左右耳一扯 The Ears That Hear All Heaven
行者道:「你怎麼瞞得過我?我這左耳往上一扯,曉得三十三天人說話;我這右耳往下一扯,曉得十代閻王與判官算帳。你今走路把我罵,我豈不聽見?」八戒道:「哥啊,我曉得你賊頭鼠腦的,一定又變作個甚麼東西兒,跟著我聽的。」行者叫:「小的們,選大棍來,先打二十個見面孤拐,再打二十個背花,然後等我使鐵棒與他送行。」八戒慌得磕頭道:「哥哥,千萬看師父面上,饒了我罷。」行者道:「我想那師父好仁義兒哩。」八戒又道:「哥哥,不看師父啊,請看海上菩薩之面,饒了我罷。」行者道:「你怎么瞒得过我?我这左耳往上一扯,晓得三十三天人说话;我这右耳往下一扯,晓得十代阎王与判官算帐。你今走路把我骂,我岂不听见?」八戒道:「哥啊,我晓得你贼头鼠脑的,一定又变作个甚么东西儿,跟着我听的。」行者叫:「小的们,选大棍来,先打二十个见面孤拐,再打二十个背花,然后等我使铁棒与他送行。」八戒慌得磕头道:「哥哥,千万看师父面上,饶了我罢。」行者道:「我想那师父好仁义儿哩。」八戒又道:「哥哥,不看师父啊,请看海上菩萨之面,饶了我罢。」
逐句解 Line by line
Pilgrim said: "How could you hope to hide it from me?
瞞得過, mán de guò, is the can-you-manage-it form: not merely to try to hide a thing but to get it past someone successfully.
When I tug my left ear upward, I can make out the speech of the beings in the Thirty-Three Heavens; when I tug my right ear downward, I can make out the reckonings of the Ten Kings of the Underworld and their judges.
Here is the boast everybody remembers. 三十三天, sān shí sān tiān, is Trāyastriṃśa, the heaven of thirty-three gods on the summit of Mount Sumeru; 十代閻王, shí dài Yán wáng, are the Ten Kings of the underworld, and a 判官, pàn guān, is the infernal magistrate who keeps their ledgers. Wukong can eavesdrop on the top and the bottom of the universe by tugging an ear — and here he is using it to catch a pig grumbling on a road.
Just now, as you walked along cursing me, how should I not have heard?"
豈不, qǐ bù, is the rhetorical "how could I not."
Bajie said: "Brother, I knew that, sly and furtive as you are, you'd surely change into some little thing or other and come tagging behind me to listen."
Bajie's counter-accusation is affectionate abuse. 賊頭鼠腦, zéi tóu shǔ nǎo, is "a thief's head and a rat's brains" — shifty, sneaking, forever round a corner. 東西兒, dōng xi'r, is colloquial "some little thing or other," with the 兒 suffix curling the end of the word; 跟著, gēn zhe, has the "-ing" sense, tagging along behind.
Pilgrim called out: "You little ones — fetch the big cudgels! First give him twenty across the shins to greet him, then twenty flowering welts across his back, and after that let me take my iron rod and give him a send-off."
The threatened punishment is delivered in courthouse slang. 見面孤拐, jiàn miàn gū guǎi, is a crack across the shin-bone by way of hello; 背花, bèi huā, "back-flowers," are the welts a flogging raises — the blossom is the bruise. And 送行, sòng xíng, "to see someone off," is being applied to a beating that would send him off for good.
Bajie, flustered, knocked his head on the ground and said: "Brother, by all means think of our master's face — spare me, I beg you."
慌得, huāng de, "so flustered that"; 千萬, qiān wàn, literally "a thousand times ten thousand," which is how Chinese says "whatever you do, please."
Pilgrim said: "I fancy that master of ours is a fine, righteous soul indeed."
好仁義兒, hǎo rén yì'r, "quite the righteous soul" — delivered with a sideways look. 哩, li, is a colloquial tag hung on the end of the sentence, about the weight of a shrug.
Bajie said again: "Brother, if not for our master's sake, then for the sake of the Bodhisattva of the sea — spare me, I beg you."
海上菩薩, hǎi shàng pú sà, is Guanyin, whose island of Potalaka lies in the Southern Sea. Bajie has climbed from the master's name to the Bodhisattva's — and the next passage shows that the second rung holds.
Wukong's boast about his ears is one of the novel's small marvels of characterisation. His powers are cosmic — he can listen in on the Thirty-Three Heavens and the Ten Courts of the dead by pulling on an ear — and he deploys them here in a squabble over whether a pig muttered an insult on the road. The grandeur and the pettiness sit side by side, which is the essential comedy of Wukong in exile.
The flogging vocabulary (見面孤拐, 背花) comes straight from the argot of the courthouse and the opera stage, and the promised "send-off" with the iron rod is mock-ceremonious cruelty. Against it Bajie plays his one reliable card twice over — first the master's face, then the Bodhisattva — climbing a ladder of names he knows Wukong cannot refuse.