木刀之憂 The Problem of Wooden Weapons
卻說美猴王榮歸故里,自剿了混世魔王,奪了一口大刀。逐日操演武藝,教小猴砍竹為標,削木為刀,治旗幡,打哨子,一進一退,安營下寨,頑耍多時。忽然靜坐處,思想道:「我等在此,恐作耍成真,或驚動人王,或有禽王、獸王認此犯頭,說我們操兵造反,興師來相殺,汝等都是竹竿木刀,如何對敵?須得鋒利劍戟方可。如今奈何?」眾猴聞說,個個驚恐道:「大王所見甚長,只是無處可取。」正說間,轉上四個老猴,兩個是赤尻馬猴,兩個是通背猿猴,走在面前道:「大王,若要治鋒利器械,甚是容易。」悟空道:「怎見容易?」四猴道:「我們這山向東去,有二百里水面,那廂乃傲來國界。那國界中有一王位,滿城中軍民無數,必有金銀銅鐵等匠作。大王若去那裡,或買或造些兵器,教演我等,守護山場,誠所謂保泰長久之機也。」悟空聞說,滿心歡喜道:「汝等在此頑耍,待我去來。」却说美猴王荣归故里,自剿了混世魔王,夺了一口大刀。逐日操演武艺,教小猴砍竹为标,削木为刀,治旗幡,打哨子,一进一退,安营下寨,顽耍多时。忽然静坐处,思想道:「我等在此,恐作耍成真,或惊动人王,或有禽王、兽王认此犯头,说我们操兵造反,兴师来相杀,汝等都是竹竿木刀,如何对敌?须得锋利剑戟方可。如今奈何?」众猴闻说,个个惊恐道:「大王所见甚长,只是无处可取。」正说间,转上四个老猴,两个是赤尻马猴,两个是通背猿猴,走在面前道:「大王,若要治锋利器械,甚是容易。」悟空道:「怎见容易?」四猴道:「我们这山向东去,有二百里水面,那厢乃傲来国界。那国界中有一王位,满城中军民无数,必有金银铜铁等匠作。大王若去那里,或买或造些兵器,教演我等,守护山场,诚所谓保泰长久之机也。」悟空闻说,满心欢喜道:「汝等在此顽耍,待我去来。」
逐句解 Line by line
Now the story tells how the Handsome Monkey King returned home in glory. Having wiped out the Monster of Havoc and carried off a great saber,
卻說 is the storyteller's resumptive formula ("now the tale goes on to tell"), a hallmark of 章回 vernacular narration. 美猴王, the Handsome Monkey King, has held the title since ch.1. The 混世魔王 (Monster of Havoc) was slain at the close of 第二回, and his saber is the only real weapon the monkeys own — which sets this chapter's quest in motion. 了 reads le (perfective particle) in 剿了 / 奪了; 一口 takes yì by tone sandhi before third-tone 口, the classifier for bladed arms.
day after day he drilled in the martial arts, setting the little monkeys to chop bamboo into pike-staves and whittle wood into swords, to make banners and pennants and blow signal-whistles, to advance and fall back, to pitch camp and raise the stockade — and so they sported for a good long while.
教 here is causative — jiào ("to set/have someone do"), not jiāo ("to teach"); cf. 教演 below. 為 reads wéi ("to make into") in 砍竹為標 / 削木為刀, and 削 reads xiāo (colloquial "whittle, pare"), not literary xuē. 標 is a pike or javelin-staff; 哨子 a whistle, with 子 the neutral suffix zi. 一進一退 takes yí twice (sandhi before fourth-tone 進 and 退). The whole line is a catalogue of military drill, comically applied to monkeys.
Then one day, sitting still in quiet thought, he reflected:
處 reads chù ("place; the point at which") in 靜坐處. The turn from play to anxious foresight marks the first stirring of the strategic, "kingly" cares that drive the chapter.
'Here we all are at our games — but I fear our play may turn to earnest. We might alarm some king of men, or some King of Birds or King of Beasts might take it for a provocation and charge that we are drilling soldiers in revolt, and raise an army to come and destroy us. With your bamboo poles and wooden swords, how could you face such a foe?
作耍成真 ("play turning real") is a colloquial idiom; 犯頭 means a pretext or provocation ("grounds for offence"). 都是 takes dōu ("all"). 相殺 = "to fall upon and kill," with 相 the directional/transitive xiāng marking action toward an object. Wukong's own fear of being branded a rebel (操兵造反) plants the very language Heaven will later use against him.
We must have keen swords and halberds for that. What is to be done now?'
須得 = "must obtain/have": 得 is the full verb dé ("to get"), taking 鋒利劍戟 as its object — distinct from the modal děi or the particle de. 奈何 = "what is to be done?"
Hearing this, the monkeys were each and all dismayed: 'Your Majesty's foresight reaches far — but there is simply nowhere to get such things.'
所見甚長 = "his view reaches very far": 長 reads cháng ("long, far-reaching"), not zhǎng. 無處 takes chù ("nowhere"). 個個 = "each and every one."
As they spoke, four old monkeys stepped forth — two were bare-rumped horse-apes, two were long-armed gibbons — and came before him, saying: 'Your Majesty, if it is keen weapons you wish to procure, nothing is easier.'
赤尻馬猴 ("red-rumped horse-ape," 尻 kāo = rump) and 通背猿猴 ("through-backed / long-armed gibbon") are the four sage elders who recur as Wukong's councillors through these early chapters; they will be ennobled as 健將 by chapter's end. 轉上 = "came turning forward," 轉 reading zhuǎn.
Wukong said, 'How is it easy?'
A terse exchange propelling the dialogue; 怎見 = "how do you reckon (it so)?"
The four monkeys said, 'Eastward from this mountain of ours, two hundred li across the water, lies the realm of Aolai.
二百里: 里 (lǐ), the Chinese mile (roughly half a kilometre), is left untranslated. 那廂 = "over there, that quarter," 那 reading nà. 傲來國 (the kingdom of Aolai) lies just across the water from 花果山; its name is first given in ch.1's account of the mountain's setting.
Within that realm there is a throne, and the city teems with soldiers and subjects beyond number; there are bound to be smiths who work gold and silver, copper and iron.
一王位 takes yì (sandhi before second-tone 王). 無數 reads shù ("countless"); the verb "to count" would be shǔ. 匠作 = "artisans, craft-work," 匠 jiàng. The roll of metals (金銀銅鐵) anticipates the weapons to come.
If Your Majesty goes there and either buys or has forged a stock of weapons, and then trains us in them to guard our mountain domain — that is truly what they call the plan for securing lasting peace.'
教演 = "to drill, train," 教 reading jiào. 保泰長久之機 alludes to the 泰 ䷊ hexagram of the Yijing (Heaven below, Earth above — the configuration of "Peace/Prosperity"); 保泰, "preserving the flourishing state," is an ideal of classical statecraft, put here with deadpan irony into a monkey's calculus. 長 reads cháng ("lasting").
Hearing this, Wukong was filled with delight: 'You amuse yourselves here; wait while I go and return.'
去來 is a vernacular idiom, "go (and come back)" — i.e. "off I go"; 來 is a light directional complement, not a literal "return." The line closes the scene and launches the raid on Aolai.
The chapter's couplet-title — 四海千山皆拱伏/九幽十類盡除名 ("The Four Seas and the Thousand Mountains all bow in submission; the Nine Shades and the Ten Categories are wholly struck from the rolls") — announces its two grand movements: first Wukong's conquest of the terrestrial and oceanic world (the armory of Aolai, the seventy-two caves of beasts, and above all the dragon-kings of the four seas), then his descent into the underworld to cancel his own name and his subjects' from the registers of death. Andrew Plaks reads this stretch of the novel as the comic-heroic apex of the "mind-monkey" (心猿) before its long subjugation: the very grandeur of the deeds is shadowed by the bureaucratic machinery — dragon-kings and kings of hell alike — that will file the memorials bringing Heaven down upon him.
Where 第二回 ended in spiritual attainment — the Seventy-two Transformations and the cloud-somersault won from Subodhi, then the slaying of the Monster of Havoc — 第三回 opens on the wholly worldly problem of matériel. The drilling monkeys with their bamboo and wooden arms are at once charming and faintly ominous: Wukong's anxiety that "play may turn to earnest" (作耍成真) and that he may be charged with "drilling soldiers in revolt" (操兵造反) places, in his own mouth, the very language Heaven will later use against him. The four elders' counsel that arming and training the troops is "the plan for securing lasting peace" (保泰長久之機) borrows, deadpan, the idiom of Confucian statecraft and the 泰 hexagram for a band of monkeys.
For the Quanzhen-inflected commentators in the lineage of Liu Yiming (悟元子), the "weapons" the mind-monkey now craves read against the grain of the surface adventure: raw power sought outside the self, before the discipline that alone could wield it. The recurring quartet of "red-rumped horse-apes and long-armed gibbons" functions as the practical, advising faculties of a still-untamed nature — resourceful, loyal, and wholly without restraint. Their breezy "nothing is easier" sets the acquisitive tone that will carry Wukong straight to the dragon-king's gate.