







































Education, Language and Sociology Research 

ISSN 2690-3644 (Print) ISSN 2690-3652 (Online) 

Vol. 6, No. 1, 2025 

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98 
 

Original Paper 

A Study on the English Translation of Geographical Imagery in 

Li Bai’s Poetry from the Perspective of Geographical 

Translation Theory 

Xiarui Long1 

1 Xidian University, Xi’an, Shaanxi, China 

 

Received: January 20, 2025     Accepted: February 9, 2025    Online Published: February 25, 2025 

doi:10.22158/elsr.v6n1p98          URL: http://dx.doi.org/10.22158/elsr.v6n1p98 

 

Abstract 

Li Bai is an inimitable and distinctive poet in the ancient time of China. His poetry fill with numerous 

geographical imagery, carrying rich emotions and cultural characteristics. This paper explores the 

translation strategies of geographical imagery in Li Bai’s poetry from the perspective of translation 

geography. By analyzing representative translations, the study examines how the emotions and cultural 

connotations behind geographical imagery are preserved or transformed during cross-cultural 

communication. This research aims to provide new theoretical insights into the translation of Li Bai’ 

poetry, advancing the Chinese culture and poetry to the world. 

Keywords 

Geographical Translation Theory, Li Bai, Geographical Imagery 

 

1. Introduction 

Li Bai is one of the great poets in ancient China. He is renowned for presenting exceptional landscape in 

his poetry, which often integrates a large number of geographical imagery such as mountains, rivers, and 

natural scenery. These geographical images not only show vivid depictions of nature but also manifest 

profound emotional and cultural significance. This paper seeks to explore the translation strategies of 

geographical imagery in Li Bai’s poetry from the theoretical perspective of He Aijun’s geographical 

translation theory. Through analyzing the specific types of geographical imagery and its concrete 

reference, the paper aims to find the best strategies to translate these words, thereby, providing new 

theoretical insights into the translation of classical poetry as well as other types of poetry. 

 

 



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2. Theoretical Framework of Translation Geography 

He Aijun is a professor at Ocean University of China, specializing in translation studies and translation 

geography. He has conducted in-depth research on translation theory and practice. He argues that 

translation geography is a newly emerging research paradigm within the cultural turn of translation 

studies. It takes translation as its core and geography as its research methodology, exploring the 

relationship between translation phenomena and both natural and human geography (He & Yu, 2020). 

This paradigm cleverly integrates translation studies and geography, bringing new research perspectives 

and inspiration to the field of translation. Scholars have pointed out that this integration helps link cultural 

phenomena with geographical characteristics, thereby enhancing the humanistic and accurate aspects of 

translation (Rong & Zeng, 2023). Translation is not merely a linguistic transformation but also a 

reproduction of geographical space and a process of cross-cultural migration. The translator should fully 

consider the geographical environment and cultural characteristics of the source text to ensure that the 

target readers’ understanding and perception of geographical imagery are as close as possible to the 

original meaning. This paper chooses his theory as the theoretical framework to reveal the translation 

strategies of geographical imagery in Li Bai’s poetry. This framework is particularly meaningful for 

analyzing the translation of geographical imagery in Chinese classical poetry, as these images not only 

possess geographical features but also embody profound emotional and cultural connotations. 

 

3. Geographical Imagery in Li Bai’s Poetry 

The term “Imagery” (means Yi Xiang in Chinese) consists of “Yi” (emotion, thought, or idea) and “Xiang” 

(concrete image or object), which means expressing abstract emotions or artistic conceptions through 

specific images. Poetic imagery is the combination of the poet’s subjective emotions and objective 

external objects (Li, 2014). In the history of Chinese poetry, poets often use specific objects to convey 

emotions and ideas. For example, “the bright moon” is commonly used to express loneliness and 

homesickness, while “lotus flowers” symbolize purity and noble character of a person. The paper believes 

that the space between “Yi” and “Xiang” is abstract and blank, which can stimulate the reader’s 

imagination and emotional response, thereby bridging the emotional connection between the poet and 

the reader. As scholars have stated, the indeterminacy and blank spaces in the original poem serve as a 

source of inspiration for the reader’s imagination and engagement. (Yan & Li, 2024). 

Geographical imagery in poetry refers to the depiction of geographical landscapes and natural 

environments to convey emotions, thoughts, and cultural messages. Li Bai frequently used geographical 

imagery to express his profound emotions and philosophical reflections. Such geographical imagery 

enriches the visual impact of poetry while carrying deep emotional resonance and philosophical insights. 

(1) Imagery of Celestial Object 

In Li Bai’s lyrical poetry, celestial imagery such as wind, moon, and stars is often employed to express 

themes of homesickness, separation, and philosophical reflections on life. Among these, the bright moon 

stands as the most representative image, symbolizing both nostalgia and profound life philosophy. 



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In his poem Thoughts on a Silent Night, (The English translations of Li Bai’s poems in this paragraph 

are all derived from Xu Yuanchong’s work) the poet uses simple yet evocative language to paint a vivid 

scene of gazing at the moon in the stillness of the night and lowering his head in homesickness: “Eyes 

raised, I see the moon so bright. Head bent, in homesickness I’m drowned.” (Xu, 2014, p. 36) This highly 

visual imagery directly conveys the poet’s deep longing for home through the symbol of the moon. 

Similarly, in Ballad of Four Seasons (Autumn), Li Bai writes: “Moonlight is spread all over the capital; 

The sound of beating clothes far and near.” (Xu, 2014, p. 84) Here, the moon not only represents the 

night but also reflects the sorrow of separation during wartime. Women beating clothes under the 

moonlight express their longing for their loved ones fighting far away. The gentle breeze is another 

significant image in Li Bai’s poetry, symbolizing freedom and transcendence. In Hearing a Bamboo Flute 

on a Spring Night in Louyang, he writes: “From whose house comes out of flute of jade unseen? It fills 

the town of Louyang, spread by wind of spring.” (Xu, 2014, p. 64) The imagery of the clear wind and 

bright moon over Dongting Lake creates a serene and carefree scene, reflecting the poet’s unrestrained 

spirit and yearning for freedom. 

(2) Imagery of Water 

In Li Bai’s poetry, the imagery of water like rivers, lakes, and seas often symbolizes the change of life 

and the passage of time, unfulfilled ambitions, or feelings of homesickness. Among them, the Yellow 

River, with its vast and majestic presence, is frequently used to represent the brevity and grandeur of life. 

In Invitation to Wine, the poet laments: “Do you not see the Yellow River come from the sky, Rushing 

into the sea and ne’er come back?” (Xu, 2014, p. 92) The surging Yellow River symbolizes the 

irreversible losing of time, reflecting Li Bai’s broad-minded and uninhibited attitude toward life. The 

Yangtze River, on the other hand, often conveys themes of heroic boldness or the impermanence of life. 

In Farewell to Uncle Yun, the Imperial Librarian, at Xie Tiao Pavilion in Xuanzhou, Li Bai writes: “Cut 

running water with a sword, it will be faster flow; Drink wine to drown your sorrow, it will be heavier 

grow.” (Xu, 2014, p. 196). The ceaselessly flowing river symbolizes sorrow that cannot be severed, 

expressing the poet’s deep contemplation on the fleeting and unpredictable nature of life. 

(3) Imagery of Mountain 

The mountain imagery in Li Bai’s poetry not only shows the grandeur of nature but also conveys his 

aspirations, heroic spirit, and longing for seclusion. Mount Lu, for example, appears as an ethereal 

paradise in his works. In Song of Mount Lu, he writes: “Lu Mountains tower high beside the wain stars 

bright, like a nine-paneled screen embroidered with clouds white.” (Xu, 2014, p. 226) With magnificent 

diction, the poet captures the breathtaking beauty of Mount Lu while also expressing his yearning for an 

immortal realm and a reclusive life. Mount Tai, on the other hand, symbolizes reverence and lofty 

ambition. Since ancient times, Mount Tai has been regarded as a sacred site where emperors performed 

rituals of state. By climbing it, Li Bai not only praises its majesty but also conveys his own grand 

aspirations. 

 



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4. Translation Strategies for Geographical Imagery in Li Bai’s Poetry 

(1) Literal Translation 

Although Chinese classical poetry resonates deeply with readers due to its concise expression, layered 

artistic conception, rich imagery, and unique linguistic style, these characteristics often make it difficult 

for non-native speakers to fully empathize with and comprehend the original meaning. However, this 

paper believes that regardless of the type of imagery, equivalent imagery can be found in different 

cultures because human experiences and emotions are universal. 

Therefore, when dealing with geographical imagery in Li Bai’s poetry, if the imagery carries relatively 

little emotional or cultural significance, a literal translation approach can be employed. This means 

finding an equivalent image in the target language that corresponds to the source language. As scholars 

have noted, equivalence in imagery is a crucial condition and prerequisite for poetry translation. 

Translators must faithfully reproduce the original imagery without arbitrarily altering or modifying it, as 

this is a fundamental principle that requires great attention (Ye, 2017). 

Example 1 

ST: 众鸟高飞尽，孤云独去闲。相看两不厌，只有敬亭山。《独坐敬亭山》 

TT: Sitting in Reponse Alone on Jingting Hill. All birds have flown up high and far away; A lonely cloud 

floated off leisurely. We gaze at each other to our both fill, I myself and my hearty Jingting Hill. (Sun, 

1982)  

Example 2 

ST: 床前明月光，疑是地上霜。举头望明月，低头思故乡。《静夜思》 

TT: Before my bed a pool of light—Is it hoarfrost upon the ground? I raise my head and watch the bright 

moon; Lower it and think of home. (Xu, 2014) 

Although Li Bai uses the geographical imagery of “孤云” to create a sense of solitude, Sun Dayu 

translates it literally as “a lonely cloud.” By contrasting this with the previous image of “all birds”, the 

translation effectively conveys the sense of loneliness to the target readers. Thus, the use of literal 

translation in this case is highly appropriate. 

Similarly, Xu Yuanchong’s translation largely preserves the original geographical imagery, such as “霜” 

(hoarfrost), and “明月” (the bright moon). The frost is a little chill while the moon is so bright and round. 

All these imagery function to manifest the stillness of the cold night, and readers can directly feel a sense 

of loneliness and homesickness from the imagery. So there is no need to translate anything beyond the 

image itself. By employing a literal translation approach, the translator successfully preserves the 

geographical imagery of the original poem. The translator’s use of literal translation for geographical 

imagery in Li Bai’s poetry ensures both fidelity to the original meaning and the preservation of the poem’s 

rhythm and artistic conception. 

Overall, this translation strategy effectively conveys the poetic ambiance created by geographical 

imagery, allowing Western readers to appreciate the unique charm of Chinese landscape poetry. 

 



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(2) Free Translation   

The charm of Chinese classical poetry lies in its ability to express emotions through imagery. Whether it 

is the sorrow of parting, the joy of reunion, or the melancholy of disappointment, Chinese poets always 

find specific images to embody these abstract emotions. Li Bai frequently employs geographical imagery 

to reflect his emotions and state of mind, as these images are particularly effective in evoking readers’ 

thoughts and associations. 

However, He Aijun argues that since translators and original poets are immersed in different geographical 

and cultural contexts, their descriptions and perceptions of the same natural landscapes often differ 

significantly (He & Yu, 2020). Therefore, in the translation process, the translator must first understand 

the specific emotions embedded in the imagery. Rather than simply translating the literal geographical 

reference, the translator should convey the underlying emotions and artistic conception to the target 

audience. In such cases, a purely literal translation of geographical imagery may fail to capture the deeper 

emotional connotations, making free translation a necessary strategy. 

Example 5 

ST: 孤帆远影碧空尽，惟见长江天际流 (李白《鹤楼送孟浩然之广陵》) 

TT: He sails for River Town. I watch his lone sail vanish Into the boundless, azure sky, While only the 

Yangtze Continues its endless journey Toward the horizon. (Xu, 2014) 

ST: 浮云游子意，落日故人情。《送友人》 

TT: Your heart was full of wandering thought, For me, my sun had set indeed. (Translated by Herbert A 

Giles) 

Just like the example of “碧空” in example 5, this phrase is not merely a description of geographical 

imagery. Instead, it constructs a vast and open landscape, which, in stark contrast to the lone sail drifting 

away, evokes a subtle sense of solitude. This highlights the poet’s feelings of loneliness when bidding 

farewell to a friend. Similarly, “浮云” do not simply refer to “clouds drifting in the sky”; rather, they 

symbolize the traveler’s unsettled journey, complex emotions, and wistful melancholy. 

Therefore, translators cannot translate these geographical imagery terms word for word in a literal manner. 

In this case, phrases such as “boundless, azure sky” and “wandering thought” are used through free 

translation to convey the sentiment of departure, allowing the target audience to experience the emotional 

depth of the scene and resonate with the poet’s feelings. 

(3) Add Annotation 

In Li Bai’s poetry, many words that appear to be mere geographical imagery actually carry rich 

geographical characteristics and cultural symbolism. When translating such imagery, translators must not 

overlook its precise meaning. As Gu Zhengyang stated, “Translators must not turn a blind eye or a deaf 

ear to Chinese culture, nor should they discard or omit it in translation” (Gu, 2013). 

However, since poetry emphasizes concise expression—using minimal words to convey profound 

meaning—translators must strike a balance. They should neither add excessive explanatory details that 

disrupt the poem’s rhythm and structure nor provide lengthy cultural explanations that break the poetic 



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imagery. In such cases, an annotated translation approach can be adopted to preserve both the poetic 

essence and cultural depth. 

Example 5 

ST: 燕草如碧丝，秦桑低绿枝。《春思》 

TT1: The grass in Yan is like green silk; The mulberry trees in Qin have low green branches. (Xu, 2014) 

TT2: When the grasses of Yan are like tufts of green silk in breeze, the luxuriant mulberry leaves of Qing 

hang low on trees. (Sun, 2020) 

Annotation: When the grasses of Yan begin to turn verdant like tufts of green silk, the mulberry leaves 

of Oin are already thick and hanging low on the branches. When the husband is touched by the approach 

of spring as he sees the grasses turning green, the wife has for more days been struck by the mulberry 

leaves growing thick and hanging low on the branches of the trees. The dear wife is so devoted to her 

beloved husband that she does not wish the spring breeze, a total stranger, to be wafted into her silk 

curtain piece. (Sun, 2020) 

This verse expresses a woman’s longing for her husband, who is far away in the northern frontier during 

a bright spring day. The term “燕草” generally refers to the grasslands in the northern borderlands, 

symbolizing the place where the soldier is stationed, while “秦桑” refers to the mulberry trees in the 

Shaanxi region, representing the homeland of the longing wife. Both terms carry rich symbolic meanings, 

so they cannot be translated simply as literal imagery. Some level of annotation is necessary to convey 

their deeper connotations. 

In first translation version, while the imagery is preserved and the structure remains parallel, it does not 

clarify the symbolic meanings of the two words, potentially confusing the target reader. In contrast, Sun 

Dayu adds explanatory notes in his translation, allowing readers to grasp the contrast between the 

geographical imagery and its cultural symbolism, enhancing their understanding of the poem’s deeper 

meaning. 

 

5. Conclusion 

The main challenge in translating geographical imagery in Li Bai’s poetry lies in how to accurately 

convey its cultural, emotional, and philosophical significance. For purely geographical imagery, 

translators may adopt literal translation strategy, finding equivalent imagery in the target language to 

preserve the original poetic effect. For geographical imagery infused with deep emotional significance, 

the way to directly translate word for word is no longer suitable. Under this condition, free translation 

strategy can be used, focusing on capturing the abstract emotions underlying the imagery. Meanwhile, 

for geographical imagery with strong historical or literary allusions, literal translation with annotation is 

an effective strategy, ensuring that the rhythm and structure of the poem remain intact while providing 

additional context to help target readers appreciate the deeper cultural resonance. 

 

 



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