Within the mind of any single translator of a liturgical text, formal equivalence and functional equivalence are always at work, opposing each other here, cooperating there. Formal equivalence by itself would give you translatorese, the awkward, often inscrutable prose of the sort that crude translation software is apt to serve up. Functional equivalence by itself would do as good a job of ensuring that the English representation of what was written in the original language was mangled, as any peculiar background music that complicated the passage but might be essential to discerning its tone would be cheerfully ignored, all in the interest of raising what the translator calculated to be the signal-to-noise ratio.