English poems that are good at syncopation need punctuation to make up for its syncopation, while Chinese poems that are old and long can also make up for its syncopation with three or four words in modern times. In other words, the contrast between fluency and interruption in English poetry is obvious only by means of in-line pause, while the contrast between Chinese poetry and English poetry is not obvious only by means of in-line pause, which requires other ways to strengthen this contrast, that is, by rationally arranging vague and staccato sound groups to set off each other. Yu Guangzhong's poetry translation can make good use of the new changes of "continuous reading" in China's modern poetry and create a rhythm of poetry translation that conforms to the rhythm characteristics of the original poem. Not all translators can do this. From Keats' translations collected by Tu An, Bai Fei and Zou Jiang, we can see that only Fei Zi's translation rhythm is similar to Yu Guangzhong's, while the other two translators failed to convey the rhythm change of the original poem as skillfully as Yu Guangzhong's, although on the surface, their translations are more neat and rhythmic.