The Journey to the West, Revised Edition, Volume 3

by Unknown

5. Brigades: wei , translated by Hucker, p. 565, as “Guards.” According to the Ming Shi , each unit after 1374 had 5,600 soliders, divided equally among five battalions.

  6. Thousand-Character Treatise: Qianzi wen , a four-syallabic rhymed composition of 250 sentences, attributed to Zhou Xingsi of the Liang Dynasty.

  7. Externally . . . instruction: Wai shou fuxun . As it is clear from the sentence itself, this has nothing to do with surnames. The queen is quoting a passage from the Treatise giving household instructions for family members—likely for women in this passage—from higher classes: “Harmoniously related to those above and below, the husband will sing and the wife will follow. Externally [i.e., beyond the private quarters] one learns from the tutor’s instruction, and within [the private quarters] one observes maternal propriety , , , .”

  8. Great King Peacock: . According to FXDCD, p. 372a, this Bodhisattva has one head and four arms and usually rides a peacock. Other scripture lore identifies the peacock with Śākyamuni’s mother.

  9. The form of this lyric is interesting because it seems like an experimental version of the tune “Moon Over West River.” There are two extra lines of parallel length tagged on in front and two similar lines added at the end, with three extra syllables structured in the penultimate line. The rhyme scheme in Chinese comports with the lyric’s conventional requirements.

  10. Zhang Ziyang: . Ziyang is the hao or “external name (i.e., one frequently bestowed by friends)” of Zhang Boduan, the founding Patriarch of the Southern Order of Quanzhen Daoism. Texts authored by him and preserved in the Daoist Canon include the Wuzhen pian and the Jindan sibaizi that have been quoted in the novel more than once. See the discussion of Zhang in the introduction, JW 1, and various footnotes throughout the narrative.

  11. Despite the vast amount of religious ideas and practices, both foreign and domestic, that pervades the novel’s complex cosmos, certain values dear to premodern China’s dominant culture are consistently affirmed. Animals, and even plants and non-sentient elements like stones and rivers, may be aroused to seek enlightenment and spiritual elevation, but humans are not allowed to mate with nonhumans—that is, animals or demons. Thus the two boys that the princess bore when married to the Wood-Wolf Star (despite his exalted preincarnate status in Heaven) were slaughtered by Eight Rules and Sha Monk without recrimination. See JW, chapter 31. In chapter 39, the green-haired lion that was the Bodhisattva Mañjuśrī’s beast of burden was a gelded one, and thus he could not copulate with the unknowing human queen.

  CHAPTER SEVENTY-TWO

  1. “When there’s work . . . do it”: a quotation from Analects 2. 8.

  2. A ball filled with air: though it cannot be dated with absolute certainty, it seems likely that the practice of kicking balls filled with air was already known in the latter part of the seventh century (see Xu Jian , Chuxueji ). The few technical terms in traditional Chinese “football” or “soccer” (cuju ) are not easy to define conclusively. I have consulted the Dongjing menhua lu zhu , annotated by Deng Zhicheng (Shanghai, 1959), pp. 141–44; pertinent sections on “cuju” in the Gu-jin tushu jicheng (Shanghai, 1889), j 802, vol. 59: 1062–71; and articles in Zhongguo tiyushi cankao ziliao , 5 vols. (Beijing, 1957–58). For the Second Edition of JW, Dr. Yuan Zhou’s assistance has provided some further clarification. It is now clear that the Qing version of the Sui Tang yanyi , compiled by Chu Renhuo (fl. 1675–1695), not only has made use of XYJ as one of the sources for his novel, but in chapter 17, an extensive episode on playing football by both men and women has, in fact, adapted for its own use part of the longer XYJ poem and a second poem on beautiful women playing the game. See Sui Tang yanyi, 2 vols. (Taibei, 1969), 1: 124–130. The 1659 edition, published by Xixue caotang (rpt. Shanghai, 1990 as vols. 14–16 of the Guben Xiaoshuo jicheng), contains the same two poems. The Qing novel’s descriptions also provide suggestive ways of construing the meaning of the technical terms in kicking, passing, and scoring in the game. For criticism of the Qing novel, see Robert E. Hegel, The Novel in Seventeenth-Century China (New York, 1981), pp. 190–208; “Sui Tang yen-i,” in IC, pp. 733–35. On the Internet, a recent essay elucidates the special meaning of “hai (generally, sea or ocean)” in the Huai’an dialect to mean “cessation or stoppage .” The phrase “jiao hai ” ending the poem may thus mean to cry for the stopping of the game or at least a pause. See “Xiyouji zhuzuoquan zhi mi (2) (2),” http://vip.book.sina.com.cn/book/chapter_54421–39350.html.

  3. “A pearl . . . head”: Foding zhu , one of the many terms descriptive of the game’s stylistic movements; in this case, it may refer to heading the ball. See Gujin tushu, 59: 1071.

  4. “Knees bent . . . pass”: this is my conjectured translation of the line, . The first term, ban deng, means literally “grasping or climbing a bench” or squatting, all acts of bending the knees. Fan in the novelistic texts and in manuals describing the game, suggest consistently the act of passing the ball.

  5. “Gold fishes beached on the sand”: the fishes, if still alive, may flop or jump constantly, like the player’s movement. The word mai I take as a pun with a double meaning. It may connote “to sell” (its usual sense), but it may also be an abbreviation for mainong , to display, to exhibit, and to flaunt.

  6. “Kick toward the gate”: unlike the earlier practice in Tang China, when the game resembles much more modern Western soccer in that two “goals” are used at opposite ends of a field, the practice since the time of the Yuan to the Qing is to have a single “goal” or “gate” decorated with ornaments, set either in the middle of the field separating the two opposing teams or in front of an erected platform for the audience of officials and upper classes (see Sui Tang yanyi, 1: 126). The goal consists of a tall net on top of which is a hole; the team scores when the ball is kicked through the hole. See Fan Sheng, “Wo guo gudai zuqiu gaishu ” in Zhongguo tiyushi 1: 54–58, for discussion and illustration.

  7. Poem: with only minor variations and a different last line, this poem is also attributed to the early Qing novelist Li Yu (1611–80). Li’s poem reads: “, , , , , , , [].” It allegedly appears on p. 21 of the “Meiren qiantai shi .” See Zheng Shurong , “Woguo gudai ti nyuzi zuqiu yundong ,” in Zhongguo tiyushi 4:40.

  8. Hour of the Serpent: that is, 9:00–11:00 a.m.

  9. Ten suns: for the myth of Hou Yi, the Great Aracher, shooting down nine of the ten suns with his arrows, see Huai’nanzi , j 8; the “T’ien Wen” section in David Hawkes, Ch’u Tz’ǔ: The Songs of the South (Oxford, 1959), p. 49.

  10. This is a quotation from the Record of Rites. See chapter 12 on “Rules of the Private Quarters ,” in Liji , j 28 in SSJZS 2: 1471a. It is also from the same chapter of this canonical classic that Eight Rules quoted in JW, chapter 67.

  CHAPTER SEVENTY-THREE

  1. Tiantai cave: an allusion to the story of Lin Chen and Ruan Zhao , who went into Mount Tiantai for herbs and nearly died of starvation after they lost their way for almost two weeks. They were later met by beautiful immmortal girls with whom they stayed for half a year. When they finally returned to their home region, they discovered that seven generations had already elapsed. See TPYL, j 41, 1: 194b–95a.

  2. Yellow sprout, white snow: huangya baixue are stock mtaphors for alchemical materials. Most commentators of a canonical text like the Cantong qi , according to Needham in SCC 5/3: 67, agree “that the ‘yellow sprout’ (huang-ya) refers to metallic lead smelted from its ore, but Wu and Davis [Wu Lu-Chhiang and T.L. Davis, trans. ‘An Ancient Chinese Treatise on Alchemy entitled Tshan Thung Chhi, written by Wei Po-Yang about + 142.” ISIS, vol. 18 (1932)], on the basis of the words Yin huo pai huang ya chhien , take it to be litharge.” White snow is usually taken to be mercuric power.

  3. “Feathered one”: yushi . This figure of an immortal or transcendent being covered with feathers on shoulders and the back is a venerable one in Daoist writings, visual art, and iconography in tombs and ornaments dating back to at least the Warring States era. Because the word “yu” can mea
n “feather” or “wing” (short for yuyi ), the translation of yuren is sometimes rendered as “winged man.” This last term may well be one of the earliest nomenclatures of an immortal or transcendent, xian 仙. For an illustration of the “Winged Figure,” see Little, p. 149. The term, according to The Songs of the South, is clearly linked to the (already considered trite or old) condition of “deathlessness” thought to be induced by alchemy. See Chuci buzhu (SBBY), j 5 (“Yuanyou”), 5a: “, ; I met the Feathered Men on the Hill of Cinnabar; / I tarried in the ancient land of Immortality.” English version from The Songs of the South, trans. David Hawkes (Harmondsworth, 1985), p. 196. The figure’s name apparently has given rise to such other terms as “feathered transformation, yuhua ,” a metaphor for death or transcendent ascension, and “feathered master, yushi ” and “feathered sojourner, yuke ,” are common names for a Daoist priest. See also SCC 2: 13942; 5/2: 93–106; and Campany, p. 232 for “the bird motif” in depicting such transcendent beings.

  4. Pralambā: Actually the name of a demon or asura killed by Kṛṣṇa, according to the Mahābhārata. For a brief account of the story, see John Dowson, A Classical Dictionary of Hindu Mythology and Religion, Geography, History, and Literature, 11th ed. (London, 1968), p. 240; Sukmari Bhattacharji, The Indian Theogony: A Comparative Study of Indian Mythology from the “Vedas” to the “Purāṇas” (Cambridge, England, 1970), p. 302.

  5. Old Dame of Li Mountain: For the previous appearance of this figure in the novel, see JW 1, chapter 23.

  6. Three Vehicles: see JW 1, chapter 1, note 2; and JW 3, chapter 56, note 2.

  7. Four Great Truths: Sidi . For the meaning, see JW 2, chapter 26, note 13.

  CHAPTER SEVENTY-FOUR

  1. This is a lyric written to the tune of “The Partridge Sky.”

  2. Middle Land: Zhongtu , another name for China.

  3. Songs of Chu: . When the forces of Xiang Yu , contender for the throne of Han, were surrounded by the armies of Liu Bang , his chief rival, during the final stage of their struggle, the latter sang the songs of Chu, the native region of Xiang Yu’s men. The songs so moved them to melancholy that they gave up fighting and scattered. See the Shiji , j 7, in Ershiwushi 1: 0032b.

  CHAPTER SEVENTY-FIVE

  1. Leviathan: this is the gun , which according to the Zhuangzi , book 1, is capable of changing into the roc.

  2. Serpent Coil Mountain: see JW 1, chapter 15.

  3. Chop suey: the Chinese term is zasui , meaning, literally, miscellaneous things chopped up. In Cantonese cuisine, the dish is often prepared with slices of liver and gizzard (chicken or duck) stir-fried, quite different from the fare served in modern American restaurants. Popular tradition also ascribes the invention of the dish to Li Hongzhang (1823–1901), a prime minister and diplomat in the Qing, but as the XYJ text here makes clear, apparently the Cantonese dish is much older.

  Index

  Boldface type denotes volume number. This index is principally one of proper names and places along with titles of some scriptural texts referenced in the novel. The names, nicknames, and allegorical nomenclatures of the Five Pilgrims are too numerous to be included.

  Abbey of Five Villages. See Five Villages Abbey

  Abbey of Immortal Assembly. See Immortal Assembly Abbey

  Abhijit, 3: 3

  Abortion Stream, 3: 35, 37, 39, 48

  Āditya, 1: 169

  Aged Star of the South Pole, 4: 56–60

  Aiai, 1: 440 (532 n.2), 445, 447

  All Saints, Princess, 3: 172, 182, 190, 192

  All Saints Dragon King of the Green Wave Lagoon, 3: 172, 176, 180

  Amitābha, 2: 24–25, 136, 305; 4: 19–20, 184

  Amitāyus Sūtra, 1: 304

  Ānanda, 1: 193, 195–96, 199, 203; 4: 29–30, 349, 351, 353–54, 372

  Anāthapiṇḍika, 4: 266–67

  Anurādhā, 3: 3

  Ao, 2: 260

  Aoguang, Dragon King of the Eastern Ocean, 1: 133–38, 141–42, 157, 201, 220–21, 228, 238–48, 317–18; 2: 187–89, 223, 227, 293, 294, 298; 3: 277; 4: 178

  Aolai Country, 1: 100, 102, 114, 124, 131–32; 3: 59, 351; 4: 373

  Aoqin, Dragon King of the Southern Ocean, 1: 136, 137, 142; 2: 228, 293, 294

  Aorun, Dragon King of the Western Ocean, 1: 136, 137, 142, 326, 436; 2: 228, 293, 294

  Aoshun, Dragon King of the Northern Ocean, 1: 136, 137, 142; 2: 228, 260–62, 267, 293, 294, 313; 4: 20

  Apricot Garden, 3: 232

  Apricot Immortal, 3: 208–10

  Arhats, Eighteen, 3: 25, 27, 113, 116; 4: 27–28, 348

  Arhats, Five Hundred, 1: 409; 3: 113, 116, 215, 351; 4: 348, 385

  Aśoka, 1: 2

  Auspicious Cliff, Temple of, 3: 232

  Avenging Ministers, King of, 1: 140; 3: 110

  Avīci Hell, 1: 258; 2: 27 (375 n.7), 38; 4: 349

  Axeltree the Water Earthworm, 3: 223

  Ba (monkey general), 1: 138, 167; 2: 31, 32

  Baby Boy, Doctrine of the, 1: 86–88, 115, 424

  Bāhu, 3: 3 (381 n.5)

  Baize, 4: 216 (397 n.6), 218–19

  Bamboo-Knot Mountain, 4: 209, 214, 222, 225, 227–28

  Bao Shuya, 4: 92 (391 n.13)

  Barrens the Sun Rat, 3: 223

  Base the Earth Badger, 3: 223

  Beak the Fire Monkey, 3: 223

  Bear Mountain Lord, 1: 296–97

  Beginning River, King of the, 1: 140; 3: 110

  Benbo Kingdom, 3: 167

  Beng (monkey general), 1: 138, 167; 2: 31, 32

  Bhikṣu Kingdom (Young Masters’ City), 4: 34, 36–40, 49, 51, 54–55, 58, 190, 374

  Bhikṣuṇi, Honored One, 3: 24

  Bi, 1: 145; 3: 10; 4: 298

  Bianji, 1: 5

  Big Dipper Palace. See Dipper Palace

  Big Plan (monk), 1: 340, 345, 346

  Bimbāna Kingdom, 4: 67–68 (390 n.4)

  Bincheng (city), 3: 231, 232

  Bitter Sea, 2: 246 (388 n.7)

  Black Bear Spirit, 1: 361, 362, 365

  Black River, 2: 257–60 (god), 261, 267

  Black Rooster Kingdom, 2: 164, 168, 175, 178, 182–84, 188, 194, 196, 197, 200, 205, 208; 3: 59; 4: 374

  Black Wind Great King, 1: 351

  Black Wind Mountain, 1: 343, 347, 349, 355, 362, 367; 2: 10

  Blazing Flame Mountain, 2: 219

  Blessed Mound, Mountain of, 1: 212

  Blessing, Star of. See Slanting Moon and Three Stars, Cave of

  Bloody Bowl, Realm of, 1: 260

  Blue-Backed Dragon, 2: 261

  Blue Bridge, 4: 110 (392 n.14)

  Bo, 3: 3

  Bodhidharma, 1: 274; 2: 152; 3: 68

  Book of a Hundred Family Names, 4: 176

  Book of Calendar, 1: 100

  Book of Odes, 3: 203 (392–93 n.12)

  Boqin, 1: 299–305, 306–9; 2: 27

  Bottomless Cave, 4: 91, 94, 98, 117, 124

  Bovine Great King, 3: 16, 20, 25

  Boy Skilled in Wealth. See Sudhana (also known as Boy Skilled in Wealth)

  Bramble Ridge, 3: 196–98, 208

  Brazier of Eight Trigrams, 1: 188

  Bright Light Travel Court, 4: 322

  Bright Moon, 1: 453, 455–57, 463–64, 465, 470–71; 2: 13

  Bright Sun Palace, 2: 49

  Broad-Eyed Devarāja. See Virūpākṣa, Devarāja

  Brocade-Cloud Hall, 2: 295

  Brocade Fragrance Pavilion, 2: 178; 4: 25

  Broken-Peak, Joined-Ring Cave, 4: 159

  Bronze Estrade Prefecture, 4: 310, 323, 325

  Brothers of Plum Mountain. See Plum Mountain

  Bubble Busy, 3: 172–73, 177

  Buddha (also known as Buddhist Patriarch, Tathāgata), 1: 57, 192–93, 194–97, 201–6, 214–15, 279, 287, 308, 346–47, 353, 419–20, 454; 2: 16, 149, 204, 206, 254; 3: 23–27, 29, 31, 65, 72, 100, 113, 114–17, 214; 4: 27–31, 33, 82, 85, 97, 121, 163, 174, 321, 347–48, 354–57, 363, 367, 371, 381–82

  Buddha, Conductor (Light of Ratnadhvaja), 4
: 345–46

  Buddha-bhadra, 1: 3

  Buddha-carita-kāvya Sūtra, 4: 366

  Buddha Mother, 3: 313

  Buddha of Medicine, 4: 39–40 (388 n.5)

  Buddhas Alcove, 2: 149 (382 n.6)

  Bull Demon King (also known as Bull Monster King), 1: 138–39, 156 (511 n.11); 2: 219–20, 223, 237–42; 3: 39, 43, 122, 124–25, 127, 130, 133, 135–47, 148–58, 172, 185; 4: 27 (388 n.13)

  Burly-Hurly, 2: 236, 237

  Busy Bubble, 3: 172–73, 177

  Cadaver Monster, 1: 8

  Candana Merit, Buddha of, 4: 381, 383

  Candid Questions, 3: 269

  Cangwu, 1: 122

  Caoxi, 1: 201; 2: 360 (392 n.1)

  Careful Conduct, Hall of, 4: 51 (389 n.4)

  Cart Slow Kingdom, 1: 16, 88, 89, 91; 2: 270, 274, 292, 297, 325; 3: 59; 4: 374

  Casserole Mountain, Current-Moon Cave, 2: 41, 48, 50, 60, 65, 85

  Cassia Hall, 4: 298

  Caturdiśgaḥ, 1: 286 (523 n.27)

  Celestial Masters, 1: 174, 178, 213; 2: 84; 3: 2, 4, 107; 4: 118, 179–85, 255

  Celestial Palace, 1: 379 (stream); 2: 21, 75, 85, 353; 3: 179 (river); 4: 18, 28, 82, 123, 178, 215, 298–99, 373

  Celestial Worthies. See Three Pure Ones (highest Daoist deities)

  Central Gate of the Sun, 2: 177, 184; 4: 24

  Chamber the Sun Hare, 3: 223

  Chan, Dharmakāya of, 2: 247

  Chang’an, 1: 4, 5, 216, 217–19, 231, 233, 238, 279–80, 348; 2: 27, 89, 161, 168; 3: 78, 168; 4: 14, 81, 100, 106, 370–72, 380

  Chang’e. See Moon, Goddess of the

  Chan Hall, 2: 196; 3: 166

  Chan Master, 1: 388–91

  Chen Cheng, 2: 325, 327, 328, 331; 4: 365–67

  Cheng, King, 3: 259 (396 n.5)

  Cheng Tang (founder of Shang dynasty), 3: 259 (396 n.4)

  Chen Guanbao, 2: 325 (390 n.3), 326, 329, 330; 4: 367

  Chen Guangrui, 1: 18, 21, 57, 217–21, 226–30, 275

  Cheng weishi lun, 1: 5

  Chen Qing, 2: 325, 326, 327, 331, 348, 356

  Chen Village, 2: 325, 330, 343; 4: 365–66, 370

  Chen Wei, 1: 1

  Chess Immortal, 1: 245–46

  Chi City, 1: 180

  Child-and-Mother River, 3: 34, 35, 37, 38, 64