文章编号：1672-3104(2015)03-0262-05

摘 要： “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。

关键词： 三犬之风；《松花笺》；拆字法；语音中心主义

Abstract: 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.