還自口出 Out Through Her Mouth
行者探到喉嚨之上見了道：「嫂嫂，我既饒你性命，不在腰肋之下搠個窟窿出來，還自口出。你把口張三張兒。」那羅剎果張開口。行者還作個蟭蟟蟲，先飛出來，丁在芭蕉扇上。那羅剎不知，連張三次，叫：「叔叔出來罷。」行者化原身，拿了扇子，叫道：「我在此間不是？謝借了，謝借了。」拽開步，往前便走。小的們連忙開了門，放他出洞。行者探到喉咙之上见了道：「嫂嫂，我既饶你性命，不在腰肋之下搠个窟窿出来，还自口出。你把口张三张儿。」那罗刹果张开口。行者还作个蟭蟟虫，先飞出来，丁在芭蕉扇上。那罗刹不知，连张三次，叫：「叔叔出来罢。」行者化原身，拿了扇子，叫道：「我在此间不是？谢借了，谢借了。」拽开步，往前便走。小的们连忙开了门，放他出洞。
逐句解 Line by line
Pilgrim reached up as far as her throat, saw it, and said, 'Sister-in-law, since I have spared your life, I will not poke a hole out under your ribs — I shall come out by the mouth instead.'
肋 is lèi, the ribs; pypinyin supplies lē, which belongs to a different word altogether, and the graph is unguarded and hapax here. 搠 shuò is to stab or thrust. 還 is the adverb hái, 'instead, rather'.
'Open your mouth three times.'
三張兒 'three openings', with 兒 as a noun-morpheme after the numeral. Seven graphs, and it is the operative instruction of the whole escape, which is why it is not folded back into the long segment before it.
The Rākṣasī did indeed open her mouth.
果 'indeed, sure enough' — the same adverb that carried 果然不動 at the end of the previous block. She does exactly as she is told.
Pilgrim turned himself back into a gnat, flew out first, and alighted on the banana-leaf fan.
丁 is dīng here, standing for 叮, to alight or settle on — the chapter's only occurrence in that reading, against the two 丁丁 = zhēng of the woodcutter's axe-strokes eleven blocks back. 還 is the adverb hái, 'again'.
The Rākṣasī knew nothing of it, and opened her mouth three times running, calling, 'Come out, Uncle.'
連張三次 'opened three times in a row'. She is following instructions carefully and courteously, addressing as Uncle the creature that has just left her body and is sitting on her treasure.
Pilgrim changed back to his own shape, took up the fan, and called out, 'Am I not over here? Thanks for the loan, thanks for the loan!'
化 is huà. 間 is jiān in 此間, 'this place'. 謝借了 doubled — he thanks her for a loan she did not make, in the same doubling pattern the passage has used three times already for eagerness and for pain.
He strode off and made straight for the door.
拽 is zhuài, to pull or drag; 拽開步 'stretched his stride'. pypinyin supplies zhuāi, and the DV_INVARIANT ruling carries it.
The little ones hurriedly opened the door and let him out of the cave.
The servants open the door for him on his way out, which is the last indignity — the household that barred it against him three blocks ago now shows him off the premises.
The choice of exit is the passage's grim courtesy. He has reached her throat, and he announces that since he has spared her life he will not poke a hole out under her ribs but will leave by the mouth instead. It is framed as a concession, and it is one — the alternative was available and he says so.
The escape then runs on her cooperation. Open your mouth three times; she does; he flies out as a gnat on the first opening and settles on the fan; she goes on obediently opening it twice more, calling Uncle, come out. The novel gives her two full further openings of a mouth her enemy has already left, and the patience of it is what makes it funny.
丁在芭蕉扇上 — he alighted on the fan. The graph is the same one that rang out eleven blocks ago in 丁丁之聲, the woodcutter's axe answering itself across the hillside, and it is read differently here: there 丁丁 is zhēng zhēng, the ring of the blow; here 丁 stands for 叮, to settle lightly. The chapter's two occurrences could hardly be further apart in sense.
謝借了，謝借了 — thanks for the loan, thanks for the loan. He thanks her for a transaction she did not agree to, in the doubling cadence the block has now used for thirst, for eagerness and for pain. Then the servants open the door and let him out, which is the last indignity: the household that barred it against him now shows him off the premises with the fan.