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a. They take a break from time to time, appreciating the blossoms and the floating clouds. (15 words)
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b. They stop occasionally to appreciate the blooming and withering of flowers, the rolling and extension of clouds. (17 words)
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c. They would take time off now and then for a look at blooming flowers or fallen petals. They would stop to admire clouds gathering and dispersing. (26 words)
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以上三句译文的字数有明显变化：15→17→26。数字是枯燥的，但是，数字的变化再次向我们暗示了译c汉英表达之微妙区别。从“有的人如游客，不急不慌，走走停停，看花开花落，看云卷云舒”可以看出，句子表达非常疏放随意，一个主语（有的人），便带出了一串谓语。译a和译b，就照这个句型直译。使用一个主语，结果就失却了一份行文的悠闲，文意也未能得以充分的演绎。译c将原句作“一切为二”的处置，They would的重复，构成了Parallelism（平行结构）的对称美，这种形式更好地为其内容（从容自在，潇洒不迫的人生态度）服务。就表层看，译c的take time off now and then for a look at似有累赘之嫌，其实，透出了一种丰满美。尤其是now and then三词，更有一种音韵。从美学角度分析，blooming flowers or fallen petals比blooming and withering of flowers更值得品味，因为withering of flowers远没有fallen petals所蕴涵的美感。
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有的人却总是怡然自得，随遇而安。
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a. However, others are always happy with what they have and where they are.
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b. Others, however, can always satisfy themselves with the confined surroundings.
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c. But others are always contented and happy for they can adapt themselves to different circumstances.
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对比三句译文，译a和b给读者一种“夹生饭”的感觉。对原句没有做到“挖掘惟恐不尽，描写惟恐不周”，尤其是对“随遇而安”的翻译过于简单，草草过场，未能译出或准确译出其中的“随遇”二字。
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比海洋大的是天空，比天空大的是心灵，因为这小小的心灵内住着一只时起时落的想象鸟。
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a. The sky is broader than the ocean and the mind is broader than the sky, for inside the small mind stays a bird of imagination that can fly freely.
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b. What is larger than the ocean is the sky; what is larger than the sky is the heart, because in this small heart lives a bird of imagination that flies up and down.
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c. However, though larger than the ocean is the sky, even larger is the human mind, for in it imagination can come and go on the wing without limitation.
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汉语不太讲究行文的逻辑，往往意合即可，读者能够心领神会，不太计较你是否运用了不必要的Connectives来显示内在的逻辑。原句中的“比海洋大的是天空，比天空大的是心灵”就是一个典型的例子。译a和译b均作直译，简单从事，没有运用必要的Connectives来表达这两句之间的逻辑转折关系。添加Connectives，似乎令行文“繁”了些，但是，这是必需的。译b的What is larger than the ocean is the sky; what is larger than the sky is the heart给人一种生硬艰涩的语感。译c以though和even来粘合两句，英语味便浓郁起来。
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译a和译b不谋而合将“想象鸟”译成了a bird of imagination，值得商榷。
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杨振宁教授曾经高屋建瓴地指出，中国的文化是向模糊、朦胧及总体的方向走，而西方是向准确而具体的方向走。他还说过，中文的表达方式不够准确这一点，假如在写法律是一个缺点的话，写诗却是一个优点。
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汉语读者对“这小小的心灵内住着一只时起时落的想象鸟”不会提出异议，而且还能够欣赏作者的用意。因为，在“模糊、朦胧及总体”中，汉语能够成功传递一种信息，给人一种印象，甚至联想。所谓“想象鸟”就是一种写诗的笔调。这对汉语而言，真是一个强项。
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但是，一旦将“想象鸟”直译成a bird of imagination，问题即刻产生。以英语为母语者会寻思：是否真有此鸟？现实生活中没有此鸟，抑或是中国神话传说中有此鸟儿？因为，讲究准确而具体的西方文化细微、精确，着眼微观，注重客观。
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译c将“这小小的心灵内住着一只时起时落的想象鸟”译成in it imagination can come and go on the wing without limitation，似乎是舍简求繁，实际上，译文不仅通过成语on the wing（在飞行中）挽留了“鸟”的形象，而且由于巧妙添加了介词短语without limitation，这就与前面的议论（though larger than the ocean is the sky, even larger is the human mind）呼应并增强了译文的Cohesion和Coherence。
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大碗喝茶解渴，却说不上茶是怎样的好。
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a. One can get rid of thirst by drinking tea with a bowl but he cannot tell how wonderful the tea is.
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b. To drink a bowl of tea can soon dampen the thirst; however, the fragrance of the tea can hardly be tested.
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c. To drink at a gulp is a quick way to quench thirst, but it gives no taste of the high grade tea.
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汉语，美在以神驭形。所谓“大碗喝茶解渴”，汉语读者能得其神（大口喝茶），而忘其形，并不十分注重“碗”及其之大小。而英语则以形摄神。作为注重逻辑和分析的语言，对形倾注了更多的关注。比如，译a和译b均未能跳出“大碗喝茶解渴”之形，将“碗”如实译出（bowl）。而英语读者则不能从形（bowl）中跳脱出来而得其神（大口喝茶）。因此，英译“大碗喝茶解渴”时，便无须紧扣其形，不如直探其神，而如译c译成To drink at a gulp is a quick way to quench thirst。
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从本质言，将以神驭形的表达转换成以形摄神的表达，也是一种由简入繁的转换。
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