沙僧仗義 Sha Wujing's Righteous Defense
遂喝道:「那妖怪不要無禮,他有甚麼書來,你這等枉他,要害他性命?我們來此問你要公主,有個緣故。只因你把我師父捉在洞中,我師父曾看見公主的模樣動靜。及至寶象國,倒換關文,那皇帝將公主畫影圖形,前後訪問,因將公主的形影,問我師父沿途可曾看見,我師父遂將公主說起。他故知是他兒女,賜了我等御酒,教我們來拿你,要他公主還宮。此情是實,何嘗有甚書信?你要殺就殺了我老沙,不可枉害平人,大虧天理。」遂喝道:「那妖怪不要无礼,他有甚么书来,你这等枉他,要害他性命?我们来此问你要公主,有个缘故。只因你把我师父捉在洞中,我师父曾看见公主的模样动静。及至宝象国,倒换关文,那皇帝将公主画影图形,前后访问,因将公主的形影,问我师父沿途可曾看见,我师父遂将公主说起。他故知是他儿女,赐了我等御酒,教我们来拿你,要他公主还宫。此情是实,何尝有甚书信?你要杀就杀了我老沙,不可枉害平人,大亏天理。」
逐句解 Line by line
Then he shouted: "Demon, have done with your insolence! What letter did she ever send, that you should so wrong her and seek to take her life?
Sha’s public version flatly denies the letter — the lie he had resolved upon. 枉他 is "to wrong her, do her injustice"; 甚麼書 takes 甚 as shén (interrogative).
There is a reason we came here to demand the princess of you.
緣故 ("cause, reason") — Sha now builds his innocent alternative account, one that will explain the rescue without any letter.
It is only because you had seized my master and held him in your cave, where he had seen the princess — her face and her bearing.
洞中 takes 中 as zhōng ("within"). The linchpin of Sha’s fiction: it was Tripitaka’s chance sight of the princess in the cave — not any secret message — that set the rescue going.
And when we reached the Precious-Elephant Kingdom to have our travel-rescript endorsed, that king had the princess’s likeness drawn and painted, and made inquiry far and wide; taking up her portrait, he asked my master whether he had seen her anywhere along the road, and my master thereupon spoke of the princess.
寶象國 — the Precious-Elephant Kingdom, the princess’s home realm. 倒換關文 ("to have the travel-rescript endorsed") takes 倒 as dào — a recurring institutional detail of the pilgrimage, the sealing of the monk’s passport at each border. The three coverbs 將 are all jiāng. 畫影圖形 is "to render a likeness in ink and paint."
Learning thus that she was his own child, he bestowed the imperial wine upon us and bade us come to seize you, that his princess might be returned to the palace.
兒女 takes 兒 as ér (offspring-noun, "child"); 還宮 ("returned to the palace") takes 還 as huán. The account is true in nearly every particular — only the letter is suppressed; Sha weaves fact around a single concealment.
This is the truth of the matter — when was there ever any letter?
The rhetorical 何嘗 ("when ever?") caps the denial; 有甚書信 takes 甚 as shén in its interrogative sense.
If you would kill, then kill old Sha and have done — but do not wrongfully harm an innocent, and so grievously offend against the reason of Heaven."
平人 is "an innocent, a person of no offence"; 大虧天理 is "greatly to injure 天理," the moral pattern of Heaven. Sha offers his own life in the princess’s place, appealing past the demon’s cruelty to cosmic justice.
Sha’s speech is a small masterpiece of loyal casuistry: nearly every word is true. The princess really was recognized from Tripitaka’s description at the Precious-Elephant court; the king really did commission the rescue. Only the one fact that would condemn her — the letter — is denied. Sha does not perjure himself wholesale; he constructs an alternative narrative around a single suppression.
The climax offers his own life in exchange (殺了我老沙 … 不可枉害平人) and invokes 天理, the order of Heaven, against the demon’s arbitrary will. The self-sacrifice resolved on inwardly in the previous passage is here made public and unconditional.
The passage completes the ethical arc of the opening sequence and vindicates the princess’s gamble on the monk’s discretion. It also characterizes the demon by contrast: for all his earlier talk of 禮義, it is the bound captive who now speaks for the law of Heaven.