CAJ | 학술논문

“三犬之风”是洛威尔与艾斯珂汉诗译本《松花笺》对李白诗句中“飙”字的译法，此一译法便为“拆字法”，即将单个汉字加以拆解，厘析各组字偏旁的意象特质，进而赋予其以诗性言说。中外学界对《松花笺》的褒贬不一，“拆字法”是纷争之焦点。对“拆字法”的非难，是未曾考量彼时美国诗界向东方寻求创作资源的时代吁求，忽视了西方“语音中心主义”传统的置入。“拆字法”发明出汉诗中某些汉字的诗意潜流，彰显出汉诗的审美空间，但亦会引致一些翻译败笔。
“삼견지풍”시락위이여애사가한시역본《송화전》대리백시구중“표”자적역법，차일역법편위“탁자법”，즉장단개한자가이탁해，전석각조자편방적의상특질，진이부여기이시성언설。중외학계대《송화전》적포폄불일，“탁자법”시분쟁지초점。대“탁자법”적비난，시미증고량피시미국시계향동방심구창작자원적시대우구，홀시료서방“어음중심주의”전통적치입。“탁자법”발명출한시중모사한자적시의잠류，창현출한시적심미공간，단역회인치일사번역패필。
The three dog’s wind as a translation of the character ‘飙’ in Li Po’s poem is a case in point of character-splitting, which as a technique of translation is adopted inFir-flower Tablets, but dismissed as verbose by both English and Chinese critics. The dismissive critique on character-splitting is partial due to the neglect of the American context and western phonocentrism. As a translation device, character-splitting is instrumental in rendering the poetic meanings of some characters in Chinese poetry, though it does not work for all.