第六十七回 · 盡飽一餐 A Full Meal Eaten — Journey to the West

原文 Original text 繁體 Traditional Reader's edition

盡飽一餐 A Full Meal Eaten

老lǎo者zhě便biàn扯chě椅yǐ安ān坐zuò待dài茶chá，又yòu叫jiào辦bàn飯fàn。少shǎo頃qǐng，移yí過guò桌zhuō子zi，擺bǎi著zhe許xǔ多duō麵miàn觔jīn、豆dòu腐fǔ、芋yù苗miáo、蘿luó白bái、辣là芥jiè、蔓mán菁jīng、香xiāng稻dào米mǐ飯fàn、醋cù燒shāo葵kuí湯tāng，師shī徒tú們men盡jìn飽bǎo一yì餐cān。老lǎo者zhě便biàn扯chě椅yǐ安ān坐zuò待dài茶chá，又yòu叫jiào办bàn饭fàn。少shǎo顷qǐng，移yí过guò桌zhuō子zi，摆bǎi着zhe许xǔ多duō面miàn觔jīn、豆dòu腐fǔ、芋yù苗miáo、萝luó白bái、辣là芥jiè、蔓mán菁jīng、香xiāng稻dào米mǐ饭fàn、醋cù烧shāo葵kuí汤tāng，师shī徒tú们men尽jìn饱bǎo一yì餐cān。

逐句解 Line by line

老lǎo者zhě便biàn扯chě椅yǐ安ān坐zuò待dài茶chá，又yòu叫jiào辦bàn飯fàn。老lǎo者zhě便biàn扯chě椅yǐ安ān坐zuò待dài茶chá，又yòu叫jiào办bàn饭fàn。

The old man pulled up chairs, settled them down, served tea, and then called for food to be made ready.

Four verbs in a row with nothing joining them, which is how this book handles hospitality once the haggling is done.

少shǎo頃qǐng，移yí過guò桌zhuō子zi，擺bǎi著zhe許xǔ多duō麵miàn觔jīn、豆dòu腐fǔ、芋yù苗miáo、蘿luó白bái、辣là芥jiè、蔓mán菁jīng、香xiāng稻dào米mǐ飯fàn、醋cù燒shāo葵kuí湯tāng，師shī徒tú們men盡jìn飽bǎo一yì餐cān。少shǎo顷qǐng，移yí过guò桌zhuō子zi，摆bǎi着zhe许xǔ多duō面miàn觔jīn、豆dòu腐fǔ、芋yù苗miáo、萝luó白bái、辣là芥jiè、蔓mán菁jīng、香xiāng稻dào米mǐ饭fàn、醋cù烧shāo葵kuí汤tāng，师shī徒tú们men尽jìn饱bǎo一yì餐cān。

Before long a table was brought over and laid with wheat gluten and beancurd, taro shoots and radish, hot mustard greens and turnip, fragrant rice and a vinegared mallow soup; and master and disciples ate their fill.

蔓 is mán in this compound and nowhere else: the 1716 dictionary gives a second spelling for the character and names the vegetable outright in the gloss — turnip. 蘿白 is written with the character for "white" where the usual second character is a different one; the edition is followed as printed. 著 is the marker zhe again.

總評 Commentary

Eight dishes are named and not one of them has meat in it, which is the reason for listing them: the household has worked out what its guests are and catered accordingly, without being asked.

This is the third catalogue in quick succession — the old man's clothes, Pilgrim's face, and now the table — and the technique is identical each time. Items in sequence, no verbs, no judgement. Here the effect is abundance rather than portraiture, and it sets up the question Eight Rules is about to ask.