德国艺术史家Wilhelm Worringer在《抽象与移情》（Abstraktion und Einfühlung）中说，“如果自然就是事物的可见外表，那么作为自主的有机体的艺术与自然有着同等的地位，而且在最深层和最基本的意义上与自然毫无关联。”（the work of art, as an autonomous organism, stands beside nature on equal terms and, in its deepest and innermost essence, devoid of any connection with it, in so far as by nature is understood the visible surface of things.）

“而且”那半句，有中译本是这样说的：“而且，它无需与自然发生关联就已经深入到了自然的最深层的内在本质中。”似乎误会了原文的句子结构，颠倒了两个短语的作用，又将它们糅杂在一起，而且添加了多余的动词“深入到了”，犹如写字线条不清，结构模糊还落下一团墨汁。整个句子的意思也看不清。作者的意思是说艺术品与自然不相干，哪儿来本质的深入呢。

关于in so far as 与by连用的，能找到很多例子。有趣的是，还有扎堆儿的例子，而且与这儿的句式和话题都有些许相似（见Henry Allison 关于康德的一片文章：An Introduction to the Problem, and Transcendental Realism and Transcendental Idealism, from Kant's Transcendental Idealism）：

Now, insofar as by 'object' is meant simply the subject of a possible judgment, which is how Kant sometimes construes the term, these concepts are both necessary and sufficient to determine what can "count," that is, be represented as an object. In other words, they define the very meaning of 'object', insofar as by an object is meant merely something conceptually represented. On the other hand, insofar as 'object' is taken to mean an object of possible experience, which, as we shall see, is the "weighty" Kantian sense of the term, these same concepts are necessary but not sufficient conditions for the representations of objects or objective states of affairs.

在康师傅看来，所谓客体不过是可能用概念来表示的东西，与Worringer用艺术品来抽象自然，是异曲同工的。而“移情”，德文Einfühlung，英文Empathy，是艺术的另一面。牛津词典的解释是，把个人的情感投向关注的东西（The power of projecting one's personality into (and so fully comprehending) the object of contemplation），它有时也约等于“通感”。（钱先生说通感，“用心理学或语言学的术语来说”，是synaesthesia；而在说李贺“歌声春草露”时，又借了“推移”，transference，这个词儿的心理学译法也是“移情”。）