其實，所有的翻譯的形式之變的基本間題是意義以及由于意義的調節變化而引起的形式之變，此外.形式之變也就必然引起審關上的調節。可見體式操控也就是在語義、形式和審美等三個平面上的在這個間題上，目前中外譯論界意見仍有很大分歧，而且分歧呈現兩極化趨勢:有翻譯公司認為既然是翻譯就應該盡且少改寫，目的在于保持原味;另一些人認為為考慮交流效果，可以盡力改寫不惜面目全非.并舉出Charles Budd之改寫(木蘭辭)為例:

     And then before the sun began his journey steep,She kissed her parents in their troubled sleep,Caressing them with fingers soft and light,She quietly passed from their conscious sight,And mounting horse she with her comrades rode,Into the night to meet what fate forebode;And as her secret not a comrade knew,Her fears soon vanished as the morning dew,That day they galloped westward fast and far,Nor paused until they saw the evening star,Then by the Yellow River's rushing flood,They stopped to rest and cool their fevered blood.The turbid stream swept on the swirl and foam,Dispelling Muh-Lan's dreams of friends and home;Muh-Lan! Muh-Lan! She heard her mother cryThe waters roared and thundered in reply!Muh-Lan! Muh-Lan! She heard her father sighThe river surged in angry billows by!The second night they reach the River Black,And on the range which feeds it, bivouac;Muh-Lan! Muh-Lan! She heard her father prayWhile on the ridge the Tartars' horses neigh;Muh-Lan! Muh-Lan! Her mother's lips let fall!The Tartars' camp sends forth a bugle call!
 

    Budd的這類“改寫”，受到不少堅持“翻譯的本體論’者的批評。但是據悉，這個譯本已先后在美、英、加、澳等國電臺、電視臺的東方節目中多次朗誦并獲得好評。有位反對“翻譯要譯出原汁原味”的讀者著文說:難道嚴復的改寫式譯文中的“桐城風韻”也是來自赫晉黎和斯賓塞的“舶來品”嗎?
 

風格操控
    風格操控就是把握行文的整體性審美特色。翻譯公司英譯漢提供了方便的手段這是譯文操控中最微妙的部分。