議定下水 Settling Who Goes Down
卻說孫大聖與八戒、沙僧辭陳老來至河邊,道:「兄弟,你兩個議定,那一個先下水?」八戒道:「哥啊,我兩個手段不見怎的,還得你先下水。」行者道:「不瞞賢弟說,若是山裡妖精,全不用你們費力;水中之事,我去不得。就是下海行江,我須要捻著避水訣,或者變化甚麼魚蟹之形,才去得。若是那般捻訣,卻掄不得鐵棒,使不得神通,打不得妖怪。我久知你兩個乃慣水之人,所以要你兩個下去。」沙僧道:「哥啊,小弟雖是去得,但不知水底如何。我等大家都去。哥哥變作甚麼模樣,或是我馱著你,分開水道,尋著妖怪的巢穴,你先進去打聽打聽。若是師父不曾傷損,還在那裡,我們好努力征討;假若不是這怪弄法,或者渰死師父,或者被妖吃了,我等不須苦求,早早的別尋道路何如?」行者道:「賢弟說得有理。你們那個馱我?」八戒暗喜道:「這猴子不知捉弄了我多少,今番原來不會水,等老豬馱他,也捉弄他捉弄。」獃子笑嘻嘻的叫道:「哥哥,我馱你。」行者就知有意,卻便將計就計道:「是,也好,你比悟淨還有些膂力。」八戒就背著他。却说孙大圣与八戒、沙僧辞陈老来至河边,道:「兄弟,你两个议定,那一个先下水?」八戒道:「哥啊,我两个手段不见怎的,还得你先下水。」行者道:「不瞒贤弟说,若是山里妖精,全不用你们费力;水中之事,我去不得。就是下海行江,我须要捻着避水诀,或者变化甚么鱼蟹之形,才去得。若是那般捻诀,却抡不得铁棒,使不得神通,打不得妖怪。我久知你两个乃惯水之人,所以要你两个下去。」沙僧道:「哥啊,小弟虽是去得,但不知水底如何。我等大家都去。哥哥变作甚么模样,或是我驮着你,分开水道,寻着妖怪的巢穴,你先进去打听打听。若是师父不曾伤损,还在那里,我们好努力征讨;假若不是这怪弄法,或者渰死师父,或者被妖吃了,我等不须苦求,早早的别寻道路何如?」行者道:「贤弟说得有理。你们那个驮我?」八戒暗喜道:「这猴子不知捉弄了我多少,今番原来不会水,等老猪驮他,也捉弄他捉弄。」呆子笑嘻嘻的叫道:「哥哥,我驮你。」行者就知有意,却便将计就计道:「是,也好,你比悟净还有些膂力。」八戒就背着他。
逐句解 Line by line
We tell now how the Great Sage, with Eight Rules and Sha Monk, took leave of old Chen and came down to the river, where he said: "Brothers, settle it between you — which of you goes into the water first?"
The chapter opens with 卻說 rather than 話說: a resumptive formula that picks up an action already under way, the three having left the Chen household at the close of the previous chapter. 那一個 is interrogative — 那 read nǎ, "which," not the deictic nà.
Eight Rules said: "Brother, neither of us has much skill to show. You had better be the one to go down first."
還得: 得 here is the modal of necessity, děi, "must, need to" — not dé (attainment) or the complement particle de.
Pilgrim said: "I'll not deceive you, worthy brothers. Were this a mountain fiend, I would not put you to the least trouble;
不瞞賢弟說 is a set conversational opener, "speaking frankly to you." Wukong's admission of a bounded competence is unusual enough to be marked by the formula.
but in matters that belong to the water I cannot go.
去不得: the negative potential, 得 read dé per the corpus ruling on 去得/去不得. 水中: 中 zhōng, locative.
Even to enter the sea or make my way along a river I must hold the water-repelling sign, or else change into the form of some fish or crab — only so can I go.
避水訣, the water-repelling hand-sign: a fixed item of Wukong's repertoire. 捻著 is durative, 著 read zhe. 甚麼: 甚 shén.
But holding the sign so, I cannot swing my iron rod, cannot work my transformations, cannot strike a fiend.
Three parallel negative potentials, 掄不得·使不得·打不得, all 得 dé. This is the structural constraint the whole underwater sequence turns on: the sign and the rod cannot be held at once.
I have long known you two for men at home in water, and that is why I want you both to go down."
慣水之人, "those practised in water" — Bajie was Marshal of the Heavenly Reeds commanding the celestial river, and Sha Monk was exiled to the Flowing-Sand River; both are properly aquatic in a way Wukong is not.
Sha Monk said: "Brother, your younger brother can go well enough, but there is no telling what lies on the bottom.
去得: 得 dé, ability. Sha Monk's caution consistently balances Bajie's bravado throughout the arc.
Let us all go down together.
都 dōu, the totalizing adverb "all," not dū (metropolis, or the onomatopoeic use).
Change yourself into some shape, brother, or let me carry you on my back; we will part the water, seek out the fiend's lair, and you shall go in first to make inquiries.
Two readings of 著 in one segment: 馱著 durative zhe, 尋著 resultative zháo ("find, locate"), fixed positionally. 甚麼 甚 shén.
If our master is unhurt and still there, we can press the attack with a will;
還在那裡: 還 hái, "still"; 那裡 deictic nà, "there" — contrast the interrogative nǎ of the opening segment.
but if this monster's arts have drowned him, or the fiend has eaten him, there is no use in our striving — better to seek another road early. What do you say?"
渰 (yǎn) is a variant graph for 淹, "to drown"; the 世德堂本 form is kept. The proposal to abandon the pilgrimage is Sha Monk's, and is made without embarrassment — a recurring pragmatism in his speech.
Pilgrim said: "What you say is reasonable, worthy brother.
說得有理: here 得 is the complement particle de, introducing the descriptive 有理 — distinct from the potential dé of 去得 above.
Which of you will carry me?"
那個 interrogative again — 那 nǎ. The question is a trap Bajie walks into willingly.
Eight Rules was secretly delighted, and said to himself: "This monkey has played who knows how many tricks on me. This time it turns out he cannot swim. Let old Hog carry him — and I'll play a trick on him too."
老豬, "old Hog," is Bajie's self-designation, formed on the pattern of Wukong's 老孫. The doubled 捉弄他捉弄 is verbal reduplication for casual, unserious action.
The blockhead called out with a broad grin: "Brother, I'll carry you."
獃子, the narrator's standing epithet for Bajie; 子 the toneless suffix zi. 笑嘻嘻的 — the adverbial 的 where later usage would write 地.
Pilgrim knew at once he was up to something, and met the scheme with a scheme of his own: "Right, that will do. You have more strength in your back than Wujing."
將計就計, "to turn another's plan against him" — 將 jiāng, coverb. 膂力 (lǚ lì) is strength of the spine, physical carrying power; 還 hái in the comparative, "more than."
So Eight Rules took him up on his back.
背 here is the verb bēi, "to carry on the back" — distinct from the noun bèi ("the back") and from the 背馬 bèi ("saddle up") of the previous chapter. 著 durative zhe.
The chapter opens on a problem of competence rather than of force. Wukong is unrivalled on land and in the air, but water constrains him absolutely: he can hold the 避水訣 or he can wield the rod, and the two are mutually exclusive. The novel returns to this device often — each pilgrim's mastery has a hard boundary, and it is the boundary, not the mastery, that generates plot. Here it produces the whole architecture of the following two blocks: Wukong must go down as a passenger and a spy rather than as a fighter, and the fighting must be delegated to the two disciples who are at home in the element.
The comedy is set running in the same breath. Bajie's 暗喜 — secret delight at discovering a limit in his tormentor — and his self-address as 老豬 against Wukong's 老孫 put the two on a level for the length of the descent. The doubled 也捉弄他捉弄 announces the trick before it is played, so that the reader watches for it rather than being surprised by it; the pleasure is in the execution, not the reversal. Sha Monk's contribution is the third register of the scene: he alone raises the possibility that the master is already dead and proposes, quite unsentimentally, that they look for another road.