長嘴獠牙 The Monstrous Portraits
三藏道:「不敢說。我那大徒弟姓豬,名悟能八戒,他生得長嘴獠牙,剛鬃扇耳,身粗肚大,行路生風。第二個徒弟姓沙,法名悟淨和尚,他生得身長丈二,臂闊三停,臉如藍靛,口似血盆,眼光閃灼,牙齒排釘。他都是這等個模樣,所以不敢擅領入朝。」國王道:「你既這等樣說了一遍,寡人怕他怎的?宣進來。」隨即著金牌至館驛相請。三藏道:「不敢说。我那大徒弟姓猪,名悟能八戒,他生得长嘴獠牙,刚鬃扇耳,身粗肚大,行路生风。第二个徒弟姓沙,法名悟净和尚,他生得身长丈二,臂阔三停,脸如蓝靛,口似血盆,眼光闪灼,牙齿排钉。他都是这等个模样,所以不敢擅领入朝。」国王道:「你既这等样说了一遍,寡人怕他怎的?宣进来。」随即着金牌至馆驿相请。
逐句解 Line by line
Said Tripitaka, 'I dare not say too much. My elder disciple is surnamed Zhu, and named Wuneng, called Eight Rules. He is grown with a long snout and protruding fangs, stiff bristles and fan-like ears, a coarse body and a great belly, and walks up a wind as he goes.'
The portrait is delivered deadpan, which makes it funnier. 生得 (得 = de) is "grown so as to be"; 長嘴 (長 = cháng) is a long snout; 剛鬃扇耳 is stiff bristles and fan-shaped ears — the boar features of Zhu Wuneng. 行路生風 (行 = xíng) means he raises a wind just by walking. 悟能八戒: Wuneng is "Awakened-to-Power," Bajie "the Eight Prohibitions," so his religious name and his nickname are both entirely respectable, which only sharpens the description they are attached to.
'My second disciple is surnamed Sha, a monk with the dharma-name Wujing. He is grown to a body one zhàng and two chǐ in height, with arms three sections in breadth; his face is like indigo, his mouth like a basin of blood, his eyes flash and glitter, and his teeth are set like a row of nails. Both are of just such a mould, and so I dared not presume to bring them to court.'
Sha Monk gets measured rather than described. 身長丈二 (長 = cháng) is one 丈 (zhàng) and two 尺 (chǐ) tall, a 丈 being ten 尺 — call it a very tall man and a half. 臂闊三停 is trickier: 停 counts the parts a thing divides into, so that 三停 is "three sections," the upper, middle and lower thirds a body is conventionally reckoned in. His arms are three of those across. Then the face: 藍靛 is indigo dye, 口似血盆 a mouth like a basin of blood, and the teeth set like a row of driven nails. 都 (dōu) is "both alike" — and that is Tripitaka's case for why he left them at the hotel.
Said the king, 'Since you have described them thus in full, why should I fear them? Summon them in.' At once he had a golden tablet sent to the post-station to invite them.
說了一遍 is "having told it through once." The 金牌, the golden tablet, is the physical token of a royal summons, and 著金牌 takes 著 as zhuó, to dispatch or send; 相請 (相 = xiāng) is to invite. The king has now heard the entire inventory of horrors and sent for them anyway.
The two portraits are set-pieces of the grotesque-comic this novel does better than anyone: Eight Rules with his long snout, protruding fangs, stiff bristles and fan-shaped ears, raising a wind as he walks; Sha Wujing standing one zhàng and two chǐ tall, indigo-faced, blood-mouthed, his teeth like a row of nails. Tripitaka recites the catalogue perfectly straight, and it works two ways at once — it entertains the reader while, inside the story, it builds toward the king's terror. The more vividly the horrors are described, the more certain the fright becomes.
The scene also lets the king's bravado reach full height just before the drop. Having heard the whole hideous list, he waves it away — why should I fear them? — and sends the golden tablet. His confidence is a spring being wound, and the summons he issues so boldly will bring into his hall the exact sight that knocks him off his throne.