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为什么Nida把形式的对等提到重要的位置呢？这是因为世界各国的语言，虽然千差万别，但是，各种语言之间存在着某些语言的共性。因而，在语言形式上（在词汇构成、句法结构、表达方式等各方面）也存在着很多相似之处。所以在一定条件下，译文和原文在内容和形式上都一致，并不是不可能的。在这种情况下，就应该尽量保持一致，决不能任意改变形式。
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Nida的这一论点与近代多数翻译家同意的一条原则：Translate literally, if possible, or, appeal to free translation.（陆殿扬译为：如果可能，就直译；否则就采取意译。）Nida的提法更具体，更明确，因而，更具有指导意义。
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据此，原句中的“跑断了双腿”被译成spare no strength running for就让人感到可惜。英语存在类似的比喻，异曲同工，完全能套用，如后译的ran off my legs for。《综合英语成语词典》对run off one’s legs的释义为：忙得筋疲力尽；疲于奔命，累坏了。
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另外，后译使用了后置形容词satisfying and cheap，成功地实现了end-weight，值得模仿。只须留心，英语中如此后置形容词比比皆是。如：He comes into the light of every-day like a great leviathan of the deep, breaking the smooth surface of accepted things, gay, serious, and sportive… He makes uneasy the static, the set and the still. (From “The True Artist” by Norman Bethume)
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二十岁的时候，看小说专挑和爱情有关的情节看。三十岁之后，我在聊天室里的代号叫“不谈爱情”。
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【原译】At the age of 20, I only read paragraphs about love when reading novels. At the age of 30, my name was “no speaking love” in chatroom on the Internet.
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【改译】At the age of twenty, while reading a novel, I abandoned myself to the chapters exclusively devoted to romance. After thirty, I dubbed myself as “Talk No Love”. in the Internet chat-room.
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两译相比，最大的区别在于遣词。试比较my name was “no speaking love”，和I dubbed myself as “Talk No Love”。前译的name用得懒散苍白，极为模糊，而后译之dub，就非常明确，其含义是：授予…称号，把…称为。如：The region is dubbed the paradise on earth.（这地方被人称为人间天堂。）前面讲到模糊美，而不能偏废的是，译文的遣词，往往有一般和特定、抽象和具体、模糊和明确之别。两者相比，孰美孰陋，应视语境而定。
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二十岁的时候，一听到名人就激动不已，就欢呼雀跃，就奋不顾身往前冲。三十岁之后，一听到名人就若有所失，就心烦意乱，就怒火中烧，就……不知道什么滋味，特别是年轻的，漂亮的，女名人。
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【原译】When I was twenty, hearing the name of a famous person, I would be so excited that I could almost jump up with cheer and dashed ahead regardless of my safety. After thirty, I was indifferent, annoyed, flew into a temper and I had no feeling to hear the name of the famous man, particularly of those famous, young and pretty females who were young and pretty.
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【改译】At the age of twenty, upon hearing a celebrity, I would rush forward, hot-blooded, jumping for joy. After thirty, upon hearing the names of celebrities, I feel lost, vexed and burning with anger, especially the names of those famous females, who are young and pretty.
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汉语以神驭形，可视作意境语言，偏重暗示，欣赏含蓄，写意性很强。而英语则以形摄神，极重逻辑分析，欣赏写实。
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以汉语“湖光山色”为例，就比较虚幻，难以落实，尤以“光”字为甚，然写意之中，又具有极强的暗示力，能让读者触发联想，营设如画的意境。
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在英译“湖光山色”时，两种语言的差异就逼现在译者面前。其中的“光”，还有一个“色”字，英译时，必须落实，必须有一个明确的交代，否则，就译不出，就只能笼统译之，根本无法照顾到原文的意境或文采。
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我们得到的权威译文是：
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a. a landscape of lakes and mountains
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b. the natural beauty of lakes and mountains
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c. a beautiful scenery of lakes and mountains
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d. the beautiful scenery of the mountains and lakes
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两种语言的本质性区别告诉我们一条经验：汉语的一些属于意境性、写意性的表达，只能意译，而难以或不能直译。一定要直译，非出洋相不可。如有人硬性把“湖光山色”译成the light of the lakes and the color of the mountains。英语的native speakers读此译文问：What kind of light is it? Where does the light come from?
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回到原句，“一听到名人就激动不已，就欢呼雀跃，就奋不顾身往前冲”，其中的“激动不已”、“欢呼雀跃”、“奋不顾身往前冲”，就有一个从写实到写意的过度。特别是“奋不顾身”，纯属写意。如此写意，决不能照直译来，直译将酿成费解，甚至荒诞，就像“湖光山色”一样。
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然而，前译直译其为dashed ahead regardless of my safety。英语的native speakers读此译时，困惑油然而生：Was the famous man holding a handgun, ready to shoot at you?
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二十岁的时候，和某个人晚上一起去看了场电影，不经意中拉了一次手，结果幸福了整整一个夏天。三十岁之后，坐在香格里拉酒店的旋转餐厅陪客户吃自助餐，在缓缓的转动之中，莫名其妙地一阵空虚，突然间对一切感到索然无味……
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【原译】At the age of twenty, I went to see a film on a night with someone who casually took my hand in his palm, and this sweet happiness lingered for the whole summer. After I have turned thirty, I feel an aching void in the slow movement of the rotating restaurant, where I dine with my clients upon a buffet meal, in Shangri-La Hotel and all of a sudden I lost interest in everything.
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【改译】At the age of twenty, one evening, I went to see a film with a boy. In the darkness, an incidental touch of hands filled me with joy all that summer. I am thirty, sitting the rotating restaurant of Shangri-La Hotel, accompanying my clients having a buffet. In the slow rotating, an indescribable emptiness, all of a sudden, seizes me, and I find everything dull and dry.
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