原文 Original text
繁體 Traditional
Reader's edition
白玉階前
Before the White Jade Steps
卻說八戒、沙僧把兩個孩子拿到寶象國中,往那白玉階前捽下。可憐都摜做個肉餅相似,鮮血迸流,骨骸粉碎。慌得那滿朝多官報道:「不好了,不好了,天上摜下兩個人來了。」八戒厲聲高叫道:「那孩子是黃袍妖精的兒子,被老豬與沙弟拿將來也!」却说八戒、沙僧把两个孩子拿到宝象国中,往那白玉阶前捽下。可怜都掼做个肉饼相似,鲜血迸流,骨骸粉碎。慌得那满朝多官报道:「不好了,不好了,天上掼下两个人来了。」八戒厉声高叫道:「那孩子是黄袍妖精的儿子,被老猪与沙弟拿将来也!」
逐句解 Line by line
卻說八戒、沙僧把兩個孩子拿到寶象國中,往那白玉階前捽下。
却说八戒、沙僧把两个孩子拿到宝象国中,往那白玉阶前捽下。
Now Bajie and Sha Seng carried the two children into the kingdom of Baoxiang, and flung them down before the white jade steps.
寶象國中 (Bǎoxiàng guó zhōng), within the kingdom of Baoxiang; 中 read zhōng. 捽下 (zuó xià), to hurl down. 那 read nà.
可憐都摜做個肉餅相似,鮮血迸流,骨骸粉碎。
可怜都掼做个肉饼相似,鲜血迸流,骨骸粉碎。
Piteously they were both dashed to something like a meat-cake, the fresh blood spurting and the bones ground to powder.
肉餅相似 (ròu bǐng xiāngsì), resembling a flat meat-cake; 相 read xiāng. 鮮血迸流 (xiānxuè bèng liú), the fresh blood gushing out. 骨骸粉碎 (gǔhái fěnsuì), the bones smashed to powder. 都 read dōu.
慌得那滿朝多官報道:「不好了,不好了,天上摜下兩個人來了。」
慌得那满朝多官报道:「不好了,不好了,天上掼下两个人来了。」
In alarm the officers thronging the court cried out, “This is ill, this is ill — two persons have been flung down out of the sky!”
滿朝多官 (mǎn cháo duō guān), the many officers filling the court. 不好了 (bù hǎo le), “this is bad, something is amiss.” 慌得 with 得 as de; 那 read nà.
八戒厲聲高叫道:「那孩子是黃袍妖精的兒子,被老豬與沙弟拿將來也!」
八戒厉声高叫道:「那孩子是黄袍妖精的儿子,被老猪与沙弟拿将来也!」
Bajie cried out in a loud voice, “Those children are the Yellow-Robe fiend’s sons, seized and brought here by old Hog and Brother Sha!”
老豬 (lǎo zhū), “old Hog,” Bajie of himself. 兒子 (érzi), sons; 兒 read ér. 拿將來 (ná jiāng lái), brought here; 將 read jiāng. 那 read nà.
總評 Commentary
The provocation is carried out with a brutality the novel does not soften: the demon’s children, hostages since the cliff-top, are dashed to bloody ruin before the whole assembled court. The grisly particulars — the meat-cake, the spurting blood, the powdered bone — make good Bajie’s earlier misgiving, and the horror is compounded by its public staging, calculated to reach the demon’s ears.
The scene marks the point at which Wukong’s stratagem exacts its full moral cost, and the novel’s dark comedy here shades toward the genuinely disturbing. Bajie’s bellowed announcement, naming the victims and their killers, completes the bait; the reckless cruelty is instrumental — aimed at drawing the fiend home — yet the text lets its ugliness stand, unmitigated, as the price of the rescue set in motion.