The subject of this paper is François Cheng’s collection of French translations of Tang poetry, L’écriture poétique chinoise - itself such a phenomenal success that it was re-translated into English later. Through enumeration of the poetic strategies adopted by Cheng, the paper highlights the empty spaces deliberately created in the translations, which allow the translator to express his personal (Taoist-Buddhist) vision. The blending of voices generates the hybrid quality inherent in the translations. The paper’s discussion is in keeping with the heated debate current in Translation Studies about the hybridization of translated texts.