In English translations of classical Chinese poems, the principle of “beauty in sound” proposed by Xu Yuanchong is a key criterion to examine the prosodic loyalty. This paper compares prosodic differences between the Chinese poem “Guan ju" and its three English translations (Xu Yuanchong, James Legge, and Ezra Pound) in terms of rhythm, sound, and rhyme with the Praat software. The quantitative results show that in terms of rhythm, all three translations effectively replicate the musical feature of the poem through syllables, vocabulary, and tones. Regarding sound, the ratio of vowels and consonants and suprasegmental features (pitch, intensity, and length) in Xu Yuanchong’s and Legge’s translations exhibit a higher degree of correspondence with the original poem. Moreover, all three translations take advantage of a large amount of alliteration, assonance, and consonance to reproduce the prosodic beauty of reduplication and alliteration in the original poem. The comparative study explores the construction of “beauty in sound” in the English translation of Chinese poetry with a quantitative method, which sheds light on the extension of approaches to analyzing poems.