Canonical Classics ← 第三十六回
第三十六回
心xīn猿yuán正zhèng處chù諸zhū緣yuán伏fú
劈pī破pò傍páng門mén見jiàn月yuè明míng

The Mind-Monkey, Rightly Settled, Subdues All Conditions · Cleaving the Side-Gate, He Sees the Bright Moon

藥名詩
模式 Mode Read Study
拼音 Pinyin Off
字體 Script 繁
原文 Original text 繁體 Traditional Reader's edition 含詞賦 With rhapsody

藥名詩 A Poem of Herb-Names

那nà師shī父fù戰zhàn戰zhàn兢jīng兢jīng,進jìn此cǐ深shēn山shān,心xīn中zhōng悽qī慘cǎn,兜dōu住zhù馬mǎ,叫jiào聲shēng:「悟wù空kōng啊a!我wǒ那nà师shī父fù战zhàn战zhàn兢jīng兢jīng,进jìn此cǐ深shēn山shān,心xīn中zhōng凄qī惨cǎn,兜dōu住zhù马mǎ,叫jiào声shēng:「悟wù空kōng啊a!我wǒ

自zì從cóng益yì智zhì登dēng山shān盟méng,王wáng不bù留liú行xíng送sòng出chū城chéng。自zì从cóng益yì智zhì登dēng山shān盟méng,王wáng不bù留liú行xíng送sòng出chū城chéng。
路lù上shàng相xiāng逢féng三sān棱léng子zǐ,途tú中zhōng催cuī趲zǎn馬mǎ兜dōu鈴líng。路lù上shàng相xiāng逢féng三sān棱léng子zǐ,途tú中zhōng催cuī趱zǎn马mǎ兜dōu铃líng。
尋xún坡pō轉zhuǎn澗jiàn求qiú荊jīng芥jiè,邁mài嶺lǐng登dēng山shān拜bài茯fú苓líng。寻xún坡pō转zhuǎn涧jiàn求qiú荆jīng芥jiè,迈mài岭lǐng登dēng山shān拜bài茯fú苓líng。
防fáng己jǐ一yì身shēn如rú竹zhú瀝lì,茴huí香xiāng何hé日rì拜bài朝cháo廷tíng?」防fáng己jǐ一yì身shēn如rú竹zhú沥lì,茴huí香xiāng何hé日rì拜bài朝cháo廷tíng?」

逐句解 Line by line

那nà師shī父fù戰zhàn戰zhàn兢jīng兢jīng,進jìn此cǐ深shēn山shān,心xīn中zhōng悽qī慘cǎn,兜dōu住zhù馬mǎ,叫jiào聲shēng:「悟wù空kōng啊a! 那nà师shī父fù战zhàn战zhàn兢jīng兢jīng,进jìn此cǐ深shēn山shān,心xīn中zhōng凄qī惨cǎn,兜dōu住zhù马mǎ,叫jiào声shēng:「悟wù空kōng啊a!

The master, trembling and fearful, entered these deep mountains with a desolate heart; he reined in the horse and cried aloud: "Wukong!"

The mood drops. 戰戰兢兢 — trembling and treading carefully — is old enough to come from the 詩經 and is still in use today. 心中 is within the heart, 中 read zhōng; 那 is nà; 兜住馬 is to rein the horse in.

我wǒ 我wǒ

I —

A single character, 我, "I" — and then the sentence turns into verse without a seam. Hold on to it, because what follows is the cleverest thing in the chapter.

自zì從cóng益yì智zhì登dēng山shān盟méng,王wáng不bù留liú行xíng送sòng出chū城chéng。 自zì从cóng益yì智zhì登dēng山shān盟méng,王wáng不bù留liú行xíng送sòng出chū城chéng。

"Since with sharpened wits I swore my mountain-vow, the prince, not staying, saw me off from the city;"

Every line of this poem hides the name of a medicinal herb, and still reads as a plain account of the road. Two in the first line alone: 益智, "sharpened wits," is also bitter-cardamom, 益智仁; and 王不留行, which reads as "the prince does not stay to travel," is cowherb-seed. 行 is xíng and belongs to the herb-name.

路lù上shàng相xiāng逢féng三sān棱léng子zǐ,途tú中zhōng催cuī趲zǎn馬mǎ兜dōu鈴líng。 路lù上shàng相xiāng逢féng三sān棱léng子zǐ,途tú中zhōng催cuī趱zǎn马mǎ兜dōu铃líng。

"on the road I met a three-cornered fellow; along the way I urged on the horse's bell."

The trick continues. 三棱子 is both a sharp-cornered fellow met on the road and the herb bur-reed, 三棱; 馬兜鈴 reads as "the horse's dangling bell" and is birthwort. Around them, ordinary travel words: 相逢, to meet; 途中, on the way, 中 read zhōng; 催趲, to hurry along.

尋xún坡pō轉zhuǎn澗jiàn求qiú荊jīng芥jiè,邁mài嶺lǐng登dēng山shān拜bài茯fú苓líng。 寻xún坡pō转zhuǎn涧jiàn求qiú荆jīng芥jiè,迈mài岭lǐng登dēng山shān拜bài茯fú苓líng。

"Over slopes and across ravines I sought the wild mint; striding ridges and climbing peaks I paid court to the fu-ling fungus."

Here the herbs are things the traveller seeks and salutes. 荊芥 is schizonepeta, a mint; 茯苓 is the tuckahoe fungus that grows on pine roots. The travel-verbs — crossing slopes, climbing ridges — let each name double as an action.

防fáng己jǐ一yì身shēn如rú竹zhú瀝lì,茴huí香xiāng何hé日rì拜bài朝cháo廷tíng?」 防fáng己jǐ一yì身shēn如rú竹zhú沥lì,茴huí香xiāng何hé日rì拜bài朝cháo廷tíng?」

"Guarding myself, my whole frame is like bamboo-sap — and fennel, when will it return to pay court at the throne?"

And the pun that turns the whole performance back into feeling. 防己 reads as "guarding oneself" and is the herb fangji; 竹瀝 is bamboo-sap; and 茴香, fennel, sounds exactly like 回鄉 — to go home. 一身 is the whole body.


總評 Commentary

Tripitaka's lament is a display piece in a recognised sub-genre, the 藥名詩 or "medicine-name poem," in which every line conceals the name of a drug from the pharmacopoeia while still reading as coherent verse. Nine are woven in here — bitter-cardamom, cowherb-seed, bur-reed, birthwort, wild mint, tuckahoe, fangji, bamboo-sap and fennel — and between them they tell a perfectly plausible story of the road: swearing a vow, being seen off from the city, meeting strangers, urging the horse on, crossing ridges in search of the Way.

The wit is not decoration. The last pun — 茴香, fennel, for 回鄉, going home — turns the whole clever performance back into feeling. For all his learning and his sacred errand, the monk is homesick, and "when do I get to go home?" is the emotional ground-note of the chapter. That Wukong will answer this mood not with sympathy but with a brisk lecture on the moon is exactly the novel's refusal to let sentiment settle anywhere for long.