假哭賺妖 The Feigned Weeping
卻說那怪徑回洞口。行者見他來時,設法哄他,把眼擠了一擠,撲簌簌淚如雨落,兒天兒地的跌腳搥胸,於此洞裡嚎啕痛哭。那怪一時間那裡認得,上前摟住道:「渾家,你有何事,這般煩惱?」那大聖編成的鬼話,捏出的虛詞,淚汪汪的告道:「郎君啊,常言道:『男子少妻財沒主,婦女無夫身落空。』却说那怪径回洞口。行者见他来时,设法哄他,把眼挤了一挤,扑簌簌泪如雨落,儿天儿地的跌脚搥胸,于此洞里嚎啕痛哭。那怪一时间那里认得,上前搂住道:「浑家,你有何事,这般烦恼?」那大圣编成的鬼话,捏出的虚词,泪汪汪的告道:「郎君啊,常言道:『男子少妻财没主,妇女无夫身落空。』
逐句解 Line by line
Now the fiend went straight back to the mouth of the cave.
徑回 (jìng huí), to return straightway. 那 read nà.
Pilgrim, seeing him come, contrived to gull him: squeezing his eyes to a squint, he let the tears fall pattering like rain, and crying ‘O my heaven, O my earth!’ stamped his feet and beat his breast, wailing and sobbing there within the cave.
哄 (hǒng), to gull, to deceive by cajolery. 撲簌簌 (pū sù sù), of tears falling fast. 兒天兒地 (ér tiān ér dì), an exclamatory wail, “O heaven, O earth”; 兒 here a cry-particle, read ér. 嚎啕痛哭 (háotáo tòngkū), to weep and wail bitterly.
The fiend, for the moment, could in no way tell the difference; he came forward and clasped him, saying, “Wife, what is the matter, that you are so distressed?”
一時間 (yìshí jiān), for the moment. 那裡認得 (nǎlǐ rèn de), could by no means recognize; 那 here read nǎ, 得 read de. 摟住 (lǒu zhù), to embrace. The deictic 那怪 reads nà.
The Great Sage, with his ghost-tale trumped up and his lie confected, told him, all awash in tears, “My lord — as the old saying has it: ‘A man who lacks a wife has no master for his wealth; a woman without a husband has her life set at naught.’
編成鬼話 (biān chéng guǐ huà), to trump up a false tale. 捏出虛詞 (niē chū xū cí), to fabricate empty words. 男子少妻財沒主 (nán zǐ shǎo qī cái méi zhǔ), a proverb: a man without a wife has none to keep his household. 那 read nà.
The deception scene is the comic centre of the chapter, and the novel plays it with relish: the Great Sage, in the princess’s form, works himself into a virtuoso display of grief — the squinted eyes, the pattering tears, the wails to heaven and earth, the stamping and breast-beating — while the demon, wholly taken in, embraces his supposed wife with tender concern. The irony is complete and savoured at leisure, the monster consoling the very enemy who has come to destroy him.
Wukong’s theatrical lament is prefaced by a folk proverb on the mutual dependence of husband and wife, deployed with straight-faced cunning to lend his fabricated distress the ring of a wife’s true sorrow. The narrator’s frank labels for the performance — “ghost-tale trumped up,” “lie confected” — let the reader in on the artifice at every step, so that the pleasure lies not in suspense but in watching the trap close by inches.