本文隶属英诗汉译的研究范畴，着重关注英语格律诗歌在向中文译介的过程中，其格律中蕴结的音乐美如何保留并转移到汉语中，甚至如何利用汉诗格律中再造其形式美的问题。 本文首先着力于发掘英汉诗歌在音乐性传统、声韵、和情感表达上的相类或共通之处，以此说明英诗音乐美的可译介性。随后回顾音乐性传递的理论研究成果，如许渊冲“三美”论，江枫“神似”、“形似”理论，奈达“动态对等理论”等；并追溯了“从古诗词，到散文，再到白话律诗”的翻译实践演化历程。 最后通过对照原文、比较译文的方式，重点论述传递原诗音乐性的几个具体方法——在传达英诗节奏之音乐性时，主张以“顿”代“步”,以汉诗之意群停顿模拟英诗之轻重音部，揭示“顿格”的概念；处理韵律之音乐性，则应尽力复制原诗之韵式，选择与原诗情韵风格呼应的韵脚，并合理运用“对等单位”。

This is an essay on the Chinese translation of English poetry, particularly the metrical poems and rhymed verses, with a focus on the preservation and transmission of the original musicality as well as reproduction of the beauty in form in light of Chinese prosody. With the attempt of exploring the similarities between English and Chinese poetry in the aspect of song tradition, sound features and emotional expression, this essay aims to legitimate the endeavor to convey the beauty of English language and sound into Chinese. Afterwards, it is shown that a review of previous theoretical achievements, including as Xu Yuanchong’s theory of three kinds of beauty and Eugene Nida’s equivalency theory, and also some practice. Then, the essay discusses several methods in the practice of transmitting the musicality by the means of a comparative study of different Chinese versions of a same poem with the regard of the reproduction of rhyme and meter in target language.