Canonical Classics ← 第四十回
第四十回
yīngérhuàchánxīnluàn
yuándāoguīkōng

The Baby, Playing at Transformation, Throws the Chan-Mind into Chaos · Ape and Horse, the Sword-Crucible and Wood-Mother, Come to Naught

山中叫喚
模式 Mode Read Study
拼音 Pinyin Off
字體 Script
原文 Original text 繁體 Traditional Reader's edition

山中叫喚 A Cry from the Mountainside

sānzàngwényánxìnxìndezhǐpānānzàishùnbēnshānqiánjìnzhèngxíngshízhǐtīngjiàoshēng:「jiùrén!」zhǎnglǎojīngdào:「yazhèbànshānzhōngshìshénmerénjiào?」xíngzhěshàngqiándào:「shīzhǐguǎnzǒuchánshénmerénjiàoluójiàomíngjiàoshuìjiàozhèsuǒzàijiùyǒujiàoméiréntái。」tángsēngdào:「shìkángtáizhījiàonǎishìjiàohuànzhījiào。」xíngzhěxiàodào:「xiǎoguǎnxiánshìqiězǒu。」sānzàngwényánxìnxìndezhǐpānānzàishùnbēnshānqiánjìnzhèngxíngshízhǐtīngjiàoshēng:「jiùrén!」zhǎnglǎojīngdào:「yazhèbànshānzhōngshìshénmerénjiào?」xíngzhěshàngqiándào:「shīzhǐguǎnzǒuchánshénmerén轿jiàoluó轿jiàomíng轿jiàoshuì轿jiàozhèsuǒzàijiùyǒu轿jiàoméiréntái。」tángsēngdào:「shìkángtáizhī轿jiàonǎishìjiàohuànzhījiào。」xíngzhěxiàodào:「xiǎoguǎnxiánshìqiězǒu。」


逐句解 Line by line

sānzàngwényánxìnxìndezhǐpānānzàishùnbēnshānqiánjìn sānzàngwényánxìnxìndezhǐpānānzàishùnbēnshānqiánjìn

Tripitaka, hearing this, half-believing and half-doubting, could only take hold of his saddle, mount the horse, and press on toward the mountain along the road.

三藏: = zàng. 也似信不信的: = ("seemingly"; GLOBAL, not the 似的 collocation). 只得: = .

zhèngxíngshízhǐtīngjiàoshēng:「jiùrén!」 zhèngxíngshízhǐtīngjiàoshēng:「jiùrén!」

Just as they were traveling on, they heard a voice calling: "Save me!"

正行時: = xíng. 只聽得: = ("came to hear").

zhǎnglǎojīngdào:「yazhèbànshānzhōngshìshénmerénjiào?」 zhǎnglǎojīngdào:「yazhèbànshānzhōngshìshénmerénjiào?」

The elder, greatly startled, said: "Disciple, here in the middle of the mountain — what person is it that cries out?"

長老: = zhǎng. 這半山中: = zhōng. 是那裡甚麼人: interrogative 那裡 = nǎ lǐ; 甚麼 = shén.

xíngzhěshàngqiándào:「shīzhǐguǎnzǒuchánshénmerénjiàoluójiàomíngjiàoshuìjiào xíngzhěshàngqiándào:「shīzhǐguǎnzǒuchánshénmerén轿jiàoluó轿jiàomíng轿jiàoshuì轿jiào

Pilgrim came forward and said: "Master, just keep to the road, and don't trouble yourself over any sedan-chairs — man-chairs, mule-chairs, bright-chairs, or sleeping-chairs.

莫纏甚麼: = shén. Wukong's deliberately absurd riff on ("chair/palanquin") mishears the Master's ("cry") as , playing dumb.

zhèsuǒzàijiùyǒujiàoméiréntái。」 zhèsuǒzàijiùyǒu轿jiàoméiréntái。」

In a place like this, even were there a chair, there'd be no one to carry you."

也沒個人擡你: = méi ("there is no—").

tángsēngdào:「shìkángtáizhījiàonǎishìjiàohuànzhījiào。」 tángsēngdào:「shìkángtáizhī轿jiàonǎishìjiàohuànzhījiào。」

The Tang Monk said: "It's not a chair to be shouldered and carried — it's a cry of calling out."

不是扛擡之轎: mechanical sandhi raises to before (4th tone). 乃是叫喚之叫: the Master patiently distinguishing ("cry") from Wukong's willful .

xíngzhěxiàodào:「xiǎoguǎnxiánshìqiězǒu。」 xíngzhěxiàodào:「xiǎoguǎnxiánshìqiězǒu。」

Pilgrim laughed and said: "I understand — pay no heed to idle matters, and let's just get on down the road."

我曉得: = ("I know"). 莫管閑事 = "mind no idle affairs."


總評 Commentary

The war of nerves becomes a comic double act. The demon, hung in his pine, begins to cry 救人 ("save me"); Tripitaka, all compassion, at once wants to know who is calling; and Wukong, determined to keep the Master moving past the danger, resorts to willful misunderstanding — pretending to hear ("a cry") as ("a sedan-chair"), and spinning out a nonsense catalogue of chair-types (man-chairs, mule-chairs, bright-chairs, sleeping-chairs) to bury the question in absurdity. The pun is untranslatable in the strict sense, resting on the near-homophony of the two words, but its function is plain: Wukong is stalling, and doing it by playing the fool.

Beneath the wordplay the passage stages the collision that will drive the rest of the chapter. Tripitaka's 信不信 ("half-believing, half-doubting") captures his position exactly — he cannot see what Wukong sees, and Wukong cannot make him see it without more time than the situation allows. Each of the Master's virtues (his trust in his disciple, his pity for the crying voice) is being pulled in an opposite direction, and the demon's strategy depends precisely on that tension: the longer Wukong evades, the more the Master's compassion strains against his obedience, until at last the crying child will be too much to pass by. The comedy is genuine, but it is comedy laid over a trap slowly closing.