出身與修行：在西遊敘述中暗度道教

Origin and Cultivation:“Secretly Channeling Taoism”in the Journey to the West Narrative

在《西遊記》的終篇出現「行滿」與「心行」兩個關鍵詞，就是在護法群的監護之眼下，關懷五聖過關的意志與誠心，這種說法乃是改造全真教的「三千功滿、八百行圓」。而世本的寫定、刊行階段，大約也是明代中葉出身修行志傳體小說出現的時間，彼此之間相互呼應。首要的就是「出身修行」的敘述架構，朱鼎臣、楊致和兩個簡本的書題，均曾標舉「出身」二字，即反映道教神話的神仙謫凡說。其次就是西遊記傳與全真教的關係，柳存仁提出一己之說，迄今仍可從引用的全真詩詞中，發現其中有些關鍵字句的改動，這個現象證明寫定者熟知全真教的十二字戒，並將其挪用於取經故事，其中先敘述「酒色財氣」四戒的試煉，其次就是「攀緣愛念、憂愁思慮」。故先敘述八戒的試煉，既有「戀家」之念，也有「散夥」之言；唐僧之試的重點凡有兩個：一即描寫氣戒，行者犯了殺戒，即會動氣，持咒驅離；另一則是關聯內在心性的試煉，就是行者經常提醒犯了「思鄉」之憂。這種試煉心性的「修行」敘述，理應優先考慮佛教，弔詭的是反而取法全真教，五聖的人物性格從「取經人」而兼具「修行人」的雙重性，致使佛教版本的取經傳統，兼具全真教的心性修行故事，較諸鬥法事件雖不顯眼，但在加入道教元素後，卻強化描述五聖的情緒變化，有助於世本的改造成功，從此改變了西遊取經純屬佛教的刻板印象。在渾然一體的文本中，嘗試解讀其中的細節，從而提出此一新的讀法，這種情況即可稱為「暗度道教」。

In the final chapters of Journey to the West, two key terms appear—“xing man”(行滿, fulfillment of deeds) and“xin xing”(心行, conduct of the heart/mind)—referring to the watchful eye of the guardian deities overseeing the Five Sages with their will and sincerity in completing their trials. This framing is an adaptation of the Quanzhen Taoist doctrine of“three thousand merits fulfilled and eight hundred deeds rounded”. The period in which the received text was finalized and published roughly coincides with the mid-Ming dynasty emergence of the“cultivation biography”(chushen xiuxing出身修行) genre of fiction, and the two phenomena echo one another. Most notably, there is the narrative framework of“birth and cultivation”. The titles of the two abridged versions by Zhu Ding-Chen and Yang Zhi-He both prominently feature the phrase“chushen”(出身,“origin”or“coming into being”), reflecting the Taoist mythological concept of immortals descending into the mortal world. Second is the relationship between the Journey to the West tradition and the Quanzhen school. Liu Cun-Ren advanced his own view on this matter, and to this day one can still detect, within the Quanzhen poems and verses cited in the text, certain alterations to key phrases—a phenomenon that demonstrates the author-compiler’s deep familiarity with the twelve-character precepts of the Quanzhen school, which were then repurposed for the narrative. The story first portrays the trials of the four precepts against“wine, lust, wealth, and anger”(jiu se cai qi酒色財氣), followed by those against“attachment and longing, sorrow and worry”(panyuan ainian, youchou silü攀緣愛念、憂愁思慮). Thus, the trials of Zhu Bajie are narrated first—encompassing both his yearning to return home and his talk of disbanding the group. The trials of Tripitaka center on two aspects: one concerns the precept against anger, whereby the Pilgrim (Sun Wukong), upon breaking the precept against killing, falls into rage and must be subdued by the recitation of the spell; the other concerns an inner spiritual trial, in which the Pilgrim repeatedly warns against succumbing to the sorrow of“homesickness”. This narrative of“cultivation”as a trial of the inner mind and nature would, logically, draw first from Buddhism—yet paradoxically, it borrows instead from Quanzhen Taoism. The characters of the Five Sages carry a dual identity, as both“scripture-seekers”and“spiritual cultivators”, causing the Buddhist tradition of the pilgrimage to simultaneously encompass the Quanzhen narrative of inner cultivation. Though less conspicuous than episodes of magical combat, the incorporation of Taoist elements serves to enrich the depiction of the emotional transformations of the Five Sages, and contributes to the success of the re-conception of the received text—permanently altering the reductive impression of the Journey to the West as a purely Buddhist narrative. By attempting to read the fine details embedded within this seamlessly unified text, and thereby proposing this new interpretive approach, one might describe the phenomenon as“secretly channeling Taoism”(andu daojiao暗度道教).