悟能識菩薩 The Boar Knows the Bodhisattva
他兩個正殺到好處,觀世音在半空中拋下蓮花,隔開鈀、杖。怪物見了心驚,便問:「你是那裡和尚,敢弄甚麼眼前花兒哄我?」木吒道:「我把你個肉眼凡胎的潑物!我是南海菩薩的徒弟。這是我師父拋來的蓮花,你也不認得哩!」那怪道:「南海菩薩,可是掃三災救八難的觀世音麼?」木吒道:「不是他是誰?」怪物撇了釘鈀,納頭下禮道:「老兄,菩薩在那裡?累煩你引見一引見。」木吒仰面指道:「那不是?」怪物朝上磕頭,厲聲高叫道:「菩薩,恕罪,恕罪。」他两个正杀到好处,观世音在半空中抛下莲花,隔开钯、杖。怪物见了心惊,便问:「你是那里和尚,敢弄甚么眼前花儿哄我?」木咤道:「我把你个肉眼凡胎的泼物!我是南海菩萨的徒弟。这是我师父抛来的莲花,你也不认得哩!」那怪道:「南海菩萨,可是扫三灾救八难的观世音么?」木咤道:「不是他是谁?」怪物撇了钉钯,纳头下礼道:「老兄,菩萨在那里?累烦你引见一引见。」木咤仰面指道:「那不是?」怪物朝上磕头,厉声高叫道:「菩萨,恕罪,恕罪。」
逐句解 Line by line
Just as the two of them were at the height of their fight, Guanyin, from mid-air, cast down a lotus flower that parted rake and rod.
好處 is the thick of it, the point where a fight is going well. Dropping a lotus between two weapons is Guanyin's standing way of intervening: she does not strike anyone, she simply gets between them.
The monster, startled at the sight, asked: "What sort of monk are you, that you dare conjure flowers before my eyes to fool me?"
那裡 is a question here, 那 read nǎ.
Moksa said: "You fleshly-eyed, mortal-bodied wretch! I am the disciple of the Bodhisattva of the Southern Sea.
肉眼凡胎 — meat eyes and a common womb. It means someone who cannot recognise a god when one is standing in front of him, which is exactly the boar's problem this minute.
This is the lotus my mistress cast down, and you do not even know it!"
In 不認得 the 不 takes bú before the falling tone of 認, and 得 is the light de.
The monster said: "The Bodhisattva of the Southern Sea — is that the Guanyin who sweeps away the Three Calamities and saves from the Eight Disasters?"
三災 and 八難 are the Three Calamities and the Eight Disasters of Buddhist cosmology; 難 is read nàn. He knows her by her advertised services before he knows her by sight.
Moksa said: "Who else but she?"
In 不是 the 不 takes bú before 是.
The monster flung down his rake, bowed his head in salute, and said: "Elder brother, where is the Bodhisattva? Trouble yourself to present me, I beg."
那裡 is again the question word, 那 read nǎ; in 一引見 the 一 takes yì before the dipping tone of 引. He has gone from swinging a rake to asking for an introduction inside one line.
Moksa, looking up, pointed and said: "Is that not she?"
Here 那 is the pointing one, that, read nà; 不是 takes bú. Moksa answers by pointing upward, and does not bother to get off the sarcasm.
The monster kowtowed upward and cried aloud: "Bodhisattva, forgive my sin, forgive my sin!"
朝上 is facing upward, 朝 read cháo.
As at the river, the fight is broken off by a flower and turns into a recognition scene. The boar's question — is this the Guanyin who sweeps away the Three Calamities and saves from the Eight Disasters? — quotes her advertised titles back at her, and his instant collapse into reverence completes a pattern the reader now knows by heart.
The comedy is already unmistakably Bajie's: the bluster, the flat about-face, the eager request for an introduction from the man he was trying to brain a moment ago. Underneath it runs the same theology as the river-crossing. The demon recognises in Guanyin not an enemy but the one power that rescues, and asking her forgiveness is the first movement of his conversion. As Anthony C. Yu observes, the repetition across both monster-encounters is deliberate: the chapter assembles its band by a single repeatable rite of beating, recognising and submitting.