不殺你 I Will Not Kill You
只見角木蛟把那辟暑兒倒趕回來，只撞著井宿。摩昂帥龜鱉黿鼉，撒開簸箕陣圍住。那怪只教：「饒命，饒命。」井木犴走近前，一把揪住耳朵，奪了他的刀，叫道：「不殺你，不殺你，拿與孫大聖發落去來。」當即倒干戈，復至水晶宮外，報道：「都捉來也。」行者見一個斷了頭，血淋淋的，倒在地下。一個被井木犴揪著耳朵，推跪在地。只见角木蛟把那辟暑儿倒赶回来，只撞着井宿。摩昂帅龟鳖鼋鼍，撒开簸箕阵围住。那怪只教：「饶命，饶命。」井木犴走近前，一把揪住耳朵，夺了他的刀，叫道：「不杀你，不杀你，拿与孙大圣发落去来。」当即倒干戈，复至水晶宫外，报道：「都捉来也。」行者见一个断了头，血淋淋的，倒在地下。一个被井木犴揪着耳朵，推跪在地。
逐句解 Line by line
Then they saw the Horn Wood Dragon driving Heat-Averting back the other way, and he ran straight into the Well lodge.
倒趕 has 倒 as dào here, meaning reversed or the other way about — the only site in the chapter where that character takes that reading rather than the dǎo of falling over. And 撞著 is the achieved zháo: contact made, running into somebody.
Mo'ang led his turtles and terrapins, soft-shells and river-lizards, and opened out a winnowing-basket formation to hem him in.
簸箕陣 is a formation shaped like a winnowing fan — open at one end, closing on three sides. Chinese military writing names its formations after farm tools and household objects, and this novel likes that habit because it lets a sea battle be described in the vocabulary of a threshing floor.
That fiend could only cry, "Spare my life! Spare my life!"
Four characters, doubled, and the last thing a Great King of the Dark-Blossom Cave says in this chapter.
The Well Wood Hound came up close, took hold of one ear, wrested away his sabre, and called out, "I will not kill you, I will not kill you — I shall take you to the Great Sage Sun to be dealt with."
The hound that ate the last one is careful with this one. 揪住耳朵 — took him by the ear, which is how you lead an animal or a naughty child, and either reading is right here. 發落 is to dispose of a case, a term from the courts: to hand somebody over for sentencing.
There and then they laid down their arms and came back to the outside of the water-crystal palace, and reported, "We have taken them all."
倒干戈 — to lay down shield and spear — is an old phrase for the end of fighting, and 倒 is dǎo there, to put down. Two lines after the same character meant the opposite direction.
Pilgrim saw one of them with his head off, dripping blood, lying on the ground.
Sixteen characters, and the novel does not soften them. 血淋淋 — dripping with blood — is a plain descriptive word still in daily use. This was a Great King three passages ago.
One had been taken by the ear by the Well Wood Hound and shoved down onto his knees.
推跪在地 — pushed to kneel on the ground. The posture is the one a prisoner takes in a courtroom, and the chapter is about to take him to one.
The reckoning laid out in three bodies. One dead with his head off, dripping on the sea floor. One kneeling with a hound holding his ear. One trussed at the hooves with a ring through his nose. The novel puts all three in front of Pilgrim in consecutive lines and lets the arrangement do the work.
The middle one is the interesting case. He begged for his life and got it — from the very star-god who ate his brother a page earlier. The Well Wood Hound is not being merciful; he is following an order he failed to follow the first time, and he says it twice while he does it. The novel offers no comment on the difference between the two outcomes.
One character worth watching across these seven lines is 倒. It appears meaning driven back the other way, and again a few lines later meaning to lay down arms, and it took a third sense two passages ago when a demon was tipped over onto the ground. Same written form, three different words, and the sounds keep them apart.