滿滿一缽 A Bowlful of Crusted Rice
好獃子,捻著訣,念個咒,把身搖了七八搖,變作一個食癆病黃胖和尚,口裡哼哼唧唧的挨近門前,叫道:「施主,廚中有剩飯,路上有饑人。貧僧是東土來,往西天取經的。我師父在路饑渴了,家中有鍋巴冷飯,千萬化些兒救口。」原來那家子男人不在,都去插秧種穀去了。只有兩個女人在家,正才煮了午飯,盛起兩盆,卻收拾送下田去,鍋裡還有些飯與鍋巴,未曾盛了。那女人見他這等病容,卻又說東土往西天去的話,只恐他是病昏了胡說,又怕跌倒,死在門首。只得哄哄翕翕,將些剩飯鍋巴,滿滿的與了一缽。獃子拿轉來,現了本像,徑回舊路。好呆子,捻着诀,念个咒,把身摇了七八摇,变作一个食痨病黄胖和尚,口里哼哼唧唧的挨近门前,叫道:「施主,厨中有剩饭,路上有饥人。贫僧是东土来,往西天取经的。我师父在路饥渴了,家中有锅巴冷饭,千万化些儿救口。」原来那家子男人不在,都去插秧种谷去了。只有两个女人在家,正才煮了午饭,盛起两盆,却收拾送下田去,锅里还有些饭与锅巴,未曾盛了。那女人见他这等病容,却又说东土往西天去的话,只恐他是病昏了胡说,又怕跌倒,死在门首。只得哄哄翕翕,将些剩饭锅巴,满满的与了一钵。呆子拿转来,现了本像,径回旧路。
逐句解 Line by line
Fine Idiot! He pinched the finger-sign, recited a spell, gave his body seven or eight shakes, and turned into a monk sallow and bloated with a wasting sickness; and moaning and whimpering he edged up to the door and called: “Benefactor, there is rice left over in your kitchen, and there is a hungry man on the road.
The disguise, in seven or eight shakes. 哼哼唧唧 is a sound-word -- moaning and whimpering -- and sound-words keep their ordinary readings here, since no dictionary records a special one; the 的 after it is the 的 written where a modern text would write 地, turning the phrase into a description of how he moves. 挨近 takes 挨 at its fixed āi, to edge up to. 捻著 is the held-in-progress 著, zhe -- the finger-sign pinched and kept pinched.
“This poor monk has come from the Land of the East and goes west to fetch scriptures.
貧僧 -- "this poor monk" -- is the standard humble first person for a monk, and it is Tripitaka's own formula. Bajie is wearing somebody else's face and speaking in his master's voice.
“My master is famished and parched on the road. If there is crusted rice or cold rice in the house, I beg you spare a little to save a mouth.”
鍋巴 is the crust of scorched rice stuck to the bottom of the pot: the poorest thing in any kitchen, which is exactly what makes the request modest enough to be granted. 些兒 takes the ending er.
As it happened the men of that household were away; they had all gone off to transplant the seedlings and sow the grain.
The household is sketched in one clause and every stroke is practical. 種穀 takes 種 as the verb "to sow", zhòng, not the noun zhǒng meaning seed or kind that an automatic reading supplies. 那家子 takes 子 as the worn-down ending, zi.
There were only two women at home. They had just cooked the midday meal and ladled out two basins of it, and were making ready to carry it down to the fields; there was still some rice and some crust in the pot that had not yet been ladled out.
盛 twice, both chéng -- to ladle or fill into a vessel -- against an automatic reading that supplies the shèng of "abundant" at both. The character sat in no guard list until this stretch and was caught by hand. It genuinely does take shèng twice more later in the chapter, so both readings are licensed and the sense has to decide each time.
The women saw how sick he looked, and heard him talking besides of coming from the East and going to the West, and feared he might be raving in a fever, or fall down and die at their door.
Their reasoning is given plainly and it is not piety. 跌倒 is the toppling 倒, dǎo. 病昏了胡說 -- raving in a fever -- is what they think they are hearing; what they are afraid of is a body on the doorstep.
So they bustled and fussed, took the leftover rice and crust, and gave him a brimming bowlful.
哄哄翕翕 is a sound-word for flustered bustling and keeps its ordinary readings. 滿滿的 is again 的 standing in for 地, describing how the bowl is filled. 只得 takes 得 at dé: they give because there is no comfortable way not to.
The Idiot carried it back, resumed his own shape, and went straight along the old road.
現了本像 undoes the whole transformation in four characters, with no comment at all. The disguise was a tool and it is dropped the instant it has worked.
This is one of the small domestic scenes the novel does better than almost anything else. The household is drawn in a few strokes and every stroke is practical: the men are out transplanting rice, the women have cooked and portioned the midday meal, the pot is not yet empty. Nothing supernatural happens and the passage is the better for it.
The women's reasoning is the sharpest touch. They do not give out of piety, and the text says so -- they think the sick monk may be delirious, and they are afraid he will collapse and die at their door. The charity is real and the motive is self-protective, and the novel records both without a word of comment.
The bargain is worth totting up. Bajie asked for the poorest thing in the kitchen, in a borrowed body, in his master's own humble phrasing, and got a brimming bowl of it. Every part of the errand works. Hold that against the cheerfulness of the passage that follows, because the man it was all done for has been lying face down in the road since before Bajie knocked.