日文中借用大量漢字、漢語，再加上中日兩民族同屬深受儒、佛思想薰陶之東亞季風區稻作文化，因此不論在事理剖析上或對情景之描寫上，兩種文字都有相似之表現法。而這種相似甚至共通在在提供日譯中時，以語文對比方式尋求譯文與原文緊密對應的條件。而緊密對應關係正是譯文符合忠實標準，甚至藉以提昇至美、雅境界的憑藉。然在對比過程中應注意的是「細密」原則，即不漏失對原文每一字、詞、文法、句型的掌握，另在求對應時的訣竅在於「靈活」，即不可拘泥與原文字、詞、文法、句型的一一對號入座，應求重現原文的真意與神韻。 拙論即秉此方法、原則，以析論《伊豆の踊子》各家譯本為例，闡述對比與對應在日譯中時之實際操作手法，並論證透過對比與對應不但能更深刻體會原文真意，亦兼具仔細核覆譯文之優劣失誤的效能。

Both Chinese and Japanese have similar ways of expression, whether in the analysis of things or the description of people and places. This is because Japanese has borrowed a tremendous amount of Chinese characters and expressions, and also because both countries have been greatly influenced by Confucian and Buddhist thoughts, which belong to East Asian rice culture. This similarity or even sameness can offer the conditions for the language contrasting method so as to achieve a close correspondence between the translation and original text. The close correspondence is indeed the criterion for faithful translation, by means of which perfection and elegance can be achieved. However, in the process of contrasting, one should pay attention to the principle of “detail”; i.e., one should not miss the control over any word, grammar, or pattern. The key to correspondence lies in “flexibility”; i.e., one should not be limited by any word, grammar, or pattern in the original text. Instead of word-by-word translation, one should endeavor to reveal the real meaning and spirit. Following the aforementioned method, I use different Chinese translation versions of Izunoodoriko as an example in this article to analyze and discuss the practical methods of contrasting and corresponding in Chinese translation from Japanese. Moreover, by so doing, I demonstrate that contrasting and corresponding can not only help readers understand the real meaning of the original text but also have the effect to show the superiority, inferiority, and failing in various translation versions by meticulous reading.