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,
The chapter opens the way a storyteller picks a thread back up after the break: 卻說, roughly "now, as to what happened next." It is the standard hinge of 章回 fiction, the chaptered vernacular novel, and Wukong has held the title 美猴王, Handsome Monkey King, since ch.1. The Monster of Havoc (混世魔王) was killed at the close of 第二回, and his saber is the only real weapon the monkeys own — the whole chapter grows out of that one blade. Two small readings: 了 is le, the marker that an action is finished, in 剿了 and 奪了; and 一 in 一口 shifts to yì before the dipping tone of 口, which is the counter used 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.
Every item here is real army drill — whittling weapons, running up banners, blowing signals, advancing and falling back, pitching camp — carried out by monkeys, which is the joke. 教 is jiào, "to set someone to do a thing," not jiāo, "to teach"; the same choice returns in 教演 a few lines on. 為 is wéi, "to make into," in 砍竹為標 and 削木為刀, and 削 takes the everyday xiāo, "to whittle, to pare," rather than the bookish xuē. A 標 is a pike or javelin-staff, a 哨子 a whistle, its 子 the light unstressed zi. In 一進一退 both 一 become yí before the falling tones of 進 and 退.
Then one day, sitting still in quiet thought, he reflected:
One quiet moment and the chapter turns: the playing stops and the worrying starts, the first stirring of the kingly cares that drive everything after. 處 is chù here, "place, the point at which," in 靜坐處.
'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?
Wukong's fear is the ordinary saying 作耍成真, "the game turns real" — worth holding onto, because the chapter keeps that promise in full. 犯頭 is a pretext, grounds for taking offence. 都是 takes dōu, "all"; 相殺, "to fall upon and kill," uses 相 as xiāng, aiming the action at a target rather than meaning "each other." The sharpest touch is that Wukong himself supplies the phrase 操兵造反, "drilling troops in revolt" — the exact charge Heaven will later bring against him.
We must have keen swords and halberds for that. What is to be done now?'
須得 is "must get hold of": 得 is the full verb dé, "to obtain," with 鋒利劍戟 as its object — not the děi of "have to," nor the unstressed linking de. 奈何 is the old cry, "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.'
Flattery and helplessness in one breath. 所見甚長 is "your sight reaches very far," with 長 as cháng, "long," not zhǎng, "to grow." 無處 is "nowhere," 處 again chù; 個個 is "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.'
Enter the cabinet. These four — two 赤尻馬猴, "red-rumped horse-apes" (尻 kāo is the rump), and two 通背猿猴, "through-backed" or long-armed gibbons — are Wukong's standing advisers through the early chapters, and by the end of this one they will be ennobled as 健將, Stalwart Generals. 轉上 is "came turning forward," 轉 read zhuǎn.
Wukong said, 'How is it easy?'
Four words, and the scene moves: 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.
The plan, in short, is to go shopping abroad. 傲來國, the kingdom of Aolai, lies just over the water from 花果山, and was named back in ch.1's account of the mountain's setting. 里 (lǐ), the Chinese mile of roughly half a kilometre, is left untranslated throughout. 那廂 is "over there, that quarter," with 那 as nà.
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.
A city with a king in it must have smiths — that is the whole of the reasoning, and it is sound. The run of metals 金銀銅鐵, gold and silver and copper and iron, is the story pointing at an armory before we reach one. 一 in 一王位 becomes yì before the rising tone of 王. 無數 is "countless," with 數 as shù; as the verb "to count" it would be shǔ. 匠作 is "craftsmen, craft-work," 匠 read jiàng.
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.'
Listen to the register: a band of monkeys is being handed the vocabulary of imperial statecraft. 保泰長久之機, "the plan for securing lasting peace," leans on 泰, the hexagram ䷊ of the Book of Changes — Heaven below, Earth above, the figure named Peace or Prosperity — and 保泰, "preserving the flourishing state," is a genuine ideal of classical government, offered here with a perfectly straight face. 教演 is "to drill, to train," 教 read jiào; 長 is cháng, "lasting."
Hearing this, Wukong was filled with delight: 'You amuse yourselves here; wait while I go and return.'
去來 is the everyday "off I go" — the 來 is a light directional tag, not a literal "and come back." With that the scene shuts and the raid on Aolai begins.
The chapter's title couplet — a matched pair of lines, one for each half of what follows — 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 two grand movements. First Wukong conquers the world of land and water: the armory of Aolai, the seventy-two caves of beasts, and above all the dragon-kings of the four seas. Then he goes down into the underworld and cancels his own name, and his subjects' names, from the registers of death. Andrew Plaks reads this stretch as the comic-heroic peak of the "mind-monkey" (心猿) before its long subjugation, and the shape of the chapter bears him out: the grander the deed, the busier the paperwork behind it. Dragon-kings and kings of hell alike will file the memorials that bring Heaven down on his head.
Chapter 2 ended in spiritual attainment — the Seventy-two Transformations and the cloud-somersault won from Subodhi, then the killing of the Monster of Havoc. Chapter 3 opens on a purely practical problem: kit. The drilling monkeys with their bamboo poles and wooden swords are charming and a little ominous at once, and Wukong says the ominous part himself. He worries that "play may turn to earnest" (作耍成真) and that he may be accused of "drilling soldiers in revolt" (操兵造反) — which is exactly the language Heaven will use about him later. Then the four elders advise him that arming and training the troops is "the plan for securing lasting peace" (保泰長久之機), borrowing the idiom of Confucian statecraft and the 泰 hexagram on behalf of a mountain of monkeys, and keeping a straight face throughout.
For the Quanzhen-minded commentators in the line of Liu Yiming (悟元子), the weapons the mind-monkey now craves cut against the grain of the adventure on the surface: this is raw power sought outside the self, and sought before the discipline that could safely wield it. The recurring quartet of red-rumped horse-apes and long-armed gibbons stands for the practical, advising faculties of a nature still untamed — resourceful, loyal, and entirely without brakes. Their breezy "nothing is easier" sets the acquisitive tone that carries Wukong straight to the dragon-king's gate.