獵戶之害 The Hunters' Toll
那大聖聞得此言,愈加悽慘。便問:「你們還有多少在此山上?」群猴道:「老者小者,只有千把。」大聖道:「我當時共有四萬七千群妖,如今都往那裡去了?」群猴道:「自從爺爺去後,這山被二郎菩薩點上火,燒殺了大半。我們蹲在井裡,鑽在澗內,藏於鐵板橋下,得了性命。及至火滅煙消出來時,又沒花果養贍,難以存活,別處又去了一半。我們這一半,捱苦的住在山中。這兩年,又被些打獵的搶了一半去也。」行者道:「他搶你去何幹?」群猴道:「說起這獵戶,可恨!他把我們中箭著槍的,中毒打死的,拿了去剝皮剔骨,醬煮醋蒸,油煎鹽炒,當做下飯食用。或有那遭網的,遇扣的,夾活兒拿去了,教他跳圈做戲,翻觔斗,豎蜻蜓,當街上篩鑼擂鼓,無所不為的頑耍。」那大圣闻得此言,愈加凄惨。便问:「你们还有多少在此山上?」群猴道:「老者小者,只有千把。」大圣道:「我当时共有四万七千群妖,如今都往那里去了?」群猴道:「自从爷爷去后,这山被二郎菩萨点上火,烧杀了大半。我们蹲在井里,钻在涧内,藏于铁板桥下,得了性命。及至火灭烟消出来时,又没花果养赡,难以存活,别处又去了一半。我们这一半,挨苦的住在山中。这两年,又被些打猎的抢了一半去也。」行者道:「他抢你去何干?」群猴道:「说起这猎户,可恨!他把我们中箭着枪的,中毒打死的,拿了去剥皮剔骨,酱煮醋蒸,油煎盐炒,当做下饭食用。或有那遭网的,遇扣的,夹活儿拿去了,教他跳圈做戏,翻觔斗,竖蜻蜓,当街上筛锣擂鼓,无所不为的顽耍。」
逐句解 Line by line
When the Great Sage heard these words, his sorrow grew keener still. He asked, “How many of you are left on this mountain?”
那 is nà, that. 聞得 takes the unstressed de; 還 is hái, still; 多少 takes shǎo. His question — how many are left — assumes there is a number small enough to ask about, and he is right.
The monkeys said, “Old and young together, only a thousand or so.”
千把 is a thousand-odd, a thousand give or take. The vagueness is the point: nobody has counted, because nobody expected to be able to.
Said the Great Sage, “In my day I had a host of forty-seven thousand fiends. Where have they all gone now?”
Here is the arithmetic that hurts. He left forty-seven thousand and has come back to a thousand-odd. 四萬七千 is the monkey-army of the novel's early chapters, quoted at its full strength so the gap does the work. 當時 takes dāng, in that time; 都 is dōu; 那裡 is nǎ, asking where.
The monkeys said, “After you left us, Grandfather, this mountain was set alight by the Bodhisattva Erlang, and better than half of us were burned to death. Those of us who crouched in the wells, or bored into the gorges, or hid beneath the iron-plank bridge, kept our lives.
The survivors are the ones who happened to be underground. Wells, gorges, the space beneath the bridge — shelter by accident, not by plan. 鐵板橋 is the iron-plank bridge behind the Water-Curtain Cave, the front door of the old kingdom. Note what they call Erlang: 菩薩, bodhisattva. He burned their home and they still speak of him with awe, which tells you how the powerful look from below. 藏 is cáng, hid; 得了 takes dé, got — got their lives, in the sense of keeping them.
But when the fire had died and the smoke cleared and we came out, there were no more flowers or fruit to keep us fed; we could barely stay alive, and half of what was left went off to other places. This half of us endured the hardship and stayed on the mountain — and these last two years the hunters have carried off half of us again.”
Count the halvings: 一半 three times in one sentence — the half who left for other places, the half who stayed and endured, and the half the hunters have carried off in the last two years. The burning took 大半, more than half, before any of that. 一半 takes 一 as yí, raised before the falling tone that follows. 難 is nán, hard; 山中 takes zhōng, in among.
“What do they carry you off to do?” asked the Pilgrim.
行者 takes xíng. 何幹 is gàn, to do — carry you off to do what? He has not guessed, and the answer is worse than anything he would have.
The monkeys said, “Speak of these hunters — how hateful they are! Those of us struck by their arrows and pierced by their spears, or poisoned and beaten dead, they carry off to flay and bone, to stew in soy and steam in vinegar, to fry in oil and roast with salt, and eat as a relish with their rice.
The answer is a kitchen. Flayed, boned, stewed in soy, steamed in vinegar, fried in oil, done with salt, and eaten as a side dish with rice — the horror is delivered entirely in the vocabulary of ordinary cooking. 中箭 and 中毒 take 中 as zhòng, struck by, not the zhōng that means middle. 著 is zháo, the reading for a blow that lands. 當做 is dàng, to treat as — not dāng.
And some who fall into the nets, or are caught in the snares, they take away alive — making them leap through hoops and put on shows, turn somersaults and stand on their heads, sift gongs and beat drums in the middle of the street, all manner of antics for men's amusement.”
And the ones taken alive are made into a circus act: hoops, somersaults, handstands, gongs and drums in the street. The monkeys are describing a trained-animal show, and the reader has watched their king do every one of those tricks by choice. 夾活兒 ends in the curled er suffix, alive. 觔斗 is the somersault, written with 觔 where the standard form has 筋 — 斗 is dǒu. 教 is jiào, to make someone do a thing. 當街 takes dāng, right in the street. 無所不為 — there is nothing they will not do — takes 為 as wéi, and the 不 in front of it keeps its falling tone, bù, because the syllable after it is rising.
The monkeys' report turns from lament to indictment, and its detail is meant to be hard to sit through. The novel does not spare the reader the kitchen: flayed and boned, stewed and fried, the monkeys end up as a relish for a man's rice — or are kept alive and made into street entertainers. This is the fullest account the book gives of how Flower-Fruit Mountain fell: burned first by Heaven's punitive raid, then starved, then preyed on by ordinary men. Each halving tolls like a bell.
The passage is doing careful moral work. By the time Wukong acts, the reader has heard, in the monkeys' own voices, exactly what the hunters do, so the slaughter to come will land as payment rather than as savagery. But the timing is pointed. Wukong has just been banished for killing bandits whom Tripitaka judged to be men and not monsters. The novel sets his kinsmen's suffering directly against that judgement, invites sympathy for his fury, and leaves the harder question — whether revenge is justice — wide open.
Notice how the horror is built. The cookery is domestic: 醬煮醋蒸, 油煎鹽炒, the verbs of any household kitchen. The circus is domestic too — 跳圈, 翻觔斗, 豎蜻蜓, 篩鑼擂鼓, the ordinary vocabulary of a street show. Nothing in the language is monstrous, and that is what makes the passage land.