This article provides a comparative translation analysis of two poems of Arthur Rimbaud: ‘Sensation’ and ‘Venus Anadyomene’, dated 1870. The Italian translations under consideration will be those of Ivos Margoni (Feltrinelli, 1964), Gian Piero Bona (Einaudi, 1973) and mine, which will appear in 2017 in the Marsilio editions. Based on the studies on Henri Meschonnic’s rhythm, as well as on his proposals for a poetic translation, I try to define examples of practical application of his theories. The subject matter of the study will include: keeping the rhythm when it becomes impossible to respect the metric of the starting text; whether or not to keep rimes, punctuation, division into the direction and order of words in the French text; occasional elimination of functional words in the arrival text; lexical choices with regard to compliance with the author’s intentions.