原文 Original text
繁體 Traditional
Reader's edition
含詞賦 With rhapsody
半霧酣戰
The Battle-Verse (I)
大聖神通大,妖魔本事高。大圣神通大,妖魔本事高。
這個橫理生鐵棒,那個斜舉蘸鋼刀。这个横理生铁棒,那个斜举蘸钢刀。
悠悠刀起明霞亮,輕輕棒架彩雲飄。悠悠刀起明霞亮,轻轻棒架彩云飘。
往來護頂翻多次,反覆渾身轉數遭。往来护顶翻多次,反覆浑身转数遭。
一個隨風更面目,一個立地把身搖。一个随风更面目,一个立地把身摇。
那個大睜火眼伸猿臂,這個明幌金睛折虎腰。那个大睁火眼伸猿臂,这个明幌金睛折虎腰。
逐句解 Line by line
大聖神通大,妖魔本事高。
大圣神通大,妖魔本事高。
Great the Sage’s magic power, / high the fiend’s own art and craft.
神通 (shéntōng), magic power. 本事 (běnshì), skill, capability. The opening antithesis matches hero to adversary.
這個橫理生鐵棒,那個斜舉蘸鋼刀。
这个横理生铁棒,那个斜举蘸钢刀。
This one levels crosswise his rod of raw iron; / that one lifts aslant his tempered blade of steel.
生鐵棒 (shēng tiě bàng), a rod of raw iron. 蘸鋼刀 (zhàn gāng dāo), a quench-tempered steel blade; 蘸, to dip, to temper. 那 read nà.
悠悠刀起明霞亮,輕輕棒架彩雲飄。
悠悠刀起明霞亮,轻轻棒架彩云飘。
Slow rises the blade, and bright the sunset-haze gleams; / lightly the staff parries, and coloured clouds drift by.
明霞 (míng xiá), bright rosy haze. 彩雲 (cǎi yún), many-coloured clouds. The weapons’ motion is figured in the play of light and vapour.
往來護頂翻多次,反覆渾身轉數遭。
往来护顶翻多次,反覆浑身转数遭。
To and fro, guarding the crown, they turn many a time; / over and over, whole bodies wheeling round and round.
護頂 (hù dǐng), guarding the head. 轉數遭 (zhuǎn shù zāo), wheeling several rounds; 數 read shù, 轉 read zhuǎn.
一個隨風更面目,一個立地把身搖。
一个随风更面目,一个立地把身摇。
The one, with the wind, alters his very features; / the other, planted firm, gives his frame a shake.
隨風更面目 (suí fēng gēng miànmù), to change one’s features with the wind; 更 here “to alter,” read gēng. 立地 (lì dì), standing firm on the ground.
那個大睜火眼伸猿臂,這個明幌金睛折虎腰。
那个大睁火眼伸猿臂,这个明幌金睛折虎腰。
That one, wide-glaring his fiery eyes, stretches an ape’s long arm; / this one, bright-flashing his golden pupils, bends a tiger’s supple waist.
火眼 (huǒ yǎn) and 金睛 (jīn jīng), the “fiery eyes and golden pupils” that are Wukong’s hallmark. 猿臂 (yuán bì), an ape’s arm. 那 read nà.
總評 Commentary
The battle-rhapsody renders the duel in a sequence of matched couplets, each pairing the combatants clause against clause in the parallel antithesis that is the form’s signature. Blade answers staff, one motion the other, so that the verse itself enacts the give-and-take of the fight; the imagery draws the weapons’ arcs in sunset-haze and drifting cloud, lifting the mountain-top combat into a cosmic register.
The details particular to Wukong — the fiery eyes and golden pupils, the ape’s reaching arm — anchor the stylized verse to the familiar figure of the Monkey King, while the shape-shifting “with the wind” recalls his boundless transformations. The rhapsody is a deliberate ornament, a heightening of the narrative into formal song at the chapter’s martial climax, and the reader is meant to relish its craft as much as its sense.