原文 Original text
繁體 Traditional
Reader's edition
含詞賦 With rhapsody
平擡入洞
The Seizing
那長老看見他這般模樣，諕得打了一個倒退，遍體酥麻，兩腿酸軟，即忙的抽身便走。剛剛轉了一個身，那妖魔他的靈性著實是強，大撐開著一雙金睛鬼眼，叫聲：「小的們，你看門外是甚麼人？」一個小妖就伸頭望門外一看，看見是個光頭的長老，連忙跑將進去報道：「大王，外面是個和尚哩。團頭大面，兩耳垂肩；嫩刮刮的一身肉，細嬌嬌的一張皮：且是好個和尚。」那妖聞言，啊聲笑道：「這叫做個『蛇頭上蒼蠅，自來的衣食』。你眾小的們，疾忙趕上去，與我拿將來，我這裡重重有賞。」那些小妖就是一窩蜂，齊齊擁上。三藏見了，雖則是一心忙似箭，兩腳走如飛，終是心驚膽顫，腿軟腳麻；況且是山路崎嶇，林深日暮，步兒那裡移得動：被那些小妖平擡將去。正是：那长老看见他这般模样，諕得打了一个倒退，遍体酥麻，两腿酸软，即忙的抽身便走。刚刚转了一个身，那妖魔他的灵性著实是强，大撑开著一双金睛鬼眼，叫声：「小的们，你看门外是甚么人？」一个小妖就伸头望门外一看，看见是个光头的长老，连忙跑将进去报道：「大王，外面是个和尚哩。团头大面，两耳垂肩；嫩刮刮的一身肉，细娇娇的一张皮：且是好个和尚。」那妖闻言，啊声笑道：「这叫做个『蛇头上苍蝇，自来的衣食』。你众小的们，疾忙赶上去，与我拿将来，我这里重重有赏。」那些小妖就是一窝蜂，齐齐拥上。三藏见了，虽则是一心忙似箭，两脚走如飞，终是心惊胆颤，腿软脚麻；况且是山路崎岖，林深日暮，步儿那里移得动：被那些小妖平擡将去。正是：
龍遊淺水遭蝦戲，虎落平原被犬欺。龙游浅水遭虾戏，虎落平原被犬欺。
縱然好事多磨障，誰像唐僧西向時？纵然好事多磨障，谁像唐僧西向时？
逐句解 Line by line
那長老看見他這般模樣，諕得打了一個倒退，遍體酥麻，兩腿酸軟，即忙的抽身便走。
那长老看见他这般模样，諕得打了一个倒退，遍体酥麻，两腿酸软，即忙的抽身便走。
When the elder saw it in such a shape, he was so frightened he stumbled back a step, his whole body gone numb and tingling, both legs weak beneath him, and he hastily turned to slip away.
諕得 xià (= 嚇, “frighten”), not háo; 倒退 dào (“step back,” reverse-direction), not dǎo.
剛剛轉了一個身，那妖魔他的靈性著實是強，大撐開著一雙金睛鬼眼，叫聲：「小的們，你看門外是甚麼人？」
刚刚转了一个身，那妖魔他的灵性著实是强，大撑开著一双金睛鬼眼，叫声：「小的们，你看门外是甚么人？」
He had just barely turned around when the fiend — whose spirit-sense was truly keen — flung wide a pair of gold-pupiled devil's eyes and cried, “Little ones! See who's outside the door!”
著實 zhuó (“truly”); 撐開著 zhe (durative). 那 nà; 甚麼 shén.
一個小妖就伸頭望門外一看，看見是個光頭的長老，連忙跑將進去報道：
一个小妖就伸头望门外一看，看见是个光头的长老，连忙跑将进去报道：
A little imp poked out its head, took one look outside the door, saw it was a bald-headed elder, and hurried back in to report:
長老 zhǎng; 跑將 jiāng.
「大王，外面是個和尚哩。團頭大面，兩耳垂肩；嫩刮刮的一身肉，細嬌嬌的一張皮：且是好個和尚。」
「大王，外面是个和尚哩。团头大面，两耳垂肩；嫩刮刮的一身肉，细娇娇的一张皮：且是好个和尚。」
“Great King, outside is a monk. Round-headed, broad-faced, both ears drooping to his shoulders; a body of tender, glistening flesh, a skin fine and delicate — truly a fine monk indeed.”
團頭大面 / 兩耳垂肩 — the marks of a superior being; the imp appraises Tripitaka as one would a delicacy.
那妖聞言，啊聲笑道：「這叫做個『蛇頭上蒼蠅，自來的衣食』。你眾小的們，疾忙趕上去，與我拿將來，我這裡重重有賞。」
那妖闻言，啊声笑道：「这叫做个『蛇头上苍蝇，自来的衣食』。你众小的们，疾忙赶上去，与我拿将来，我这里重重有赏。」
When the fiend heard it, he laughed aloud: “This is what they call ‘a fly on a snake's head — food and clothing come of themselves.’ You little ones, hurry after him, seize him and bring him to me, and here I'll richly reward you.”
那 nà; 拿將 jiāng; 重重 chóng (“richly”). The proverb makes Tripitaka self-delivered prey.
那些小妖就是一窩蜂，齊齊擁上。三藏見了，雖則是一心忙似箭，兩腳走如飛，終是心驚膽顫，腿軟腳麻；
那些小妖就是一窝蜂，齐齐拥上。三藏见了，虽则是一心忙似箭，两脚走如飞，终是心惊胆颤，腿软脚麻；
Those little imps swarmed up all at once like a nest of bees. Tripitaka, seeing them, though his heart raced like an arrow and his two feet flew, was after all terror-struck and trembling, his legs weak and his feet numb;
一窩蜂 fēng (the true “swarm of bees,” contrast 一窩峰 above); 三藏 zàng; 忙似箭 sì.
況且是山路崎嶇，林深日暮，步兒那裡移得動：被那些小妖平擡將去。正是：
况且是山路崎岖，林深日暮，步儿那里移得动：被那些小妖平擡将去。正是：
and what was more, the mountain road was rough, the wood deep, the day at dusk — how could his steps move at all? So the little imps bore him off bodily. It was just as the saying goes:
步兒 er; 那裡 nǎ (“how”); 移得動 de; 那些 nà; 擡將 jiāng. The 正是 tag introduces the closing quatrain.
龍遊淺水遭蝦戲，虎落平原被犬欺。
龙游浅水遭虾戏，虎落平原被犬欺。
A dragon adrift in shallows is toyed with by the shrimp; a tiger fallen to the flats is bullied by the hounds.
The proverbial couplet of the mighty brought low — Tripitaka's holiness helpless in a demon's wood.
縱然好事多磨障，誰像唐僧西向時？
纵然好事多磨障，谁像唐僧西向时？
Though good works meet with many a trial and block, who has known such as the Tang Monk in his westward hour?
好事多磨 — the pilgrimage's governing law, that merit is won only through ordeal.
總評 Commentary
The seizing turns entirely on the party's dispersal. Tripitaka's terror is bodily and complete — numb, trembling, legs failing — and against a swarm of imps in a darkening wood he has no recourse, because the two disciples who could have scattered them are miles away west. The narrator underlines the helplessness with the proverb of the stranded dragon and the fallen tiger: power out of its element is at the mercy of the trivial.
The closing couplet reframes the disaster as doctrine. “Good works meet with many a trial” is the pilgrimage's structural principle — the eighty-one ordeals are not obstacles to the journey but the substance of it — and the rhetorical question (“who has known such as the Tang Monk?”) both laments and dignifies his suffering. The capture is a catastrophe on the surface and, in the logic of the quest, a necessary station of it.