Expanding on my comment that translators should consider "...what poet does the original correspond to..." in the target language, and regard that as "the language register you can use": i call this Alibi Theory. So far i have (lightly) nominated Hopkins to translate Rilke into, Mina Loy for Tsvetaeva, Browning for Mandelshtam. Maybe Housman for the neo-classical side of Pessoa. Anyway, for what it's worth--even though i know many poet-translators consider the qualities of the poet they are translating, part of the reason they are doing so. Because those things don't already exist in your own language.