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译者风格和作者风格的关系
李商隐《早起》：“风露澹清晨，帘间独起人，莺花啼又笑， 毕竟是谁春。”
The dawn is clear..no breath, the dew to shake.
And at the window I alone awake.
Amidst the smiling flowers the orioles sing
If not for me for whom tliis happy spring?
刘禹锡《乌衣巷>);“朱雀挢边野草花，乌衣巷口夕阳斜。 旧时王谢堂前燕，飞入寻常百姓家。”
Beside the bridge of Chu-chio wild flowers and grasses grow.
Along the ancient pathway the evening sunbeams flow.
The swallows that once circled around the halls of lordly pride
Now twitter round the humble homes these later ages know.
Fletcher的所有这些译品，于李白的“飘逸”，李商隐的"绮丽〃，刘禹锡的“自然”多能得之，然而,在各译品之中又可以窥见译者老猷练达的译风。
另一方面，同一作者的风格还可以表现在不同译者的译文中。如：
李白《自代内赠》: “妾似井底桃，开花向谁笑。君如天上月，不肯一回照。” Obata译为：
I am a peach tree blossoming in a deep pit.
Who is there I may turn to and smile?
You are the moon up in the far sky，
Passing, you looked down on me an hour, then went on forever.
从这篇译文中都可以窥见李白的“飘逸”风格。
李白《怨情》：“美人卷珠帘，深坐颦娥盾，但知泪痕湿， 不知心恨谁。”
A lovely woman rolls up
The delicate bamboo blind.
Sie sits deep within,
Twitching her moth eyebrows.
Who may it be
That grieves her heart?
On her face one sees
Only the wet traces of tears,
在这两个译品中，李白的“贏逸”与Obata酎“细腻”混而杂陈。但Obata也有许多译品达到第二种境界。如：
李白《送客归吴》：“江村秋雨歇，酒尽一帆飞。路历波涛去，家惟坐卧归。岛花开灼灼，汀柳细依依，别后无余事，还应扫钓矶。”
A river town. The autumn rain has stopt.
Our wine is gone. So farewell!
While you lie idle in your boat
Your sails flies down homeward over the waves
Past the islands burning red with flowers
Past the slender willows,green on the river strand.
What of me after parting? I know not.....
I'11 go back, perhaps,to my old fisting rock on the beach.
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