Journey to the West -- Popular Version of the Four Great Classical Literary Masterpieces

Author: (Ming) Wu Cheng'en
Publisher:
Publishing Date: 2006-01-01
Features: The Journey to the West primarily depicts the story of Sun Wukong protecting Tang Monk on his journey westward to obtain the Buddhist scriptures, enduring ninety-nine and nine difficulties. The pilgrimage of Tang Monk was a real event in history. Approximately thirteen hundred years ago, in the first year of the Zhenguan era (627), the young monk Xuanzang, at the age of twenty-five, left the capital Chang'an alone to study in India (Tianzhu). After departing from Chang'an, he passed through Central Asia, Afghanistan, and Pakistan, overcoming numerous hardships and finally reached India. There, he studied for over two years and served as the main speaker at a major Buddhist scholastic debate, receiving praise. In the nineteenth year of the Zhenguan era (645), Xuanzang returned to Chang'an, bringing back 657 Buddhist scriptures. This westward journey lasted nineteen years and covered tens of thousands of miles, a legendary long march that caused a sensation at the time. Later, Xuanzang dictated his travels to his disciple Bianji, who compiled them into the Great Tang Records of the Western Regions in twelve volumes. However, this book mainly described the history, geography, and transportation of the countries along the way, with little narrative. Later, his disciples Huili and Yancong wrote the Biography of the Threefold Compassionate Monk of the Great Tang, which added many mythical elements to Xuanzang's experiences, and from then on, the story of Tang Monk's pilgrimage began to spread widely among the people. During the Southern Song Dynasty, there was The Poetic Tales of the Great Tang Monk's Journey to the West; in the Jin Dynasty, there were The Great Tang Monk and The Peach Blossom Banquet in the palace drama; and in the Yuan Dynasty, there were Wu Changling's The Great Tang Monk's Journey to the West and an anonymous The God Erlang Locks Sun Wukong, among others. All these laid the foundation for the creation of The Journey to the West. Wu Cheng'en also built this great literary masterpiece, which takes pride in the Chinese nation, upon the basis of folk legends, storytelling, and opera. The entire Journey to the West consists of one hundred chapters, and from a large structural perspective, it can be divided into three parts. From the first chapter to the eighth chapter is the first part, which mainly tells the story of Sun Wukong's birth, his apprenticeship, and his rebellion in Heaven. This is the most exciting part of the book, full of chaos, as Sun Wukong travels all over the world, fully showcasing his rebellious spirit. The eighth chapter to the twelfth chapter is the second part, which mainly describes Tang Monk's origins and the reasons for his pilgrimage. The thirteenth chapter to the last chapter is the third part, which mainly tells the story of Tang Monk's westward journey to obtain the scriptures, where he、、, and endured ninety-nine and nine difficulties, finally obtaining the true scriptures and achieving enlightenment. The Journey to the West presents a dazzling and colorful world of gods and demons, leaving everyone in awe of the author's rich and bold artistic imagination. However, every literary work reflects a certain aspect of social life, and as an outstanding representative of fantasy novels, The Journey to the West is no exception. As Lu Xun pointed out in A Brief History of Chinese Fiction, The Journey to the West "satirizes and teases the social customs of the time, adding exaggerated descriptions." He also said, "The author has a talent for comedy, so even when describing fantastical and elusive events, he often mixes in humorous remarks, making the gods and demons seem human and the spirits and monsters worldly." Indeed, through the illusory world of gods and demons in The Journey to the West, we can see the reflection of real society everywhere. For example, in the creation of Sun Wukong's character, the author's ideals are embodied. Sun Wukong's indomitable spirit, his fearless attitude of swinging the golden-banded staff to sweep away all demons and monsters, reflects the people's wishes and demands. He represents a force of justice and shows the people's belief in overcoming all difficulties. He embodies a righteous power, demonstrating the people's unwavering confidence in victory. The demons and monsters encountered on the journey are either transformations of natural disasters or symbols of evil forces. Their greed, cruelty, cunning, and treachery are also the characteristics of the dark forces in feudal society. Moreover, the Heavenly Palace ruled by the Jade Emperor and the Western Paradise governed by the Buddha Amitabha are heavily colored with the hues of human society. The author's attitude toward the highest rulers of feudal society is also quite intriguing. In The Journey to the West, it's hard to find a competent emperor; as for the ignorant and incompetent Jade Emperor, the king of the country who trusts demons, and the king of the country who wants to use the hearts of children as medicine, they are either tyrants or autocrats. The portrayal of these characters, even if done casually, is full of strong realistic significance. The Journey to the West not only has profound ideological content but also achieves great artistic success. With its rich and unique artistic imagination, vivid and, lifelike characters, and humorous and witty language, it constructs a unique artistic palace of The Journey to the West. However, I believe the greatest artistic achievement of The Journey to the West is the successful creation of the immortal artistic figures of Sun Wukong and Zhu Bajie. Sun Wukong is the protagonist of The Journey to the West, a truly remarkable hero. He has boundless abilities, fearless of heaven or earth, and possesses an indomitable rebellious spirit. He has the extraordinary demeanor of a great hero but also the flaw of enjoying flattery. He is clever, brave, and loves to cause trouble. His greatest characteristic is his courage to fight. He dares to challenge the supreme and all-powerful Jade Emperor, earning the glorious name of "Great Sage Equal to Heaven." He dares to fight against demons and monsters, never missing a demon with his fiery eyes and golden-banded staff, and never showing mercy to demons under the golden-banded staff. He dares to fight against all difficulties, never retreating or bowing his head. This is Sun Wukong, a dazzling mythological hero. As for Zhu Bajie, his abilities are far inferior to Sun Wukong, and he is certainly no heroic figure, but this character is also portrayed very well. Zhu Bajie is a comedic figure, simple and honest, strong, and brave enough to fight against demons and monsters, serving as Sun Wukong's reliable assistant. However, he is full of flaws, such as his love for food, his tendency to take small advantages, his obsession with women, his fear of difficulties, and his frequent desire to give up. He often thinks of the wife from the Gao's Village in his heart; he sometimes lies but is too clumsy to make it convincing; he also occasionally provokes Tang Monk to recite the golden-banded staff, making Sun Wukong suffer a bit; he even hides some private money, stuffing it into his ear. His flaws are indeed many, reflecting the vices of a petty owner. The author's criticism of Zhu Bajie's flaws is severe but also well-intentioned. He is not a completely negated character, so people do not dislike Zhu Bajie; on the contrary, they find him quite real and lovable. Tang Monk's character is also well-written, but compared to Sun Wukong and Zhu Bajie, he is somewhat inferior. Sha Wujing is even more lacking in distinct personality traits, which cannot be said to be a shortcoming of The Journey to the West. Despite this, the artistic achievements of The Journey to the West are still astonishing. Sun Wukong and Zhu Bajie, with their distinct personalities, have established an immortal artistic monument in the history of Chinese literature.