原文 Original text
繁體 Traditional
Reader's edition
心生巧計
The Princess Calls the Ogre Down
卻說公主娘娘心生巧計,急往前來,出門外,分開了大小群妖。只聽得叮叮噹噹,兵刃亂響。原來是八戒、沙僧與那怪在半空裡廝殺哩。這公主厲聲高叫道:「黃袍郎!」那妖王聽得公主叫喚,即丟了八戒、沙僧,按落雲頭,揪了鋼刀,攙著公主道:「渾家,有甚話說?」却说公主娘娘心生巧计,急往前来,出门外,分开了大小群妖。只听得叮叮当当,兵刃乱响。原来是八戒、沙僧与那怪在半空里厮杀哩。这公主厉声高叫道:「黄袍郎!」那妖王听得公主叫唤,即丢了八戒、沙僧,按落云头,揪了钢刀,搀著公主道:「浑家,有甚话说?」
逐句解 Line by line
卻說公主娘娘心生巧計,急往前來,出門外,分開了大小群妖。只聽得叮叮噹噹,兵刃亂響。原來是八戒、沙僧與那怪在半空裡廝殺哩。
却说公主娘娘心生巧计,急往前来,出门外,分开了大小群妖。只听得叮叮当当,兵刃乱响。原来是八戒、沙僧与那怪在半空里厮杀哩。
Now the princess, a clever scheme forming in her heart, hurried forward, passed out at the gate, and pushed through the throng of demons great and small. She heard only a clang and clatter, a wild ringing of blades: it was Eight Rules and Sha Monk, locked in combat with the fiend high in the air.
心生巧計 ("a clever scheme forming in the heart") names her stratagem outright. 叮叮噹噹 is onomatopoeia for the clash of weapons; 廝殺 = "to fight it out." 只聽得 takes 得 as the structural de. The resumptive 卻說 marks the storyteller's return to the outer scene.
這公主厲聲高叫道:「黃袍郎!」那妖王聽得公主叫喚,即丟了八戒、沙僧,按落雲頭,揪了鋼刀,攙著公主道:「渾家,有甚話說?」
这公主厉声高叫道:「黄袍郎!」那妖王听得公主叫唤,即丢了八戒、沙僧,按落云头,揪了钢刀,搀著公主道:「浑家,有甚话说?」
The princess called out in a shrill, loud voice: 'Yellow-Robe, my lord!' Hearing her call, the ogre-king at once let Eight Rules and Sha Monk be, brought his cloud down to earth, gripped his steel blade, and, steadying the princess, said, 'Wife, what have you to tell me?'
黃袍郎 ("Yellow-Robe, [my] lord") is the princess's intimate address for the Yellow-Robe Ogre. 按落雲頭 = "to press the cloud down and alight." 渾家 is the vernacular word for "wife." 有甚話說 takes 甚 as shén ("what"); 聽得 again the structural de.
總評 Commentary
The princess's intervention is staged with a fine sense of theater. She parts the horde of demons like a curtain, and a single shrill cry — 黃袍郎! — is enough to halt a battle that martial force could not decide: the ogre drops his airborne opponents and descends at the sound of his wife's voice. The scene turns on the leverage of intimacy, and the narrator marks it with the domestic vocabulary of the demon marriage.
That the fiend addresses her as 渾家 ("wife") and she him as 郎 ("my lord") is the whole point of the manipulation to follow: the Yellow-Robe Ogre, for all his menace, is a husband, and it is through the husband that the monster can be moved. The novel is repeatedly interested in these domesticated demons, whose ferocity is qualified by conjugal habit; here that habit is precisely the seam the princess works.