假作女子 The Monkey in the Bride's Shape
想是我來得遲了？」行者道：「不怪，不怪。」那妖道：「既不怪我，怎麼就丟我這一跌？」行者道：「你怎麼就這等樣小家子，就摟我親嘴？我因今日有些不自在；若每常好時，便起來開門等你了。你可脫了衣服睡是。」那怪不解其意，真個就去脫衣。行者跳起來，坐在淨桶上。那怪依舊復來床上摸一把，摸不著人，叫道：「姐姐，你往那裡去了？請脫衣服睡罷。」行者道：「你先睡，等我出個恭來。」那怪果先解衣上床。想是我来得迟了？」行者道：「不怪，不怪。」那妖道：「既不怪我，怎么就丢我这一跌？」行者道：「你怎么就这等样小家子，就搂我亲嘴？我因今日有些不自在；若每常好时，便起来开门等你了。你可脱了衣服睡是。」那怪不解其意，真个就去脱衣。行者跳起来，坐在净桶上。那怪依旧复来床上摸一把，摸不着人，叫道：「姐姐，你往那里去了？请脱衣服睡罢。」行者道：「你先睡，等我出个恭来。」那怪果先解衣上床。
逐句解 Line by line
I suppose I am come home late?" The Pilgrim said, "I am not cross, not cross at all."
來得遲: the 得 is the unstressed de that hangs a description on a verb — came late. Note that he assumes the fault is his own. And the Pilgrim's 不怪，不怪, not cross, not cross, answers the monster's 怪我 while punning on the other sense of 怪: monster. The narrator has been calling him 那怪 for a page.
The monster said, "If you are not cross with me, why did you throw me down so?"
丟我這一跌, toss me this throw — the verb takes the throw itself as its object, a lively vernacular turn. 那妖 takes the pointing nà.
The Pilgrim said, "Why must you be so ill-bred about it, catching hold of me and kissing me?
小家子 is mean, of low breeding — small-house behaviour; its 子 is the unstressed suffix zi, not the full zǐ, son. The Pilgrim is rebuking his husband for want of manners while sitting on a stranger's bed in a woman's shape.
I am not myself today; on an ordinary day I should have got up and opened the door for you.
不自在 is out of sorts, not oneself. 每常 is on ordinary days. The excuse is domestic and entirely plausible, and that is the joke: it is exactly what a wife would say.
You had better put off your clothes and sleep." The monster took no meaning from this, and went in all good faith to undress.
不解其意 is the narrator's dry verdict. And 真個, in good earnest, is one of two words this passage uses to mark the monster doing precisely as he is told — the other is the 果, sure enough, of 果先解衣上床 three lines on.
The Pilgrim sprang up and seated himself upon the night-stool. The monster came groping back to the bed as before, felt about, and found no one there.
淨桶 is the night-stool. 摸不著人 has 著 as zháo, the ending for a target reached — negated here, so he gropes and reaches nothing.
He called, "Sister, where have you gone? Come, take off your clothes and sleep."
你往那裡去了: the question word, nǎ. Undressed and alone in the dark, the monster calls plaintively for a wife who is sitting a few feet away on the night-stool.
The Pilgrim said, "You sleep first; I am going out to relieve myself." The monster did indeed undress first and get into bed.
出個恭 is a genteel way of saying he is off to the privy, and its origin is worth having. 出恭入敬, go out respectfully and come in reverently, was the wording on the placard a candidate carried when he left the imperial examination hall to relieve himself. The phrase escaped into the language and became the polite word for it. 果 is sure enough.
The bedroom farce is played with a completely straight face, and the novel's tact is worth noticing. The monster wants to kiss his wife; the wife is a monkey; the monkey throws him on the floor and then scolds him for coarseness. The Pilgrim gets out of the bed by a device of unimprovable vulgarity — 出個恭 — and Zhu Ganglie, who could blow down half the Great Wall, obediently undresses and lies down alone.
不解其意, he took no meaning from it. The phrase covers everything. This monster is not stupid so much as unsuspecting. He has come home late, he expects to be scolded, he accepts a rebuke about his manners, and he never once considers that the shape in the dark might not be his wife. The reader is being invited to like him some while before he is allowed to.