師徒相爭 Master and Disciple at Odds
他打個唿哨,跳在空中,火眼金睛,用手搭涼篷,四下裡觀看,更不見馬的蹤跡。按落雲頭,報道:「師父,我們的馬斷乎是那龍吃了,四下裡再看不見。」三藏道:「徒弟呀,那廝能有多大口,卻將那匹大馬連鞍轡都吃了?想是驚張溜韁,走在那山凹之中。你再仔細看看。」行者道:「你也不知我的本事。我這雙眼,白日裡常看一千里路的吉凶。像那千里之內,蜻蜓兒展翅,我也看見,何期那匹大馬,我就不見?」三藏道:「既是他吃了,我如何前進?可憐啊,這千山萬水,怎生走得?」說著話,淚如雨落。行者見他哭將起來,他那裡忍得住暴燥,發聲喊道:「師父莫要這等膿包形麼,你坐著,坐著,等老孫去尋著那廝,教他還我馬匹便了。」三藏卻才扯住道:「徒弟啊,你那裡去尋他?只怕他暗地裡攛將出來,卻不又連我都害了?那時節人馬兩亡,怎生是好?」行者聞得這話,越加嗔怒,就叫喊如雷道:「你忒不濟,不濟!又要馬騎,又不放我去,似這般看著行李,坐到老罷。」他打个唿哨,跳在空中,火眼金睛,用手搭凉篷,四下里观看,更不见马的踪迹。按落云头,报道:「师父,我们的马断乎是那龙吃了,四下里再看不见。」三藏道:「徒弟呀,那厮能有多大口,却将那匹大马连鞍辔都吃了?想是惊张溜缰,走在那山凹之中。你再仔细看看。」行者道:「你也不知我的本事。我这双眼,白日里常看一千里路的吉凶。像那千里之内,蜻蜓儿展翅,我也看见,何期那匹大马,我就不见?」三藏道:「既是他吃了,我如何前进?可怜啊,这千山万水,怎生走得?」说着话,泪如雨落。行者见他哭将起来,他那里忍得住暴燥,发声喊道:「师父莫要这等脓包形么,你坐着,坐着,等老孙去寻着那厮,教他还我马匹便了。」三藏却才扯住道:「徒弟啊,你那里去寻他?只怕他暗地里撺将出来,却不又连我都害了?那时节人马两亡,怎生是好?」行者闻得这话,越加嗔怒,就叫喊如雷道:「你忒不济,不济!又要马骑,又不放我去,似这般看着行李,坐到老罢。」
逐句解 Line by line
He gave a whistle, sprang up into the air, and with his fiery eyes and golden pupils shaded his brow with a hand and scanned every quarter — but of the horse there was still not the least trace.
火眼金睛 huǒ yǎn jīn jīng, "fiery eyes and golden pupils", is Wukong's best-known faculty, and he came by it the hard way: forty-nine days roasting in Laozi's furnace, out of which he got sight that pierces disguise and carries an enormous distance. The phrase long ago left the book — in Chinese today it is what you say of somebody nothing gets past. 搭涼篷 is "to put up an awning", which is what a flat hand held above the eyes looks like. 更 gèng sharpens the negative: not merely no horse, but no horse whatsoever.
He brought his cloud down and reported: "Master, our horse has surely been eaten by that dragon; there is nothing to be seen anywhere I look."
按落雲頭, "to press the cloud-head down", is the standard phrase for landing after flight. 斷乎 is emphatic — beyond doubt. 那龍 is the pointing nà. He has the right answer now, and it does him no good at all.
Said Sanzang: "Disciple, ah — how big a mouth can that creature have, to swallow so large a horse, saddle, bridle and all?
那廝 nà sī is contemptuous: "that fellow", "that thing". 將 again fronts the object — "took that great horse and ate it" — and 都, read dōu, sweeps in the tack as well. What we are watching is an ordinary man measuring a marvel against common sense and finding it will not fit.
It must have shied and slipped its rein, and wandered off into some fold of the hills.
驚張 is to take fright; 溜韁 is to let the rein slip. 山凹 shān āo is a dip or hollow between hills, and 凹 is one of those characters that draws its own meaning. Sanzang would much rather have a bolted horse than a swallowed one.
Look again, and carefully."
仔細 is "carefully". Three words, and an accusation inside them: look properly this time. Wukong hears it that way.
Said the Pilgrim: "You do not know what I am capable of.
本事 běn shì is what a person can actually do — skill, capability — and modern Chinese still uses it in exactly that sense. The boast is starting.
These two eyes of mine can commonly make out good and ill fortune a thousand lǐ off in broad daylight.
白日裡 is "in daylight"; 吉凶 is "the lucky and the ominous", a pairing straight out of a diviner's handbook. A 里 lǐ is the Chinese mile, roughly half a kilometre. He is not describing eyesight so much as a forecasting instrument.
Within that thousand lǐ, let a dragonfly so much as spread its wings and I would see it — how then should I fail to see so large a horse?"
蜻蜓 qīng tíng is a dragonfly, 展翅 to open the wings, 何期 "who would have thought". The argument works by absurdity: if he can see an insect unfold its wings five hundred kilometres off, then a missing horse is not a matter of looking harder. The horse is gone.
Said Sanzang: "If it has indeed been eaten, how am I to go forward?
既是 is "since it is so". The monk accepts the fact and leaps straight past it to the consequence — the journey itself now impossible — which is his habit, and the start of his collapse.
Alas — with all these thousand hills and myriad streams, however am I to travel it?"
千山萬水 qiān shān wàn shuǐ, "a thousand hills and ten thousand rivers", is the standing phrase for a punishing journey, and it is thoroughly alive in Chinese today. 走得 is the "able to" sense, 得 read dé. Keep the phrase in mind: Guanyin hands it back to Sanzang later in the chapter, with the halves swapped round, and turns it into an argument for the very horse he is weeping over.
As he spoke, his tears fell like rain.
In 說著話 the 著 is unstressed zhe, marking one thing going on while another happens: "as he was speaking". 淚如雨落, "tears falling like rain", is a set phrase. Sanzang weeps often, and the novel is not entirely kind about it.
When the Pilgrim saw him break into weeping, how could he hold in his hot temper? He raised his voice and shouted:
哭將起來 is "burst out crying", where 將 jiāng is only a hinge before the direction word 起來. 那裡忍得住 is a question that is not a question — "how was he to stand it?" — so 那 is nǎ and 得 is dé, "able to". 暴燥 is written here for 暴躁, a temper that goes off like a firework.
"Master, don't put on this spineless act — sit down, sit down, and let old Sun go find that creature and make it give me back my horse, and there's an end of it."
膿包 nóng bāo is, in plain terms, a boil full of pus; as an insult it means a weakling with nothing in him. Chinese still uses it. It is not a word a disciple has any business aiming at his master, and it is entirely in character. 老孫, "old Sun", is Wukong's own name for himself, half swagger and half self-affection. 還 is huán, give back, and it is about to become his war cry. Two of the 著 in this line are different words: the doubled 坐著 takes the unstressed zhe of an action left running ("stay sitting"), while 尋著 is zháo, the 著 that says the search actually landed — find, not merely look for.
But Sanzang caught hold of him and said: "Disciple, ah — where would you go to look for it?
扯住 is to grab and hold back. 那裡去尋 is another question — "where would you even go?" — so nǎ. And the monk's fear has quietly changed target. A moment ago it was the horse; now it is being left alone.
I only fear that if it should come lunging out from hiding, would it not then do me harm as well?
暗地裡 is "out of hiding"; 攛將出來 is to come bursting out, 將 once more the hinge before 出來. 連我都害 is "harm even me as well", with 都 read dōu. He is no longer arguing about the horse; he is picturing himself alone on that mound.
Then it would be man and horse both lost — however would that do?"
那時節 is "in that case", the pointing nà. 人馬兩亡, "man and horse both lost", is a neat and horrible little phrase. And 怎生 is back — the tic that means Sanzang has run out of ideas.
Hearing these words, the Pilgrim grew angrier still, and shouted out like a thunderclap: "You are no good at all — no good!
聞得 is "heard", the unstressed de again tying hearing to what came of it. 嗔怒 chēn nù is indignant rage, and 嗔 is a Buddhist technical term — anger, one of the three poisons — which is a quiet joke at the expense of a disciple on a pilgrimage. 忒 tè is "far too"; 不濟 is "no use". They are now openly quarrelling.
You want a horse to ride, yet you won't let me go; sit here minding the baggage like this, then, till we grow old, and be done!"
似這般 is "at this rate", with 似 read sì. 看著行李 takes the unstressed zhe once more, minding the bags as a standing job. 坐到老, "sit here till we are old", is exasperation doing arithmetic: if he is forbidden to act, then nothing will ever happen.
This long exchange is one of the novel's small comedies of temperament, and it is doing real work underneath. Sanzang is the ordinary anxious mind. He cannot credit the marvel ("how big a mouth can it have?"), clings to the everyday explanation of a bolted horse, and slides in four lines from the loss to helpless tears and fear for his own skin. Wukong is capacity and impatience together: the boast about catching a dragonfly at a thousand 里 is not idle bragging but a plain statement of what he can do — and it is exactly his usefulness that makes the master's timid refusal to let him act so maddening.
The friction is unflattering to both, deliberately. The disciple calls his own master a 膿包 — a pustule, a coward — and threatens to sit guarding the luggage until they are old men; the master would sooner keep his bodyguard at his elbow than see the horse recovered. Read as the novel invites you to read it, this is the mind and the will pulling in opposite directions, each cancelling the other. The idiom for exactly that condition, 心猿意馬, is sitting in the chapter title in two pieces.
It is also worth noticing what the quarrel is not about. Neither of them ever raises the possibility of asking anyone for anything. That omission is the chapter's subject, and it will take a Bodhisattva, a dragon prince and a great deal of wasted violence before anybody notices it.