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如以下两篇译文，就布满了暗示逻辑的标记（见黑体字）：
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a. Autumn
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By Ma Zhiyuan
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Crows hovering over rugged trees wreathed with rotten vine——the day is about done. Yonder is a tiny bridge over a sparkling stream, and on the far bank, a pretty little village. But the traveler has to go on down this ancient road, the west wind moaning, his bony horse groaning, trudging towards the sinking sun, farther and farther away from home.
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（翁显良译）
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b. Tune: Tian Jin Sha
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By Ma Zhiyuan
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Withered vines hanging on old branches,
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Returning crows croaking at dusk.
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A few houses hidden past a narrow bridge,
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And below the bridge quiet creek running.
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Down a worn path, in the west wind,
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A lean horse comes plodding.
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The sun dips down in the west,
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And the lovesick traveler is still at the end of the world.
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（丁祖馨、Burton Raffel译）
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若将以上两译中的黑体字省略，那句将不句，诗将不诗！
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除了诗歌之外，在日常的表达中，汉语同样处处闪烁以神驭形之美，简洁、模糊而耐人咀嚼。如：红男绿女。清朝的壮者《扫迷帚》第十九回中写道：“那三人泊舟登岸，缓步来前，但见红男绿女，牵手偕行；败果浊醪，设摊当路。”此后，“红男绿女”便渐入汉语流通领域，指衣饰华丽的青年男女。刘绍棠在其小说《小荷才露尖尖角》中写道：红男绿女丛中，他那头顶着高粱花的一身土气，就像羊群里跳出个骆驼。……更引人多看几眼。
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“红男绿女”四个字，没有任何的粘连，皆可谓核心词。以神驭形的汉语，培养了我们不甚在乎那个形的阅读习惯。语言悟性，不会让我们硬性去理解“红”修饰“男”，而产生“‘红’字如何去形容男”的疑问，或者“‘绿’字如何去形容女”的疑问。读者会自然而然地得其神，将“红男绿女”理解成：穿着了红红绿绿的服饰的男男女女（多指男女青年）。
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英译“红男绿女”，那就不可循以神驭形之思路，译成red men and green women。而得转换成以形摄神，抑或形神并重的表达。如：
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a. young men and women in holiday dress
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b. fashionably dressed men and women
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c. gaudily dressed men and women
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三个表达皆使用了逻辑标记（如其中的黑体字）！
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以神驭形仍是现代汉语的表意特征。试比较以下两段文字：
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