變女把盞 The Dragon in Disguise
好龍王,他就搖身一變,也變做個宮娥,真個身體輕盈,儀容嬌媚。忙移步走入裡面,對妖魔道聲萬福:「駙馬啊,你莫傷我性命,我來替你把盞。」那妖道:「斟酒來。」小龍接過壺來,將酒斟在他盞中,酒比鍾高出三五分來,更不漫出。這是小龍使的「逼水法」。那怪見了不識,心中喜道:「你有這般手段?」小龍道:「還斟得有幾分高哩。」那怪道:「再斟上,再斟上。」他舉著壺,只情斟,那酒只情高,就如十三層寶塔一般,尖尖滿滿,更不漫出些須。好龙王,他就摇身一变,也变做个宫娥,真个身体轻盈,仪容娇媚。忙移步走入里面,对妖魔道声万福:「驸马啊,你莫伤我性命,我来替你把盏。」那妖道:「斟酒来。」小龙接过壶来,将酒斟在他盏中,酒比钟高出三五分来,更不漫出。这是小龙使的「逼水法」。那怪见了不识,心中喜道:「你有这般手段?」小龙道:「还斟得有几分高哩。」那怪道:「再斟上,再斟上。」他举著壶,只情斟,那酒只情高,就如十三层宝塔一般,尖尖满满,更不漫出些须。
逐句解 Line by line
A fine Dragon-King! He gave his body a shake and transformed — becoming a palace maid too, truly light and lissome of body, tender and winning of mien.
The dragon adopts the demon’s own weapon, disguise, taking on the very shape (a palace maid) that the feast has emptied. The transformation-formula 搖身一變 echoes the demon’s earlier one.
With quick steps she went inside and made the demon a curtsy of greeting: "Consort, do not harm my life; I have come to hold the cup for you."
道聲萬福 is to make the "ten-thousand blessings" greeting, a woman’s formal curtsy; 把盞 is "to hold and pour the wine-cup." The disguised dragon plays the frightened, ingratiating maid to perfection.
The demon said: "Pour the wine, then."
那 is deictic nà. The demon, unsuspecting, accepts the "maid’s" service.
The little dragon took the pot and poured the wine into his cup, and the wine stood three to five fēn above the brim, yet did not spill over.
In 將酒斟 the coverb 將 is jiāng; 盞中 takes 中 as zhōng. 分 (fēn) is here a small unit of height, one-tenth of a 寸 — the wine mounds a few fēn above the cup’s rim without overflowing.
This was the "Water-Forcing Art" the little dragon employed.
逼水法 ("the Water-Forcing Method") is a magic fit for a water-deity: it heaps liquid impossibly high. The dragon turns his native element into a courtly marvel to disarm the demon.
The demon saw it but did not understand, and thought with delight: "You have such a skill?"
那 is deictic nà; 心中 takes 中 as zhōng. The demon, charmed by the trick, is drawn further in.
The little dragon said: "I can pour it a good few fēn higher yet."
還斟得 takes 還 as hái ("yet, still") and 得 as de; 幾分, "a few fēn." The dragon baits the demon’s wonder with the promise of more.
The demon said: "Pour on, pour on!"
那 is deictic nà. The demon’s greedy delight is exactly what the disguise was meant to provoke.
She raised the pot and poured without stint, and the wine rose ever higher, like a thirteen-storied treasure-pagoda, peaked and brimming, yet not the least drop spilled over.
In 舉著壺 the durative 著 is zhe; 那酒 takes 那 as deictic nà. 十三層寶塔 ("thirteen-storied treasure-pagoda") and 尖尖滿滿 ("peaked and full") render the marvel; 些須 is "the least bit."
The dragon meets the demon on the demon’s own ground — disguise — but with a crucial difference of purpose: where the demon’s transformation served predation, the dragon’s serves rescue. Taking the shape of a palace maid, the very kind of figure the demon has just slaughtered, he turns the scene of the atrocity into the setting of the counter-attack.
The 逼水法, the water-stacking trick, is beautifully apt: the dragon is a water-deity, and here he makes his element perform a courtly wonder — wine heaped into a swaying pagoda that will not spill. The marvel is at once genuine magic and pure stratagem, calculated to charm the demon’s guard entirely down.
The scene is built as a slow closing of the trap. Each cup poured higher draws the demon’s delighted attention, and the reader senses the design beneath the spectacle: the "maid’s" charm is the bait by which, in the next passage, the demon will be induced to give up his own sword.