格律是诗词除了意境和意象以外之所以为诗的一个重要原因， 所以格律的处理是翻译诗词的一个难点，尤其在汉英这两种体制完全不同的语言之间更是难上加难。我们不妨以格律中最为重要的一个因素——押韵作为例子。《好了歌》原文由四节形式相仿的七言绝句组成，按照绝句的惯例，一、二、四句押韵形成AABA韵（首句可押可不押），而且二、四句不仅押韵，韵脚也相同，每节重复韵脚，读起来朗朗上口，就像文中甄士隐所说的“只听见些‘好’‘了’‘好’‘了 ’ ”，而“好”“了”二字正是该诗的主旨，所以这首歌便名为《好了歌》。大卫•霍克斯的译文（以下简称霍译）很符合原文的押韵格式，同样押AABA韵，一、四句韵脚虽不同字但同音（won和one)，而且每节的韵脚也是重复出现，于是听起来也便净是些“won” “done”“one”“done”，所以霍克斯把标题处理成“Won-Done Song”，可以说音形义兼备，实乃传神之笔。而杨宪益戴乃迭的译文（以下简称杨 译）是处理成二四押韵，每节韵脚不同，基本上没有传达“好”“ 了”这 种不断重复的主题，只是把标题意译成“All Good Things Must End”来点明主旨。相比之下，霍译比杨译要略胜一筹。这首诗的韵脚处理不仅关系到这首诗本身的翻译，也牵涉到下文甄士隐和跛足道人的对话中反复出现的“好”“了”二字。
原文：士隐听了，便迎上来道：“你满口说些什么？只听见些‘好’‘了’‘好’‘了’。”那道人笑道：“你若果听见‘好’ ‘了’二字，还算你明白。可知世上万般，好便是了，了便是好。若不了，便不好；若要好，须是了。我这歌儿，便名《好了歌》。”（《红楼梦》，1982：17 )
杨译：At the close of this song Shi-yin stepped forward.
“What was that you just chanted?” he asked. “I had the impression that it was about the vanity of all things. ”
“If you gathered that, you have some understanding，”the Taoist remarked.“ You should know that all good things in this world must end, and to make an end is good，for there is nothing good which does not end. My song is called All Good Things Must End. ” (杨宪益 戴乃迭，1978:16)
霍译：Shi-yin approached the Taoist and questioned him. 'What is all this you are saying? All I can make out is a lot of "won" and "done".'
‘ If you can make out“won”and“done”'，replied the Taoist with a smile,'You may be said to have understood；for in all the affairs of this world what is won is done，and what is done is won；for whoever has not yet done has not yet won，and in order to have won，one must first have done. I shall call my song the“Won-Done Song”.’ ( Hawkes, 1973:64)
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