第四种境界是下中乘译品所达到的境界。在这种境界中，译者的风格喧宾夺主，掩盖了原作者的风格。这一境界也可以以 Fletcher的若干译品为例。 司空曙《江村即事》，“罢钓归来不系船，江村月落正堪眼。纵然一夜风吹去，只在芦花浅水边。”

Returning from my fishing my skiff I left unbound.

The moonlight brings street slumber on all the village round.

Though by the wind all night pursued, my shallop cannot stay.

*Tis grounded where the rushes in shallow rippes play.

 

王昌龄《闺怨》：“闺中少妇不知愁，春日凝妆上翠搂。忽见陌头杨柳色，悔教夫婿觅封侯。”

Within her peaceful chamber,no care the maid oppressed;

Until the verdant Tower she climbed one spring-tide, gaily-dressed,

The stir of sprouting foliage beyond tie street she saw.

Regret she'd sent her love to fame swelling rose in her breast.

 

第五种境界是下乘译品所达到的境界。这种译品杂乱无章，毫无风格可言，既没有原作者的风袼，又没有译者的风格。我们也毕一个例子.

 

李白《山中答问》：“问余何事棲碧山，笑而不答心自闲； 桃花流水杳然去，别有天地非人间。” Arthur Christy译为： 

 

Why am I living among the green mountains? 

I laugh,but my heart cares not to answer. 

The peach petals on the water flow on......

My heart inhabits a place known to no man of this world.

 

这五种境界当然是大体而言，尤其是第二、第三、第四种境界并投有严格的界限。而且有时也发生中间情况：译品取得原作的一部分风格，而失去其另一部分风格。