山路傍邊有村舍 A Hamlet Beside the Mountain Road
那日正行時,忽然天晚,又見山路傍邊有一村舍。三藏道:「悟空,你看那日落西山藏火鏡,月升東海現冰輪。幸而道傍有一人家,我們且借宿一宵,明日再走。」八戒道:「說得是,我老豬也有些餓了,且到人家化些齋吃,有力氣,好挑行李。」行者道:「這個戀家鬼,你離了家幾日,就生報怨。」八戒道:「哥啊,比不得你這喝風啊煙的人。我從跟了師父這幾日,長忍半肚饑,你可曉得?」三藏聞之道:「悟能,你若是在家心重啊,不是個出家的了,你還回去罷。」那獃子慌得跪下道:「師父,你莫聽師兄之言,他有些贓埋人。我不曾報怨甚的,他就說我報怨。我是個直腸的痴漢,我說道肚內饑了,好尋個人家化齋,他就罵我是戀家鬼。師父啊,我受了菩薩的戒行,又承師父憐憫,情願要伏侍師父往西天去,誓無退悔。這叫做『恨苦修行』。怎的說不是出家的話?」三藏道:「既是如此,你且起來。」那日正行时,忽然天晚,又见山路傍边有一村舍。三藏道:「悟空,你看那日落西山藏火镜,月升东海现冰轮。幸而道傍有一人家,我们且借宿一宵,明日再走。」八戒道:「说得是,我老猪也有些饿了,且到人家化些斋吃,有力气,好挑行李。」行者道:「这个恋家鬼,你离了家几日,就生报怨。」八戒道:「哥啊,比不得你这喝风啊烟的人。我从跟了师父这几日,长忍半肚饥,你可晓得?」三藏闻之道:「悟能,你若是在家心重啊,不是个出家的了,你还回去罢。」那呆子慌得跪下道:「师父,你莫听师兄之言,他有些赃埋人。我不曾报怨甚的,他就说我报怨。我是个直肠的痴汉,我说道肚内饥了,好寻个人家化斋,他就骂我是恋家鬼。师父啊,我受了菩萨的戒行,又承师父怜悯,情愿要伏侍师父往西天去,誓无退悔。这叫做『恨苦修行』。怎的说不是出家的话?」三藏道:「既是如此,你且起来。」
逐句解 Line by line
One day, as they were going along, evening came on of a sudden, and they saw a hamlet standing beside the mountain road.
傍邊 writes 旁, and the graph accordingly takes the reading páng by the loan-graph rule, as it does at every occurrence in this chapter. 村舍, a farmstead, is the first human dwelling the pilgrims have seen since leaving Gao Village.
Sanzang said, "Wukong, look — the sun drops behind the western hills and hides away its mirror of fire; the moon climbs from the eastern sea and shows its wheel of ice.
An ornamental antithesis in the monk's mouth, of a kind he uses when he is pleased with himself: 日落西山藏火鏡 against 月升東海現冰輪, with 藏 (cáng, "to hide") answered by 現. The same graph in 三藏 is of course the name, zàng; both readings stand in this one segment.
Happily there is a house beside the way. Let us beg a night's lodging, and go on again tomorrow."
借宿一宵, to borrow a single night. 道傍 again writes 旁.
Bajie said, "Well said. Old Hog is somewhat hungry himself. Let us beg a little fasting-fare of the house — there will be strength in me then for carrying the loads."
說得是 takes 得 as the complement particle de. 老豬, "Old Hog," is Bajie's habitual self-designation, answering the Pilgrim's 老孫. 化些齋吃: 化 is to beg alms, and 齋 the vegetarian meal proper to religious.
The Pilgrim said, "You home-hankering ghost. A few days from your own doorway and already you breed complaints."
戀家鬼, "home-hankering ghost," is coined on the spot and will be thrown back at the Pilgrim within twenty graphs. 生報怨, to breed a grievance.
Bajie said, "Brother, I am no match for you, who drink the wind and sup the haze.
比不得 is the negative potential: 得 reads dé. 喝風啊煙 — to make a meal of wind and smoke — is the pig's sardonic account of an immortal's diet, and the immortal in question has indeed not eaten since the Five Phases Mountain.
Since I fell in behind our master these few days, I have gone long with a belly half-empty. Did you know that?"
長忍 is cháng rěn, "long to endure," not zhǎng; pypinyin defaults wrongly here. 曉得 is the lexical verb "to know," and its 得 is the neutral de. 半肚饑, a half-belly of hunger, is Bajie all over: not starving, merely unfilled.
Sanzang, hearing it, said, "Wuneng, if the thought of home lies so heavy on you, then you are no man who has left the household. Go back, and welcome."
心重, "the heart heavy [with home]," reads zhòng. The monk's threat — 你還回去罷 — is the one he will use against Bajie for eighty more chapters; 還 here is the adverb hái.
The Idiot dropped in a fright to his knees. "Master, do not listen to my elder brother. He has a way of fastening dirt upon a man.
慌得跪下 takes 得 as the resultative de. 贓埋人, literally "to bury a man in stolen goods," is Ming slang for planting a false charge; the two graphs are written for sound rather than sense.
I complained of nothing whatever, and still he says I complain.
甚的 is the interrogative 什麼, and 甚 therefore reads shén, not shèn.
I am a straight-gut simpleton. I said my belly was empty and that we might find a house and beg a meal, and at once he rails at me for a home-hankering ghost.
直腸的痴漢, "a straight-gut fool," is a self-description of great and characteristic shrewdness: Bajie protests his simplicity in a perfectly constructed rhetorical period. Note that he quotes his own words back accurately, and the Pilgrim's abusively.
Master, from the Bodhisattva I received the discipline of the precepts, and from you I have had compassion besides;
戒行, the observance of the precepts, reads jiè xíng. The Bodhisattva's bestowal is at ch. 8 and again at ch. 19; the monk's 憐憫 is a fortnight old.
willingly I would serve you the whole way to the Western Heaven, and I have sworn to know no drawing back.
誓無退悔 — the vow not to draw back. Coming from Bajie, who has just been threatened with dismissal for wanting his dinner, the formula is both sincere and unreliable, which is the whole of his character in six graphs.
This is what men call cultivation in bitter earnest. How can you say it is not the speech of one who has left the household?"
恨苦修行 is set off in the source by the inner quotation marks 『』: Bajie is quoting a phrase, not coining one. 恨苦, "in bitter earnest," intensifies rather than negates; 修行 is xiū xíng.
Sanzang said, "If that is how it stands, get up."
既是如此 concedes without conceding. The Tang Monk drops the matter, and the pilgrims arrive at the farmhouse door with the quarrel unresolved — which is why the Pilgrim will lose his temper at its owner within the page.
The first ordinary scene of the new company. Three pilgrims are now on the road where two walked before, and the novel wastes no time discovering what the third is for: Bajie is hungry, says so, is mocked for saying so, and defends himself at length and with skill. The quarrel is trivial and entirely characteristic. It also establishes, before any demon appears, that the party's real fault-line runs between the monkey and the pig, with the monk uneasily arbitrating.
Note how the Tang Monk speaks. His one long speech is an ornamental antithesis about sunset and moonrise, delivered while his disciples are thinking about supper; his second is a threat of expulsion; his third is four graphs of grudging assent. The gāthā at the head of the chapter has not made him a wiser master, only a more literary one. The gap between the poem's 莫認賊為子 and this querulous exchange over a bowl of rice is the space in which the chapter's irony lives.