这第三个要求针对的是译者的专业知识。一般来讲，一种翻译总要涉及一个领域。译者除了谙熟相关的两种语言之外，还应当具备相关领域的相关知识，不然译文结果就可能很糟糕，因为一篇充满“外行话”的译文，即便是一 篇美文，也是不合格的。因此，译者在翻译某一文著之前，应对所要译的内容 有所了解，对相关的背景有所研究或调查，这是起码的准备工作，然后下笔翻译方能比较踏实。请注意，奈达在此提出具体要求是a thorough acquaintance with the subject matter concerned (透彻了解相关的主题、题材），译者在翻译之 前是要有知识储备的，或是必须要另外做些功课的。

4. Even if the translator possesses all the necessary technical knowledge, he is not really competent unless he has also a truly empathetic spirit. Basil Anderton (1920: 66) compares this empathy of the translator for the original author with that of the good actor, able to “feel” his part: “The words which he is to employ are set down for him. These words he has to interpret into the language of movement and gesture, of voice, of facial expression: in a word, he must translate them into visible and audible human emotion; he must impersonate the characters.” Similarly, the translator must have the gift of mimicry, the capacity to act the author's part, impersonating his demeanor,speech, and ways, with the utmost verisimilitude. (Nabokov, 1941)

这第四个要求涉及译者与原文作者思想情绪的暗合，即两者的神交。这个要求主要与文学翻译相关联。虽说这对于一般非文学翻译并没有重大的干系， 我们仍可从中得到一种启示，即译者在翻译走笔之时，正确揣摩原文或原著作者的心绪情感对于译出妥帖的译文也会大有禆益。

5. Even thorough knowledge of the languages and the subject matter, combined with empathy, will not suffice to guarantee really effective translating unless the translator also has a capacity for literary expression. Nobokov (1941) contends that ultimately the fully effective translator should have as much talent, or“at least the same kind of talent, as the author he chooses.”Tytler (1790: 204) earlier stated this same requirement, saying that“The genius of the translator should be akin to that of the original author,”and that “The best translators have shone in original composition of the same species with that which they have translated.”

这个要求同样比较侧重文学翻译，但是这里提出的一个问题与非文学翻译也关系密切。我们所做的翻译，特别是笔头翻译，是让人阅读的。形成文字的东西，印出来给人看，要让人愉悦地消受，不能不考虑到人们的普遍阅读口味。就如一款食品，营养再好，味道不佳或难吃，也会受到冷遇。翻译应当成为一种作品，必须要有一定的文采，这是译者应当追求的一个目标。孔子云： 言之无文，行之不远。这是真理，英文汉语概莫能外。