天晚安歇 Shelter at Nightfall
正走處，不覺天晚。三藏道：「徒弟，如今天色又晚，卻往那裡安歇？」行者道：「師父說話差了。出家人餐風宿水，臥月眠霜，隨處是家。又問那裡安歇，何也？」豬八戒道：「哥啊，你可知道你走路輕省，那裡管別人累墜？自過了流沙河，這一向爬山過嶺，身挑著重擔，老大難挨也。須是尋個人家，一則化些茶飯，二則養養精神，才是個道理。」行者道：「獃子，你這般言語，似有報怨之心。還像在高老莊倚懶不求福的自在，恐不能也。既是秉正沙門，須是要吃辛受苦，才做得徒弟哩。」正走处，不觉天晚。三藏道：「徒弟，如今天色又晚，却往那里安歇？」行者道：「师父说话差了。出家人餐风宿水，卧月眠霜，随处是家。又问那里安歇，何也？」猪八戒道：「哥啊，你可知道你走路轻省，那里管别人累坠？自过了流沙河，这一向爬山过岭，身挑著重担，老大难挨也。须是寻个人家，一则化些茶饭，二则养养精神，才是个道理。」行者道：「呆子，你这般言语，似有报怨之心。还像在高老庄倚懒不求福的自在，恐不能也。既是秉正沙门，须是要吃辛受苦，才做得徒弟哩。」
逐句解 Line by line
Just as they were pressing on, before they knew it evening had fallen.
A brief hinge from tableau back to action; 正走處 = “right as they were walking along.”
Sanzang said, “Disciples, the sky darkens once again — where are we to go and rest?”
In 那裡 (“where”) 那 is the interrogative nǎ, not the demonstrative nà. 安歇 = to lodge for the night.
Pilgrim said, “Master, you speak amiss.
說話差了 — “you have spoken wrongly”; 差 here chà, to err.
One who has left the household feeds on the wind and lodges by the water, sleeps beneath the moon and beds down in the frost — everywhere is home.
A string of ascetic idioms. 餐風宿水 and 臥月眠霜 (“dine on wind, lodge by water; lie under moon, sleep in frost”) paint the homeless wanderer's life; 隨處是家 — “wherever one is, is home” — is its motto, and a pointed rebuke to Bajie's longing for a roof.
Why, then, ask where we shall lodge?”
何也 = “why so?” — here again 那裡 is the interrogative nǎ.
Zhu Bajie said, “Brother — do you know how light your own travelling is? What do you care for another's weary burden?
輕省 (qīng sheng) = easy, unencumbered (of going). In 那裡管 (“how would [you] care”) 那 is again the rhetorical nǎ; 累墜 = the drag of a heavy load.
Ever since we crossed the Flowing-Sands River, all this while it has been climbing mountains and crossing ridges, my body shouldering the heavy load — hard, so hard to bear!
一向 = all this while. In 挑著 the aspect-marker 著 is the durative zhe (“carrying”); 重擔 is the “heavy load,” 重 read zhòng. 老大 is a colloquial intensifier (“greatly”), and 難挨 = hard to endure.
We really must find a household: first, to beg a little tea and rice; second, to restore our spirits — that would be the sensible course.”
化些茶飯 — 化 is to beg alms (of a monk). Bajie's two-part case (一則…二則) is comically practical, and note the dramatic irony: the 人家 (household) he wishes for is about to appear — as a snare.
Pilgrim said, “Idiot! Talk like this sounds like a grumbling, resentful heart.
獃子 (“blockhead”) is Pilgrim's habitual name for Bajie. 似有 uses the comparative 似 (sì); 報怨 = to bear a grudge, complain (for 抱怨).
Still hankering after the idle ease of Gao Village — shirking effort, seeking no blessing — that, I fear, will not do.
還 here is hái, “still.” 高老莊 (Gao Village) is where Bajie was living as a son-in-law before Wukong subdued him (chs. 18–19); 倚懶 = to lean on one's laziness, and 不求福 = to seek no merit.
Now that you are a monk who holds to the right, you must eat bitterness and bear hardship — only so do you make a true disciple!”
沙門 is śramaṇa, a Buddhist mendicant; 秉正 = to hold to the orthodox. In 做得徒弟 the 得 is the structural de of capability (“manage to be”), not the verb dé “to attain.”
The chapter's comic engine starts here, in the friction between Bajie's appetite for comfort and Wukong's ascetic discipline. Bajie's complaint is entirely of the body — the weight of the pack, the endless ridges, the want of tea and rice — while Wukong answers from doctrine: the true monk makes his home anywhere and courts hardship on purpose. The two voices are the novel's standing dialectic of flesh and spirit.
The exchange is thick with the idiom of homelessness — 餐風宿水, 臥月眠霜, 隨處是家, 秉正沙門 — all praising the wanderer who owns nothing and belongs nowhere. Against this, Bajie pleads with the memory of 高老莊, the domestic ease he gave up. The contrast is not idle: the temptation about to be laid before the pilgrims is precisely a household, a wife, and a life of comfort — the very thing Bajie is here caught wishing for.
Two readings anchor the passage: the interrogative 那 (nǎ) that recurs in 那裡 and 那裡管, and the capability-得 (de) in 做得徒弟. The dramatic irony is sharp — Bajie asks for a 人家 to shelter in, and the narrative is about to grant the wish in a form designed to expose him.