原文 Original text
繁體 Traditional
Reader's edition
洪江遇害
Murder at the Hong River
途路艱苦,曉行夜宿,不覺已到洪江渡口。只見梢子劉洪、李彪二人,撐船到岸迎接。也是光蕊前生合當有此災難,撞著這冤家。光蕊令家僮將行李搬上船去,夫妻正齊齊上船,那劉洪睜眼看見殷小姐面如滿月,眼似秋波,櫻桃小口,綠柳蠻腰,真個有沉魚落雁之容,閉月羞花之貌,陡起狼心。遂與李彪設計,將船撐至沒人煙處。候至夜靜三更,先將家僮殺死,次將光蕊打死,把尸首都推在水裡去了。小姐見他打死了丈夫,也便將身赴水。劉洪一把抱住道:「你若從我,萬事皆休;若不從時,一刀兩斷。」那小姐尋思無計,只得權時應承,順了劉洪。那賊把船渡到南岸,將船付與李彪自管,他就穿了光蕊衣冠,帶了官憑,同小姐往江州上任去了。途路艰苦,晓行夜宿,不觉已到洪江渡口。只见梢子刘洪、李彪二人,撑船到岸迎接。也是光蕊前生合当有此灾难,撞著这冤家。光蕊令家僮将行李搬上船去,夫妻正齐齐上船,那刘洪睁眼看见殷小姐面如满月,眼似秋波,樱桃小口,绿柳蛮腰,真个有沉鱼落雁之容,闭月羞花之貌,陡起狼心。遂与李彪设计,将船撑至没人烟处。候至夜静三更,先将家僮杀死,次将光蕊打死,把尸首都推在水里去了。小姐见他打死了丈夫,也便将身赴水。刘洪一把抱住道:「你若从我,万事皆休;若不从时,一刀两断。」那小姐寻思无计,只得权时应承,顺了刘洪。那贼把船渡到南岸,将船付与李彪自管,他就穿了光蕊衣冠,带了官凭,同小姐往江州上任去了。
逐句解 Line by line
途路艱苦,曉行夜宿,不覺已到洪江渡口。
途路艰苦,晓行夜宿,不觉已到洪江渡口。
The road was hard; travelling by day and resting by night, before they knew it they had reached the Hong River ferry.
曉行夜宿, to travel by day and lodge by night; 渡口, a ferry crossing.
只見梢子劉洪、李彪二人,撐船到岸迎接。
只见梢子刘洪、李彪二人,撑船到岸迎接。
There they saw two boatmen, Liu Hong and Li Biao, who poled their boat to the bank to receive them.
梢子, a boatman (子 neutral, zi); 撐船, to pole a boat.
也是光蕊前生合當有此災難,撞著這冤家。
也是光蕊前生合当有此灾难,撞著这冤家。
It was that Guangrui was fated from a former life to meet this calamity, and so ran straight into these enemies.
合當, 'destined to'; 災難 ('calamity') takes 難 as nàn; 撞著, 'to run into' — 著 here is the resultative zháo. The karmic frame both motivates the disaster and holds it at a distance.
光蕊令家僮將行李搬上船去,夫妻正齊齊上船,
光蕊令家僮将行李搬上船去,夫妻正齐齐上船,
Guangrui had his serving-boy carry the baggage aboard, and just as husband and wife were boarding together,
將 here is the disposal jiāng.
那劉洪睜眼看見殷小姐面如滿月,眼似秋波,櫻桃小口,綠柳蠻腰,
那刘洪睁眼看见殷小姐面如满月,眼似秋波,樱桃小口,绿柳蛮腰,
Liu Hong, opening his eyes, saw that Yin Wenjiao's face was like the full moon, her eyes like autumn ripples, her small mouth a cherry, her supple waist a green willow —
A conventional catalogue of beauty; 眼似秋波 takes 似 as sì. 那 in 那劉洪 is the demonstrative nà.
真個有沉魚落雁之容,閉月羞花之貌,陡起狼心。
真个有沉鱼落雁之容,闭月羞花之貌,陡起狼心。
truly one with the look that 'sinks fish and downs wild geese,' the face that 'hides the moon and shames the flowers' — and a wolf's greed rose up in him.
沉魚落雁 and 閉月羞花 are the standard four-character hyperboles for a beautiful woman; 狼心, a wolf's heart.
遂與李彪設計,將船撐至沒人煙處。
遂与李彪设计,将船撑至没人烟处。
He then laid a plan with Li Biao and poled the boat to a spot without a soul about.
沒人煙處, a place with no sign of habitation.
候至夜靜三更,先將家僮殺死,次將光蕊打死,把尸首都推在水裡去了。
候至夜静三更,先将家僮杀死,次将光蕊打死,把尸首都推在水里去了。
Waiting till the still of the third watch, they first killed the serving-boy, then beat Guangrui to death, and pushed both bodies into the water.
三更, the third night-watch, around midnight; 更 is gēng. 將 is the disposal jiāng, and 都 ('all, both') is dōu.
小姐見他打死了丈夫,也便將身赴水。
小姐见他打死了丈夫,也便将身赴水。
When the lady saw that her husband had been killed, she made to throw herself into the water as well.
赴水, to cast oneself into the water.
劉洪一把抱住道:「你若從我,萬事皆休;若不從時,一刀兩斷。」
刘洪一把抱住道:「你若从我,万事皆休;若不从时,一刀两断。」
Liu Hong seized her in his arms, saying, 'If you will be mine, all is well; but if you will not, then it is the end at a single stroke.'
一刀兩斷, lit. 'one cut, two pieces' — to make a clean and final end.
那小姐尋思無計,只得權時應承,順了劉洪。
那小姐寻思无计,只得权时应承,顺了刘洪。
The lady, finding no recourse, could only consent for the moment and submit to Liu Hong.
只得, 'could only' — 得 here is dé; 應承, to assent — 應 is yìng. She yields 權時, 'for the time being,' carrying her unborn child.
那賊把船渡到南岸,將船付與李彪自管,
那贼把船渡到南岸,将船付与李彪自管,
The villain poled the boat to the south bank and handed it over to Li Biao to keep,
那賊, with demonstrative 那 = nà; 付與, to hand over.
他就穿了光蕊衣冠,帶了官憑,同小姐往江州上任去了。
他就穿了光蕊衣冠,带了官凭,同小姐往江州上任去了。
and himself put on Guangrui's robes and cap, took his official credentials, and went off with the lady to take up the post at Jiangzhou.
衣冠, robes and cap of office (冠 = guān, the noun); 官憑, the credentials of office. Liu Hong now usurps not only Guangrui's wife but his very identity.
總評 Commentary
The catastrophe is swift and brutal: the boatmen Liu Hong and Li Biao, struck by Yin Wenjiao's beauty, murder the serving-boy and Guangrui, dump the bodies in the river, and force the pregnant widow into compliance — Liu Hong taking the dead man's clothes, his credentials, and his post. The novel marks the disaster as karmic — 光蕊前生合當有此災難, 'fated from a former life' — a frame that both motivates and distances the horror. The set-piece catalogue of the lady's beauty (沉魚落雁, 閉月羞花) is conventional, but its placement at the instant of Liu Hong's 狼心 ('wolf's heart') lends it a grim irony. This Chen Guangrui episode is the literary working-out of the old 江流和尚 ('River-Float Monk') legend — an abandoned infant set adrift who grows up to avenge his parents — the material Dudbridge traces behind the novel's Tripitaka backstory.