原文 Original text
繁體 Traditional
Reader's edition
含詞賦 With rhapsody
好風忽至
A Fine Wind
行者卻弄神通，搖身一變，變得就如那女子一般，獨自個坐在房裡等那妖精。不多時，一陣風來，真個是走石飛砂。好風：行者却弄神通，摇身一变，变得就如那女子一般，独自个坐在房里等那妖精。不多时，一阵风来，真个是走石飞砂。好风：
起初時微微蕩蕩，向後來渺渺茫茫。起初时微微荡荡，向后来渺渺茫茫。
微微蕩蕩乾坤大，渺渺茫茫無阻礙。微微荡荡干坤大，渺渺茫茫无阻碍。
凋花折柳勝揌麻，倒樹摧林如拔菜。凋花折柳胜揌麻，倒树摧林如拔菜。
翻江攪海鬼神愁，裂石崩山天地怪。翻江搅海鬼神愁，裂石崩山天地怪。
啣花糜鹿失來蹤，摘果猿猴迷在外。啣花糜鹿失来踪，摘果猿猴迷在外。
七層鐵塔侵佛頭，八面幢幡傷寶蓋。七层铁塔侵佛头，八面幢幡伤宝盖。
金梁玉柱起根搖，房上瓦飛如燕塊。金梁玉柱起根摇，房上瓦飞如燕块。
舉棹梢公許願心，開船忙把豬羊賽。举棹梢公许愿心，开船忙把猪羊赛。
當坊土地棄祠堂，四海龍王朝上拜。当坊土地弃祠堂，四海龙王朝上拜。
海邊撞損夜叉船，長城刮倒半邊塞。海边撞损夜叉船，长城刮倒半边塞。
逐句解 Line by line
行者卻弄神通，搖身一變，變得就如那女子一般，獨自個坐在房裡等那妖精。
行者却弄神通，摇身一变，变得就如那女子一般，独自个坐在房里等那妖精。
The Pilgrim then worked his magic: he shook himself, changed, and became the very likeness of the girl, and sat alone in the room to wait for the monster.
搖身一變, the standard formula of transformation. 變得 takes 得 as the resultative de. 獨自個 — quite alone; the 個 is a colloquial intensifier.
不多時，一陣風來，真個是走石飛砂。好風：
不多时，一阵风来，真个是走石飞砂。好风：
Before long a wind came up, and truly the stones walked and the sand flew. A fine wind it was:
走石飛砂 repeats, word for word, the phrase Squire Gao used of the monster's winds. 好風 introduces the rhapsody, as 但見那 introduced the 詞.
起初時微微蕩蕩，向後來渺渺茫茫。
起初时微微荡荡，向后来渺渺茫茫。
At its first coming it was faint and swaying; afterwards it grew vast and boundless.
A 賦 of ten couplet-units. The two reduplicated binomes — 微微蕩蕩, 渺渺茫茫 — are set out here and then carried forward as the burden of the next unit.
微微蕩蕩乾坤大，渺渺茫茫無阻礙。
微微荡荡干坤大，渺渺茫茫无阻碍。
Faint and swaying, it filled heaven and earth; vast and boundless, it met with no let nor hindrance.
乾坤 keeps 乾 as qián, the trigram, not gān, "dry": heaven and earth. 阻礙, obstruction.
凋花折柳勝揌麻，倒樹摧林如拔菜。
凋花折柳胜揌麻，倒树摧林如拔菜。
It stripped the blossom and snapped the willow better than hemp is stuffed; it toppled trees and broke the forest as one pulls up a cabbage.
揌 (sāi) writes 塞, "to stuff"; 勝揌麻 — easier than stuffing hemp. 倒樹 takes 倒 as dǎo, to fell; pypinyin gives dào.
翻江攪海鬼神愁，裂石崩山天地怪。
翻江搅海鬼神愁，裂石崩山天地怪。
It overturned rivers and stirred the seas, and ghosts and spirits grieved; it split rock and levelled mountains, and heaven and earth were astonished.
The couplet is entirely formulaic — 翻江攪海, 裂石崩山 — and its formulaic quality is the point: this is the wind of every fiend in the book.
啣花糜鹿失來蹤，摘果猿猴迷在外。
啣花糜鹿失来踪，摘果猿猴迷在外。
The flower-cropping elk lost the trail he came by; the fruit-plucking ape was bewildered outside his own wood.
啣花, carrying a blossom in the mouth; 糜鹿 writes 麋鹿, the elk. The animals of the rhapsody are the animals of a peaceable landscape, and they are lost and bewildered.
七層鐵塔侵佛頭，八面幢幡傷寶蓋。
七层铁塔侵佛头，八面幢幡伤宝盖。
The seven-storey iron pagoda was struck at the Buddha-head; the eight-sided banners were torn from the precious canopy.
The rhapsody now turns on Buddhist furniture: the 七層鐵塔, the 幢幡 (chuáng fān) and 寶蓋 of a temple hall. 佛 is baked fó globally.
金梁玉柱起根搖，房上瓦飛如燕塊。
金梁玉柱起根摇，房上瓦飞如燕块。
Beams of gold and pillars of jade rocked from their footings; tiles flew from the roofs like clods of swallow-clay.
起根搖 — rocked up from the root. 燕塊: the clay of a swallow's nest, hence a light clod. The image is domestic where the preceding one was sacred.
舉棹梢公許願心，開船忙把豬羊賽。
举棹梢公许愿心，开船忙把猪羊赛。
The boatman lifted his oar and vowed a vow; the sailor made haste, casting off, to promise pig and sheep in sacrifice.
舉棹 (zhào), to raise the oar; 梢公, the boatman. 許願心 and 豬羊賽 — a vow made and a sacrifice of pig and sheep promised in requital. The graph 豬 is the monster's own surname, three lines before he arrives.
當坊土地棄祠堂，四海龍王朝上拜。
当坊土地弃祠堂，四海龙王朝上拜。
The earth-god of the ward forsook his shrine; the dragon-kings of the four seas bowed themselves toward the court above.
當坊土地: the tutelary earth-god of the precinct; 當 is dāng, "of this place." 朝上拜 — 朝 is cháo, to face the court; even the dragon-kings make obeisance.
海邊撞損夜叉船，長城刮倒半邊塞。
海边撞损夜叉船，长城刮倒半边塞。
By the sea it stove in a yaksha's boat; at the Great Wall it blew down half a frontier fort.
夜叉 (yè chā), the yaksha, a sea-demon of the dragon-king's train. 長城 takes 長 as cháng; 刮倒 takes 倒 as dǎo; 半邊塞 takes 塞 as sài, a frontier fort.
總評 Commentary
The 賦 of the wind is a piece of deliberate over-provision. Ten couplets of cosmic disturbance — rivers overturned, mountains levelled, the dragon-kings bowing, half the Great Wall blown down — announce the arrival of a creature who, four lines later, will trip over the bedstead and be thrown on his back by a monkey pretending to be a girl. The novel has used this device before, at the entrance of the Black Wind Fiend; it will use it again. The rhapsody is a promise the narrative declines to keep.
Note the placing of 豬羊賽 in the eighth couplet. A boatman, caught in the gale, vows a pig and a sheep to whatever god will still it. Three lines later the pig arrives. The joke is buried in a formula, and it is the only warning the reader gets before the door opens.