責以不孝 Rebuked for Unfiliality
公主道:「我曉得。」行者道:「你女流家,曉得甚麼?」公主道:「我自幼在宮,曾受父母教訓。記得古書云:『五刑之屬三千,而罪莫大於不孝。』」行者道:「你正是個不孝之人。蓋『父兮生我,母兮鞠我。哀哀父母,生我劬勞。』故孝者,百行之原,萬善之本。卻怎麼將身陪伴妖精,更不思念父母?非得不孝之罪,如何?」公主道:「我晓得。」行者道:「你女流家,晓得甚么?」公主道:「我自幼在宫,曾受父母教训。记得古书云:『五刑之属三千,而罪莫大于不孝。』」行者道:「你正是个不孝之人。盖『父兮生我,母兮鞠我。哀哀父母,生我劬劳。』故孝者,百行之原,万善之本。却怎么将身陪伴妖精,更不思念父母?非得不孝之罪,如何?」
逐句解 Line by line
The princess said, "That I know."
Two words, and they walk her into it. (曉得 takes the light de.)
Pilgrim said, "You womenfolk — what should you know?"
女流家, nǚ liú jiā, "womenfolk," women as a class — a dismissive idiom, and deliberately provoking. He wants her to prove she has read something.
The princess said, "From my childhood in the palace I received the teaching of my father and mother.
自幼, zì yòu, from childhood; 教訓, jiào xùn, instruction, moral teaching, with 教 read jiào. She rises to the bait, exactly as intended.
I recall the old books say: 'Of the offences that fall under the Five Punishments there are three thousand, yet no crime is greater than unfiliality.'"
And out comes the text he wanted. 五刑之屬三千, wǔ xíng zhī shǔ sān qiān, "of the offences falling under the Five Punishments there are three thousand," is from the Classic of Filial Piety — 屬 read shǔ, "category." She has just handed Wukong the premise of his argument, and he takes it in the very next line.
Pilgrim said, "Then you are precisely one who is unfilial.
不孝之人, bù xiào zhī rén, an unfilial person. He does not dispute her maxim; he agrees with it and turns it round. This is the oldest debating trick there is, and the Monkey King performs it flawlessly.
For as it is said: 'My father begot me, my mother nurtured me.
Now he raises the stakes with the Book of Songs — and the way he quotes it repays attention. 父兮生我,母兮鞠我, fù xī shēng wǒ, mǔ xī jū wǒ, "my father begot me, my mother nurtured me," opens the fourth stanza of the poem known as 蓼莪, Lù'é; 鞠 here means to rear. The couplet he tacks on to it in the next breath, though, comes from the poem's first stanza. Two non-adjacent couplets welded together, with the later one placed first — which is how vernacular fiction generally quotes the canon: from memory, and for effect.
Alas, alas for my father and mother, who bore me in toil and pain.'
哀哀父母, āi āi fù mǔ, "alas, alas for my father and mother"; 劬勞, qú láo, the grinding toil of bringing up a child. These two lines close the poem's opening stanza, and they carry a weight in Chinese that no translation quite conveys. The 晉書 records that Wáng Póu, whose father had been executed unjustly, could never read as far as this couplet without breaking down — so his students quietly struck 蓼莪 from the syllabus rather than make him teach it. Wukong is quoting the couplet that scholars stopped reading aloud, at a woman who has not seen her parents in thirteen years.
Thus filial devotion is the fountainhead of the hundred conducts and the root of the myriad goods.
百行之原, bǎi xíng zhī yuán, the fountainhead of the hundred conducts — 行 read xíng, conduct. 萬善之本, wàn shàn zhī běn, the root of the myriad goods. Copybook phrasing, delivered like a schoolmaster.
How is it, then, that you give your person to keep company with a fiend, and think no more upon your father and mother?
The accusation itself. 將身, jiāng shēn, to give over one's own person; 陪伴, péi bàn, to keep company with. He is charging her with forgetting her parents, which is not quite fair, and she knows it is not quite unfair either.
If this be not the crime of unfiliality, what is it?"
非得, fēi dé, "if this be not… then what is it?" — with 得 read dé. The rhetorical question that closes a prosecution.
The debate is a fine specimen of the novel's learned comedy, in which the Monkey King, of all creatures, turns preacher of Confucian ethics. The princess cites the Classic of Filial Piety to establish that unfiliality is the gravest of all crimes; Wukong seizes the very maxim, reinforces it with the anguished lines of 蓼莪 from the Book of Songs, and drives it home against her — that in dwelling with the demon she has forgotten the parents to whom the duty is owed.
Notice how he handles the poem. He takes a couplet from its fourth stanza, welds on a couplet from its first, and delivers the join as though it were continuous — the canon quoted the way an argument needs it rather than the way the page has it. The incongruity of the source is the point of the wit, and yet the reasoning is not merely a trick. It works on the princess because it is true to the values she was raised in, and it opens the way to her release by waking the longing for home that captivity had buried. Here the chapter's method shifts from force to persuasion, and Wukong's command of the canonical texts proves as good a weapon as the iron staff.