (shepherd) might describe his last days. If so, he would have seen, with "another" person, the narrator"s bier carried towards the church and his epitaph "Grav"d on the stone" (116). Only a ghost would know, with certainty, that "The paths of glory lead but to the grave" (36). Little wonder that the poem ends with the swain"s invitation to the "kindred spirit" to read the text of the narrator"s own epitaph. The narrator ghost gave "all he had, a tear," and did get the only good he wished for, "a friend." He affirms the value of friendship above all other goods in life. His wish is granted by the kindred spirit who seeks out his lost companion.
Critics have gone to some lengths to explain the narrator"s address to himself as "thee" (93). Some believe Gray slipped and meant "me" instead (despite "thy" at 96). Others argue that the dead narrator is "the" unlettered muse," the so-called "stonecutter-poet" who wrote simple epitaphs with "uncouth rhymes" (79-81), although the dead youth"s knowledge of "Fair Science" (119) clearly rules that out. Still others believe that Gray himself is the narrator, but his age at the poem"s completion was 35, hardly a youth. The "Elegy" is spoken, not by Gray but by a dramatic persona. The simplest explanation is that the poem is a ghost"s monologue with the living about death. "Elegy" belongs to the so-called "graveyard" school of poetry. It follows Churchill"s "The Ghost" and anticipates the gothic movement.
Gray adopts and refines a regular poetics typical of his period. His iambic pentameter quatrains are self-contained and end-stopped. They do not enjamb with the next stanza but close with terminal punctuation, except for two passionate sequences. Stanzas 16-18 express the narrator"s crescendo of anger at the empowered proud whose virtues go hand-in-hand with crimes: slaughter, mercilessness, and lying. Stanzas 24-25 introduce the dead youth who, I suggest, narrates the poem. Quatrains also regularly consist of end-stopped lines, equally self-contained and even interchangeable. For example, in the first stanza, lines 1-3 could be in any order, and lines 2 and 4 could change places. Gray builds his lines, internally, of units just as regular. Often lines are miniature clauses with balanced subject and predicate, such as "The curfew" (subject) and "tolls the knell of parting day" (predicate; 1), or "No children" (subject) and "run to lisp their sire"s return" (predicate; 23). Within both subject and predicate units, Gray inserts adjective-noun pairs like "parting day," "lowing herd," "weary way," "glimm"ring landscape," "solemn stillness," "droning flight," "drowsy tinklings," and "distant fold" (1-8). By assembling larger blocks from these smaller ones, Gray builds symmetry at all levels.
He also links sequences of these regular blocks. Alliteration, unobtrusively, ties successive lines together: for example, "herd wind" and "homeward" (2-3), "droning flight" and "distant folds" (7-8), and "mantl"d tow"r" and "moping owl" (9-10). Gray rhymes internally in "slowly o"er the lea" (2) or "And all the air ... / Save where" (6-7), or he exploits an inconspicuous initial assonance or consonance in "Beneath ... / Where heaves" (12-14), and "The cock"s shrill ... / No more shall" (19-20). Parallel syntactic construction across line and stanza boundaries links sequences of such larger units. For example, twinned clauses appear with "Save" (7, 9), "How" (27-28), "Can" (41, 43), "Full many a" (53, 55), "forbade" (65, 67), and "For who" and "For thee" (85, 93), among others.
Semantically, Gray"s "Elegy" reads like a collage of remembered experiences. Some are realized in both image and sound. "The swallow twitt"ring from the straw-built shed" (18) vividly and sharply conveys one instant in the awakening process on a farm. At other times, the five senses blur, as in "the madding crowd"s ignoble strife" (73), or "This pleasing anxious being" (86), but these remain snapshots, though of feelings, not images. They flow from a lived life remembering its keenest moments in tranquillity. Some of these moments are literary. In 1768, Gray added three notes to "Elegy" that identify where he adopts lines in by Dante and Petrarch. "Elegy" is rife with other, unacknowledged echoes of poems by contemporaries, famous and obscure: Robert Colvill, Paul Whitehead, Henry Needler, Richard West, Alexander Pope, Samuel Whyte, Joseph Trapp, Henry Jones, John Oldmixon, and doubtless many others contributed phrases to Gray"s poem.
These formal elements in Gray"s poetics beautifully strengthen the poem"s content. "Elegy" gives us a ghost"s perspective on his life, and ours. The old swain describes him as a melancholic loner who loved walking by hill, heath, trees, and stream. The epitaph also reveals that he was well-educated, a youth who died unknown. These are the very qualities we might predict in the writer, from the style of his verse. "Elegy" streams with memories of the countryside where the youth walked. The firm, mirrored linguistic structures with which he conveys those recalled moments belong to someone well-educated in Latin, "Fair Science," and well-read in English poetry. Gray did not just give his readers succinct aphorisms about what Isaac Watt would term, "Man Frail, God Eternal," but recreated a lost human being. In reading "Elegy," we recreate a person, only to find out that he died, too young, too kind, and too true to a melancholy so many share.
http://rpo.library.utoronto.ca/poem/882.html

Kairy,Evring（三）：

1.dig a hole——挖洞（dig的过去式和过去分词都是dug)
2.at the door——在门旁边,固定搭配
3.every four days（每隔四天）=every fifth days（每五天） 这个常考
4.（1）instead of +doing sth. (2)go shopping 是固定搭配
5.这个要记住,feel是系动词,例；it feels better（去复习一下：一看二听三使役 See/ hear/ feel/ notice/ look at /listen to sb. do sth.这些用法,都是考点）
加油啊,一定要好好学习,不会的给我发信息.

Kairy,Evring（四）：

选词填空：
1.Will you please tell her to__call me up_______this evening?(ring me to,call me up)
2.I look forward to___receiving,_____your reply as soon as possible.(receiving,accepting)
3.Excuse me,how long is the_flight_______to beijing?(flying,flight)
4.___Make sure______that you get here before midnight.(Make sure,Be sure)
5.The manager came and gave us a_satisfactory________explanation.(satisfactory,satisfied)
6.Xiao Hong has gone to the station__to meet_______her aunt.(to meet with,to meet)
7.The accident happened as the train was___approaching to_____the city.(approaching to,approaching)
8.It"s too far,too late,and__above all______,too dangerous.(above all,after all)
(a personal pronoun)or(a possessive pronoun)填空：
1.If you dropped the glass,_____it___would break.
2.___I____have finished my work,but I don"t think she has finished__herself_____.
3.Excuse me,can___you____lend____me____your bike?
4.Don"t you know these pens are not___mine______,but__yours______?
5.I"m sorry I haven"t brought my book here.I have left___it_____in_____my___room.
6.I"m very happy to show____you____around___our______village.
7.As__your______host in Nanjing,I hope_____you____will enjoy your stay here.

Kairy,Evring（五）：

四、六级听力中所涉及的语音知识------连读、失音、弱读、混同
1．连读（在语音分析中的代码为p1）
连读即连在一起读,就是两个或多个分属不同单词的音素因为相邻或语速较快等原因而连在一起读出的现象.连读是听力中最基本的障碍,也是最长期的问题.刚接触高要求听力训练的初学者,就不可避免地要遇到连读的问题；即使听力水平已经很高的人,偶尔犯个错误,常常还是由于某个非常普通的连读.
连读现象在英语考试听力中极为常见.因为听力考的是内容是口语,口语必有连读.英语是这样,汉语和世界上任何语言都是如此.传说古英语中并没有字母W,只有常连在一起双写的U（UU）.两个U（DOUBLE U）连在一起写草了,便成了W的形状；连在一起读快了,便成了[dQbljU:]读音.久而久之,双写的U就成了现在字母W.又如汉语的“甭”字,起初只是口语中“不”和“用”形成的一个连读音变,久而久之人们又把两个字合写成一个字,于是连读便创造出了一个新的汉字.四川话“biao dei”是“不晓得”三个汉字的连读,河南话中的“ra”是“人家”的连读.类似的例子举不胜举.可见连读的作用和影响无处不在,它在四级听力中也是无孔不入的.
下面列出连读的基本规则,大家应该记住.但最重要的是把这些规则落实到听力实践中去,弄清楚这些规则实际反映到听觉上到底是什么样子.所以,对以下规则的浏览一定要与听写句子相结合.
1）前一个单词以辅音音素接尾,后一个单词以元音音素开头,并且两个词处于同一个意群或者说话者语速较快时,两词发生连读.这是连读发生的最基本情况.属于这种情况的连读很多,可以通过在训练听力时分析语音、朗读、跟读、反复对比的方法加以解决.
as it is -à[E si tiz ]三个单词因连读而分割,重组为三个不同的发音组合.
Half an hour -à [hB: fE 5nBUE] 因连读,单词被肢解重组,变得面目全非.
My pen’s out of ink again. -à [mBi p[n zBU t[ viN k[ ^ein]
not at all -à[nC tA tR:l]这个词组的发音和三个独立单词的发音相去甚远.
once in a week -à[wQn @in[ wi:k]和上一个词组如同出一辙.
rush hour à[rQ 5FBU[]连读后,发音极接近单词shower.
travel agent travel agency-à[trAv leidVEnt],[trAv leidV[nsi] .
2)击穿轻辅音[h]的连读,如果前一个单词以辅音音素结尾,后一个单词的读音以轻辅音音素[h]开头,语速较快时,直接与[h]后面的元音音素发生连读.
例如:isn’t he 在听力中听到的往往是[izn ti].
又如:the rent here à[T[ ren ti[]
don’t have à[dRn tAv]
for him -à[f[ rim],[f[ r[m],[fr[m]
sell her books -à[@e l[ bUks]
I lent him a book.
[Bi l[n ti m[ bUk]
I must have left my keys at my sister’s house.
[Bi m[s tAv lef(t) mBi ki:z[(t) mBi sist[ zBUs]
She learned to use the computer on her own.
[Fi: l[:rn (d) t[ jU:(z) T[ k[mpjU:t[ [n[ r[Un]
3）.元音音素与元音音素的连读发生的情况比较少,一般是[i:]或[u:]和其它元音音素的连读,同时伴随着音变,如： do + any =[dwe ni] Just do it.[dVQs(t) dwit] see us [si jQs] hurry up被读作 [hQri jQp].
4）.辅音音素与辅音音素的连读发生的情况比较少,一般是[t][d]和[r][w][j]等的连读,注意发生的音变.
Part one.
[pB: twQn]
You must remain in bed for two days.
[ju: mQs tri5mei nin be(d) fC: tu: deiz]
David read the letter again and again.
[5deivi dre(d) TE 5letE E5gei nAn dE 5gen]
5).以re或r结尾的单词,在英音中,它们不发音,在美音中,读[r],和以元音音素开头的单词相临时,发生连读.例如：
There is an old man under the tree.
[TZ[ ri z[ n[Ul(d) mAn 5QndE T[ tri:]
I lent her a pen.
[Bi len tE rE pen]
You should buy a bicycle for him.
[jU FUd bBi E 5bBisikl fC rim]
6).以ng结尾读[N]的单词,如果后面紧跟以元音音素开头的单词,发生连都时,中间加一个音素[g].例如,ring him [riN gim]
7）.连读时发生的四个常见的音变:[t]+[j]==[tF] [d]+[j]==[dV] [s]+[j]===[F] [z]+[j]==[V ],例如,aren’t you [B:n tFU:] wouldn’t you [5wudn tFu:]
last year [lB:s tFE:] not yet [nC tFet ] and you [An dVu:]
miss you [mi Fu:] because you [bE5kC: Vu:] How’s your sister? [hBu VC: 5sist[]
此外,这些音变也发生在单词内部,例如：
during [5dVU[riN] altitude [Al5titFu:d] attitude [5AtitFud]
duty [5dVu:ti] sugar [5Fu:^E] suit [Fu:t] stupid [5stFu:pid]
2.失音（在语音分析中的代码为p2）
四级听力第二大障碍是音的失去,即不读出来,听力中出现的几种主要的失音现象有相同或相似音的失去、爆破音的失去（失爆）、句末单词的词尾音素的失去和缩略产生的失音现象.
1）相同或相似的两个音素以及发音部位相同的音素相邻时（包括在一个单词内的情况）,前一个音素不读出声.例如：
What does the man mean? [wC(t) dE(z) TE mA(n) mi:n]
Officials say there will be a parade. [E5fiFEl(z) sei TZE wEl bi E pE5rei(d)]
The boy is going into the room.[TE bR(i) iz 5gEU(iN) intU T[ rU:m]
clothes [kl[UTz] ice-cream man [5Bis kri:(m) mAn]
2)失去爆破即爆破音的失去.如有两个爆破音[p],[b],[t],[d],[k],[^]连贯出现在同一单词内部或连贯出现在前一单词结尾与后一单词开头,前一辅音音素只按其发音部位形成阻碍,但不爆破,稍作间息后立即过渡到后一个音的发音部位并爆破.这种现象称为失去爆破.
如sit down -à si(t)down,似乎听不到任何人会把sit 的[t]音完完整整地发出来,这个音几乎必然地永远失去.
有时后一单词开头不一定是爆破音素,而是其他的辅音也同样可以造成前一单词词尾爆破音素的失掉.如Good night -àGoo (d) night, contact lens -àconta (ct) lens
失去爆破现象不仅仅发生在两个单词之间,也可以发生在同一个单词的内部.例如:English àEn(g)lish, friendly àfrien (d) ly handbag等等.
3)位于句末单词的词尾的辅音音素读的一般较轻或不读出声.这样的例子在听力中比比皆是.
4)缩略即在书写时将两个或多个相邻的单词省略某些字母而连接起来,在口头说出时则省略相应的某些音素后读做一个单词.我们把缩略的书写形式称为缩略式,把缩略产生的音变称为缩略音.例如：
I am [Bi Am] -à I’m [Bim] you have [jU: hAv] -à[jU:v]
how is [hBU iz] -à how’s [hBUz] that would [TAt wUd] àthat’d [ TA(t)d]
3.弱读（在语音分析中的代码为p3）
弱读即元音音素的弱化,指一个单词中的元音音素在口语中由于说话时语速快或在句子中处于次要位置而不被强调等原因,不能发一完全而标准的读音,却变为强度较弱的其他元音的现象.例如元音音素[i:]有时会弱化为[i],进一步还可弱化为[[].
英语中的许多单词都因元音的弱化存在两种或两种以上不同的读音.其中一种为强式读法,另一种或几种为弱式读法.当一个单词被单独读出,或在连贯性句子中被特别强调时,该单词用强式读法.词典和课本上的注音音标一般为强式读音.
而当一个单词处于一个连贯的句子中又非该句子主要意思所在,因而不被重读时,它的发音常以弱式读法读出.这种弱式读法就是我们说的元音的弱化,亦称弱读.词典或课本上一般不标注单词的弱音或只标注单词的少数几个弱音形式,但人们的听觉实际听到的总是经过变化的弱音,而不是书本上的标准读音.经常听人抱怨说：外国人说的英语常常和老师教的读音不一样!重要的原因之一就是老师教的是单词的标准音,而外国人说的则是单词置于上下文中的某种弱读.弱读也是听力中最基本、最普遍的问题之一.
元音弱化遵循着阶梯性的规律：
1)元音弱化的第一阶梯是,如果一个元音的弱化程度不太厉害,则它仅改变为比它低一级的元音发出.如：[i:]可弱化为[i].如单词he[hi:]在日常口语中最常发出的实际上是[hi]的音,而不是完完全全的[hi:].只要仔细听一下磁带或体会一下自己以自然速度说口语时的发音就会发现这一点.
同理,其他元音在第一阶梯的弱化形式为：[U:]弱化为[U],[C:]弱化为[C],[[:]弱化为[[],[ei]弱化为[i]等.
属于这种情况的弱化由于变化较小,在听觉上并不能感到明显的差别,因而也不构成明显听力障碍.故第一阶梯的弱化尚不能造成四级听力的失分.
2)弱化的第二阶梯是所有的元音经过一定程度弱化后都可以变为[[]音,这使元音发生了较大程度的弱化,是所有元音共有的弱化状态,所以弱音中表现形式最多的就是这一[[]音.例如：
单词 for from to some am do have does
强式 [fC:] [frC:m] [tU:] [sQm] [Am] [dU:] [hAv] [dQz]
弱式 [f[] [fr[m] [t[] [s[m] [[m] [d[] [h[v] [d[z]
当元音弱化为第二阶梯的形式时,发音已与原来的标准发音截然不同,它是造成四级听力失分的主要弱音形式.
3)弱化的第三阶梯,是元音音素因过分弱化而消失.这一阶段的弱化可视为失音的一种.这往往在语速过快时,出现于长句子中被弱读的单词上.比如for的弱读形式除了[f[]外,还有一种形式即[fr].前文提到的for him的弱读形式[fr[m]即由此而生.其具体弱化过程可表示为：
(1)[fC:rim] [h]被击穿,即轻辅音[h]因弱化而消失,使两词连读.
(2)[f[r[m] for中的[C:]和him的[i:]都弱化为了[[].这时for him两词的读音和单词forum的弱读形式相同.
(3)[fr[m] for中的[C:]音因弱化而完全消失.这时for him两词的读音和单词from的弱读相同.
元音弱化达到了第三阶梯,实际读音与标准音相比已是面目全非.很多同学即使反复听磁带仍不能理解何以会有这样的单词,就是因为这个原因.
三阶梯元音弱化表
C: C B: Q i: i [: [ U: U A e ei Bi Ci Z[ U[
C B i [ U e [i [i [i
[ [ [ [ [ [ [ [ [ [ [ [ [ [ [ [ [
失 失 失 失 失 失 失 失 失 失 失 失 失 失 失 失 失
在四级听力中,最为常见的弱读是[i]在非重读音节中弱化为[[],其次是一些常见的单音节介词和助动词的弱读.例如：eleven [E5levEn] belong [bE5lCN] effect [E5fekt] Alice [5Al[s]
I will bring you up-to-date on what we’ve learned these days.
[Bi wEl briN jU: Q(p)tEdeit Rn wC(t) wi:v lE:n(d) Ti:z deiz]
What does it mean?
[wC(t) dE zi(t) mi:n]
4.混同（在语音分析中的代码为p4）
在美国英语中,混同是一种很常见的情况,英国英语甚至也受此影响.例如,在新版《新概念英语》中,fifteen被读作[5fif5di:n ],letter被读作[5led[ ] ladder 被读作 [5lAtE ].混同是现代英语中的一种常见的语音现象,其原因比较复杂,我们暂不深究.在分析四级听力中的音变现象时,只需记住以下几点即可：在美音中,[p]和[b]、[t]和[d]、[k]和[^ ]以及[tF]和[dV]的读音经常互相转换.这种现象,在四级听力中并不非常多,稍加注意和训练即可.除了上面的例子外,比较常见的还有 happy被读作[5hAbi] later被读作[5leidE]ring him 被读作[riNkim]manager被读作 [5mAnitFE].
5.英音和美音的差异（在语音分析中的代码为p5）
由于美音的流行,四级考试听力也以美音为主,但是,由于历史的原因,我国大多数英语教师的发音,仍然以英音为主,所以,我们脑海中根深蒂固的英式发音,可能和磁带中的发音不一致,进而造成四级听力中的障碍.英语和美语在读音上的差异主要反映在元音字母a, o 和辅音字母r 的不同读音上.
1)在ask、can"t、dance、fast、path 这一类的单词中,英国人将字母a 读作[B:],而美国人则读作[A],所以这些词在美国人口中就成了[Ask][kAnt][dAns][fAst]和[pB:W].
2)在box、crop、hot、spot这一类单词中,英国人将字母o读作[C],而美国人则将o读作近似[B:]音的[B].所以这些词在美国人读起来就成了[bBks][krBp][hBt] 和[spBt].
3)辅音字母r在单词中是否读音是英语与美语的又一明显差异.在英语的r音节中不含卷舌音[r],而美语的r音节中含卷舌音[r],如下列词在英语和美语中读音是不同的：
英语读音 美语读音
car [kB:] [kBr]
door [dR:] [dCr]
river [5rivE] [5rivEr]
party [5pB:ti] [5pBrti]
board [bC:d] [bRrd]
英语中只有在far away, for ever等连读情况下,字母r才明显的读作卷舌音[r]: [fB: rE wei][fC re v[]
4)在以-ary或-ory结尾的多音节词中,英国人通常将a或o弱读,而美国人不仅不弱读,还要将a或o所在的音节加上次重音,所以这些词在英语和美语中不仅读音有差异,节奏也明显不同,例如：
英语读音 美语读音
dictionary [5dikFEnri] [5dikFE7neri]
laboratory [lE5bC:rEtEri] [5lAbErEtC:ri]
secretary [5sekritri] [5sekri7teri]
necessarily [5nesisErili] [5nesi7serili]
ordinarily [5R:dinErili] [7R:di5nerili]
5)在以-ile结尾的另一类单词中,英国人将尾音节中的字母i读作[Bi]；而美国人则弱读作[E]或不读音,例如：
英语读音 美语读音
fertile [5fE:tBil] [5fE:tEl]
fragile [5frAdVBil] [5frAdVEl]
hostile [5hCstBil] [5hCstEl]
missile [5misBil] [5mis[l]
6)除此之外,另有一些难于归类的单词在英语和美语中读音也各有不同：
英语读音 美语读音
clerk [klB:k] [klE:rk]
either [5BiTE] [5i:TE]
neither [5nBiTE] [5ni:TE]
leisure [5leVE] [5li:VEr]
schedule [5FedjU:l] [5skedVUl]

Kairy,Evring（六）：

词根是词语的组成根本.从词根我们可以变化出一个词语的不同变化,如：时态、动作之类的表示.
词根 ：词的核心部分,词的意义主要是由它体现出来的.它可以单独构成词,也可以彼此组合成词.（词根和词缀叫构词语素）下面举出一些主要词根
ag=do,act做,动agent代理人
agri,agro=agriculture田地,农田agriculture农业,农艺
ann,enn=year年annual每年的,年度的
astro,aster=star星astronomy天文学
audi,audit=hear听audible听得见的
bell=war战争rebellion反叛,反抗
bio,bi=life生命,生物biology生物学
brev=short短abbreviate缩短,节略
ced,ceed=go行走precedent先行的,在前
cept=take拿,取exception例外,除外
circ=ring环,圆circle圆,圈,环状物
cid,cis=cut,kill切,杀suicide自杀
claim,clam=cry,shout喊叫exclaim呼喊,惊叫
clar=clear清楚的,明白的clarify澄清；使清楚
clud,clus=close,shut关闭exclude排斥,拒绝,接纳
cogn=know知道cognition认知
cord=heart心cordial衷心的,诚心的
corpor,cor=body体corporation团体,社团
cred=believe,trust相信,信任credibility可信,可靠,
cruc=cross十字crucify把……钉在十字桇上；折磨
cur=care关心,挂念,注意security安全
cru,curs,cour,cours=run跑cruise巡航舰
di=day日diary日记
dit=give给edit编辑
dict,dic=say言,说dictator独裁者,口授者
duc,duct=lead引导conduct引导,指导,经营
ed=eat吃edible可以吃的,食用的
ev=age年龄,时代longevity长寿,长命
fact,fac=do,make做,作factory工厂
fer=bring,carry带,拿different不同的,相异的
flor,olour=flower花florid如花的,华丽的
flu=flow流fluency流利,流畅
fus=pour灌,流,倾泻refuse拒绝,拒受
geo=earth地geography地理学
gon=angle角trigon三角形
grad=step,go,grade步,走,级gradual逐步的
gram=write写telegram电报
graph=write,writing写,画photograph照相,拍照【Kairy,Evring】

Kairy,Evring（七）：

不要把事情弄得那么复杂
每个人都有一种属于自己的学习方法,要看你有没有找到它.
无论学什么都是这样的 要想办法来记 而且是最简单的方法
有时候是根据它是读音 有时候是因为它的形状 有时候是因为它太长了或者太短了 总之 很多小方法

Kairy,Evring（八）：

ring-ringing【Kairy,Evring】

Kairy,Evring（九）：

我是柯南知道团队的成员,高兴为你解答
Could you ring her again this evening.

Kairy,Evring（十）：

spring
[spriŋ]
festival
[ˈfestəvəl]
gala
[ˈɡɑ:lə]
evening
[ˈi:vniŋ]
topic
[ˈtɔpik]
in
[in]
focus
[ˈfəukəs]
news
[nju:z]
straight
[streit]
talking
[ˈtɔ:kiŋ]

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