无常 Wu Chang, or Life-Is-Transient

无常Wuchang

迎神賽會這一天出巡的神，如果是掌握生殺之權的，——不，這生殺之權四個字不大妥，凡是神，在中國仿佛都有些隨意殺人的權柄似的，倒不如說是職掌人民的生死大事的罷，就如城隍和東嶽大帝之類。On the day of the god-welcoming procession, if the deity being paraded about holds power over life and death — no, that phrase "power over life and death" isn't quite right, for in China it seems every god has some license to kill people as he pleases — it would be better to say he presides over the great matter of the people's life and death, gods such as the City God or the Great Emperor of the Eastern Peak.那麽，他的鹵簿中間就另有一群特別的腳色：鬼卒、鬼王，還有活無常。Well then, amid his retinue there is a special troupe of characters: ghost-soldiers, the Ghost King, and the Living Wuchang.

迎神赛会这一天出巡的神，如果是掌握生杀之权的，——不，这生杀之权四个字不大妥，凡是神，在中国仿佛都有些随意杀人的权柄似的，倒不如说是职掌人民的生死大事的罢，就如城隍和东岳大帝之类。那么，他的卤簿中间就另有一群特别的脚色：鬼卒、鬼王，还有活无常。

這些鬼物們，大概都是由粗人和鄉下人扮演的。These ghostly figures are, for the most part, played by rough fellows and country folk.鬼卒和鬼王是紅紅綠綠的衣裳，赤著腳；The ghost-soldiers and the Ghost King wear garish red-and-green clothing, and go barefoot;藍臉，上面又畫些魚鱗，也許是龍鱗或別的什麽鱗罷，我不大清楚。their faces are painted blue, with scales drawn on top — perhaps dragon scales or some other kind, I'm not quite sure.鬼卒拿著鋼叉，叉環振得琅琅地響，鬼王拿的是一塊小小的虎頭牌。The ghost-soldiers carry steel tridents, whose rings jangle and clatter, while the Ghost King carries a small tiger-head plaque.據傳說，鬼王是只用一只腳走路的；According to legend, the Ghost King walks on only one foot;但他究竟是鄉下人，雖然臉上已經畫上些魚鱗或者別的什麽鱗，卻仍然只得用了兩只腳走路。but he is, after all, a countryman, and although his face is painted with scales of one kind or another, he still has no choice but to walk on two feet.所以看客對於他們不很敬畏，也不大留心，除了念佛老嫗和她的孫子們為面面圓到起見，也照例給他們一個“不勝屏營待命之至”的儀節。So the onlookers feel little awe of them, and pay them scant attention, except for the sutra-chanting old women and their grandchildren, who, for the sake of covering all bases, offer them too, as a matter of course, the ritual gesture of "trembling in awe, awaiting your command."

这些鬼物们，大概都是由粗人和乡下人扮演的。鬼卒和鬼王是红红绿绿的衣裳，赤著脚；蓝脸，上面又画些鱼鳞，也许是龙鳞或别的什么鳞罢，我不大清楚。鬼卒拿著钢叉，叉环振得琅琅地响，鬼王拿的是一块小小的虎头牌。据传说，鬼王是只用一只脚走路的；但他究竟是乡下人，虽然脸上已经画上些鱼鳞或者别的什么鳞，却仍然只得用了两只脚走路。所以看客对于他们不很敬畏，也不大留心，除了念佛老妪和她的孙子们为面面圆到起见，也照例给他们一个“不胜屏营待命之至”的仪节。

至於我們——我相信：我和許多人——所最願意看的，卻在活無常。As for us — I and, I believe, a great many others — what we most wanted to see was the Living Wuchang.他不但活潑而詼諧，單是那渾身雪白這一點，在紅紅綠綠中就有“鶴立雞群”之概。Not only was he lively and witty, but the mere fact that he was snow-white from head to foot made him, amid all that red and green, stand out like "a crane among chickens."只要望見一頂白紙的高帽子和他手裏的破芭蕉扇的影子，大家就都有些緊張，而且高興起來了。The instant people caught sight of the tall white-paper hat and the shadow of the tattered plantain-leaf fan in his hand, everyone grew a little tense, and grew happy besides.

至于我们——我相信：我和许多人——所最愿意看的，却在活无常。他不但活泼而诙谐，单是那浑身雪白这一点，在红红绿绿中就有“鹤立鸡群”之概。只要望见一顶白纸的高帽子和他手里的破芭蕉扇的影子，大家就都有些紧张，而且高兴起来了。

人民之於鬼物，惟獨與他最為稔熟，也最為親密，平時也常常可以遇見他。Of all the ghostly beings, it is with him alone that the common people are most familiar and most intimate, and in ordinary times too he can often be met with.譬如城隍廟或東嶽廟中，大殿後面就有一間暗室，叫作“陰司間”，在才可辨色的昏暗中，塑著各種鬼：吊死鬼、跌死鬼、虎傷鬼、科場鬼，……For instance, behind the main hall of a City God temple or a Temple of the Eastern Peak there is a dark chamber called the "Chamber of the Nether Court," and there, in a gloom just bright enough to make out shapes, stand clay figures of every sort of ghost: the ghost of a hanged man, the ghost of one who fell to his death, the ghost mauled by a tiger, the ghost of a failed examination candidate…而一進門口所看見的長而白的東西就是他。and the tall white thing you see the moment you step through the door is none other than him.我雖然也曾瞻仰過一回這“陰司間”，但那時膽子小，沒有看明白。Although I too once paid my respects at this "Chamber of the Nether Court," I was timid at the time and didn't get a clear look.聽說他一手還拿著鐵索，因為他是勾攝生魂的使者。I've heard that in one hand he also holds an iron chain, since he is the emissary who comes to seize the souls of the living.相傳樊江東嶽廟的“陰司間”的構造，本來是極其特別的：門口是一塊活板，人一進門，踏著活板的這一端，塑在那一端的他便撲過來，鐵索正套在你脖子上。It is said that the "Chamber of the Nether Court" in the Temple of the Eastern Peak at Fanjiang was originally built in a most unusual way: the doorway had a loose board, and the instant a person stepped through and trod on one end of it, the clay figure standing at the other end would lunge forward, its iron chain dropping right around your neck.後來嚇死了一個人，釘實了，所以在我幼小的時候，這就已不能動。Later on it frightened someone to death, so the board was nailed down fast, and by the time I was small it could no longer move.

人民之于鬼物，惟独与他最为稔熟，也最为亲密，平时也常常可以遇见他。譬如城隍庙或东岳庙中，大殿后面就有一间暗室，叫作“阴司间”，在才可辨色的昏暗中，塑著各种鬼：吊死鬼、跌死鬼、虎伤鬼、科场鬼，……而一进门口所看见的长而白的东西就是他。我虽然也曾瞻仰过一回这“阴司间”，但那时胆子小，没有看明白。听说他一手还拿著铁索，因为他是勾摄生魂的使者。相传樊江东岳庙的“阴司间”的构造，本来是极其特别的：门口是一块活板，人一进门，踏著活板的这一端，塑在那一端的他便扑过来，铁索正套在你脖子上。后来吓死了一个人，钉实了，所以在我幼小的时候，这就已不能动。

倘使要看個分明，那麽，《玉歷鈔傳》上就畫著他的像，不過《玉歷鈔傳》也有繁簡不同的本子的，倘是繁本，就一定有。If you want to get a clear look at him, well, there is a picture of him in the Yuli Chaozhuan (Records Transcribed from the Jade Almanac) — though editions of the Yuli Chaozhuan vary in how detailed they are, and the fuller editions are certain to have it.身上穿的是斬衰兇服，腰間束的是草繩，腳穿草鞋，項掛紙錠；On his body he wears the coarse mourning garb of deepest grief, at his waist is bound a straw rope, on his feet are straw sandals, and around his neck hang paper ingots;手上是破芭蕉扇、鐵索、算盤；in his hands are a tattered plantain-leaf fan, an iron chain, and an abacus;肩膀是聳起的，頭髮卻披下來；his shoulders are hunched up, while his hair hangs loose down his back;眉眼的外梢都向下，象一個“八”字。the outer corners of his brows and eyes both slant downward, forming the shape of the character "八" (eight).頭上一頂長方帽，下大頂小，按比例一算，該有二尺來高罷；On his head is a tall rectangular hat, wide at the bottom and narrow at the top, which, judging by the proportions, must stand about two feet high;在正面，就是遺老遺少們所戴瓜皮小帽的綴一粒珠子或一塊寶石的地方，直寫著四個字道：“一見有喜”。and on the front of it, in the very spot where the melon-skin skullcaps worn by old-school gentlemen and their young heirs bear a bead or a gem, are written, top to bottom, four characters: "The sight of you brings joy."有一種本子上，卻寫的是“你也來了”。In one edition, however, what is written there instead is "So you've come too."這四個字，是有時也見於包公殿的扁額上的，至於他的帽上是何人所寫，他自己還是閻羅王，我可沒有研究出。These four characters are also sometimes seen on the plaque over the hall of Lord Bao; but who wrote them on his hat — himself, or King Yama — I have never managed to work out.

倘使要看个分明，那么，《玉历钞传》上就画著他的像，不过《玉历钞传》也有繁简不同的本子的，倘是繁本，就一定有。身上穿的是斩衰凶服，腰间束的是草绳，脚穿草鞋，项挂纸锭；手上是破芭蕉扇、铁索、算盘；肩膀是耸起的，头发却披下来；眉眼的外梢都向下，象一个“八”字。头上一顶长方帽，下大顶小，按比例一算，该有二尺来高罢；在正面，就是遗老遗少们所戴瓜皮小帽的缀一粒珠子或一块宝石的地方，直写著四个字道：“一见有喜”。有一种本子上，却写的是“你也来了”。这四个字，是有时也见于包公殿的扁额上的，至于他的帽上是何人所写，他自己还是阎罗王，我可没有研究出。

《玉歷鈔傳》上還有一種和活無常相對的鬼物，裝束也相仿，叫作“死有分”。In the Yuli Chaozhuan there is also another ghostly figure who forms a counterpart to the Living Wuchang, similarly dressed, called "Death Has His Due."這在迎神時候也有的，但名稱卻訛作死無常了，黑臉、黑衣，誰也不愛看。He too appears at the god-welcoming processions, though his name has been corrupted into "Dead Wuchang" — black-faced, black-robed, and nobody cares to look at him.在“陰司間”裏也有的，胸口靠著墻壁，陰森森地站著；He appears in the "Chamber of the Nether Court" too, standing there grimly with his chest to the wall;那才真真是“碰壁”。now that is truly what you'd call "up against a wall."凡有進去燒香的人們，必須摩一摩他的脊梁，據說可以擺脫了晦氣；Everyone who goes in to burn incense must rub his back, which is said to rid one of bad luck;我小時也曾摩過這脊梁來，然而晦氣似乎終於沒有脫，——也許那時不摩，現在的晦氣還要重罷，這一節也還是沒有研究出。as a child I too once rubbed that back, and yet my bad luck never seemed to leave me — perhaps, had I not rubbed it then, my bad luck now would be even worse; on this point, too, I have never managed to work anything out.

《玉历钞传》上还有一种和活无常相对的鬼物，装束也相仿，叫作“死有分”。这在迎神时候也有的，但名称却讹作死无常了，黑脸、黑衣，谁也不爱看。在“阴司间”里也有的，胸口靠著墙壁，阴森森地站著；那才真真是“碰壁”。凡有进去烧香的人们，必须摩一摩他的脊梁，据说可以摆脱了晦气；我小时也曾摩过这脊梁来，然而晦气似乎终于没有脱，——也许那时不摩，现在的晦气还要重罢，这一节也还是没有研究出。

我也沒有研究過小乘佛教的經典，但據耳食之談，則在印度的佛經裏，焰摩天是有的，牛首阿旁也有的，都在地獄裏做主任。Nor have I studied the scriptures of Hinayana Buddhism, but from things I've picked up by hearsay, the Indian Buddhist sutras do contain Yama-deva, and Ox-Head A-pang too, both of them serving as directors down in hell.至於勾攝生魂的使者的這無常先生，卻似乎於古無征，耳所習聞的只有什麽“人生無常”之類的話。As for this Mr. Wuchang, the emissary who seizes the souls of the living, he seems to have no basis in antiquity at all; the only thing one is accustomed to hearing is some phrase like "life is impermanent" (人生無常).大概這意思傳到中國之後，人們便將他具象化了。It seems that once this notion reached China, people gave it concrete form.這實在是我們中國人的創作。This, truly, is a creation of us Chinese.

我也没有研究过小乘佛教的经典，但据耳食之谈，则在印度的佛经里，焰摩天是有的，牛首阿旁也有的，都在地狱里做主任。至于勾摄生魂的使者的这无常先生，却似乎于古无征，耳所习闻的只有什么“人生无常”之类的话。大概这意思传到中国之后，人们便将他具象化了。这实在是我们中国人的创作。

然而人們一見他，為什麽就都有些緊張，而且高興起來呢？But why is it that the moment people catch sight of him, they all grow a little tense, and happy besides?

然而人们一见他，为什么就都有些紧张，而且高兴起来呢？

凡有一處地方，如果出了文士學者或名流，他將筆頭一扭，就很容易變成“模範縣”。Wherever a place produces men of letters, scholars, or celebrities, such a man need only give his pen a twist and the place is easily turned into a "model county."我的故鄉，在漢末雖曾經虞仲翔先生揄揚過，但是那究竟太早了，後來到底免不了產生所謂“紹興師爺”，不過也並非男女老小全是“紹興師爺”，別的“下等人”也不少。My hometown, though praised back in the late Han by Mr. Yu Zhongxiang, had that praise far too long ago; in the end it could not avoid producing the so-called "Shaoxing legal clerks" — though of course not every man, woman, and child there is a "Shaoxing legal clerk"; there are plenty of other "lowly folk" as well.這些“下等人”，要他們發什麽“我們現在走的是一條狹窄險阻的小路，左面是一個廣漠無際的泥潭，右面也是一片廣漠無際的浮砂，前面是遙遙茫茫蔭在薄霧的裏面的目的地”那樣熱昏似的妙語，是辦不到的，可是在無意中，看得往這“蔭在薄霧的裏面的目的地”的道路很明白：求婚，結婚，養孩子，死亡。It is beyond these "lowly folk" to come out with some feverish, brilliant utterance like "The path we now tread is narrow and perilous; to the left lies a vast, boundless quagmire, to the right a vast, boundless expanse of shifting sand, and ahead, far, far off, lies our destination, veiled in thin mist" — and yet, without meaning to, they see the road toward that "destination veiled in thin mist" quite clearly: courtship, marriage, raising children, death.但這自然是專就我的故鄉而言，若是“模範縣”裏的人民，那當然又作別論。But this, of course, applies only to my own hometown; as for the people of a "model county," that is naturally another matter.他們——敝同鄉“下等人”——的許多，活著，苦著，被流言，被反噬，因了積久的經驗，知道陽間維持“公理”的只有一個會，而且這會的本身就是“遙遙茫茫”，於是乎勢不得不發生對於陰間的神往。Many of them — my fellow townsmen among the "lowly folk" — live on, suffer, are slandered, are turned upon, and from long accumulated experience they know that in this world of the living, "justice" is upheld by one society alone, and that this society itself is "far, far off and hazy" — and so, inevitably, they come to yearn for the netherworld.人是大抵自以為銜些冤抑的；People, on the whole, tend to believe they carry some private grievance;活的“正人君子”們只能騙鳥，若問愚民，他就可以不假思索地回答你：公正的裁判是在陰間！the living "men of decency and virtue" can only fool the birds; ask an ignorant commoner instead, and he will answer you without a moment's hesitation: fair judgment is to be found in the netherworld!

凡有一处地方，如果出了文士学者或名流，他将笔头一扭，就很容易变成“模范县”。我的故乡，在汉末虽曾经虞仲翔先生揄扬过，但是那究竟太早了，后来到底免不了产生所谓“绍兴师爷”，不过也并非男女老小全是“绍兴师爷”，别的“下等人”也不少。这些“下等人”，要他们发什么“我们现在走的是一条狭窄险阻的小路，左面是一个广漠无际的泥潭，右面也是一片广漠无际的浮砂，前面是遥遥茫茫荫在薄雾的里面的目的地”那样热昏似的妙语，是办不到的，可是在无意中，看得往这“荫在薄雾的里面的目的地”的道路很明白：求婚，结婚，养孩子，死亡。但这自然是专就我的故乡而言，若是“模范县”里的人民，那当然又作别论。他们——敝同乡“下等人”——的许多，活著，苦著，被流言，被反噬，因了积久的经验，知道阳间维持“公理”的只有一个会，而且这会的本身就是“遥遥茫茫”，于是乎势不得不发生对于阴间的神往。人是大抵自以为衔些冤抑的；活的“正人君子”们只能骗鸟，若问愚民，他就可以不假思索地回答你：公正的裁判是在阴间！

想到生的樂趣，生固然可以留戀；When one thinks of the pleasures of life, life is certainly worth clinging to;但想到生的苦趣，無常也不一定是惡客。but when one thinks of the bitterness of life, Wuchang is not necessarily an unwelcome guest.無論貴賤，無論貧富，其時都是“一雙空手見閻王”，有冤的得伸，有罪的就得罰。Rich or poor, high-born or low, at that hour everyone goes before King Yama "with empty hands"; the wronged are vindicated, and the guilty are punished.然而雖說是“下等人”，也何嘗沒有反省？And yet, "lowly" as they are said to be, do they never reflect on themselves?自己做了一世人，又怎麽樣呢？Having lived out a whole lifetime as a human being, what has one really been?未曾“跳到半天空”麽？Has one never "leapt up into midair"?沒有“放冷箭”麽？Has one never "shot an arrow from the shadows"?無常的手裏就拿著大算盤，你擺盡臭架子也無益。Wuchang holds a great abacus in his hand, and it will do you no good to put on all the airs you like.對付別人要滴水不羼的公理，對自己總還不如雖在陰司裏也還能夠尋到一點私情。When it comes to dealing with others, one wants justice without a single drop of adulteration; but when it comes to oneself, one would still rather hope that, even in the courts of the underworld, a bit of personal favor might yet be found.然而那又究竟是陰間，閻羅天子、牛首阿旁，還有中國人自己想出來的馬面，都是並不兼差，真正主持公理的腳色，雖然他們並沒有在報上發表過什麽大文章。But that, after all, is the netherworld: King Yama, Ox-Head A-pang, and Horse-Face, whom the Chinese thought up themselves, hold no second jobs — they are the true dispensers of justice, even though they have never published any great essays in the newspapers.當還未做鬼之前，有時先不欺心的人們，遙想著將來，就又不能不想在整塊的公理中，來尋一點情面的末屑，這時候，我們的活無常先生便見得可親愛了，利中取大，害中取小，我們的古哲墨瞿先生謂之“小取”云。Before one has yet become a ghost, people who, for the moment, are not deceiving their own hearts, gazing far ahead into the future, cannot help but still wish to find some crumb of personal favor within the solid block of justice — and at such a time, our Mr. Living Wuchang appears altogether lovable: to take the greater of two benefits, the lesser of two harms — what our ancient philosopher Mozi called "the lesser choice."

想到生的乐趣，生固然可以留恋；但想到生的苦趣，无常也不一定是恶客。无论贵贱，无论贫富，其时都是“一双空手见阎王”，有冤的得伸，有罪的就得罚。然而虽说是“下等人”，也何尝没有反省？自己做了一世人，又怎么样呢？未曾“跳到半天空”么？没有“放冷箭”么？无常的手里就拿著大算盘，你摆尽臭架子也无益。对付别人要滴水不羼的公理，对自己总还不如虽在阴司里也还能够寻到一点私情。然而那又究竟是阴间，阎罗天子、牛首阿旁，还有中国人自己想出来的马面，都是并不兼差，真正主持公理的脚色，虽然他们并没有在报上发表过什么大文章。当还未做鬼之前，有时先不欺心的人们，遥想著将来，就又不能不想在整块的公理中，来寻一点情面的末屑，这时候，我们的活无常先生便见得可亲爱了，利中取大，害中取小，我们的古哲墨瞿先生谓之“小取”云。

在廟裏泥塑的，在書上墨印的模樣上，是看不出他那可愛來的。In the clay figures in the temples, or in the ink-printed likenesses in books, none of that lovableness is to be seen.最好是去看戲。The best way is to go and watch the opera.但看普通的戲也不行，必須看“大戲”或者“目連戲”。But an ordinary opera won't do; you must watch a "grand opera" or the "Mulian Opera."目連戲的熱鬧，張岱在《陶庵夢憶》上也曾誇張過，說是要連演兩三天。Zhang Dai, in his Tao'an Mengyi (Dream Reminiscences of Tao'an), once extolled the lively bustle of the Mulian Opera, saying it went on for two or three days running.在我幼小時候可已經不然了，也如大戲一樣，始於黃昏，到次日的天明便完結。By the time I was a small child it was no longer so; like the grand operas, it began at dusk and was finished by dawn of the following day.這都是敬神禳災的演劇，全本裏一定有一個惡人，次日的將近天明便是這惡人的收場的時候，“惡貫滿盈”，閻王出票來勾攝了，於是乎這活的活無常便在戲臺上出現。These were all performances staged to honor the gods and ward off calamity; every full performance was bound to have a villain, and toward dawn of the next day came the moment of that villain's reckoning — his "cup of sin filled to overflowing," King Yama would issue the warrant to seize him, and so the living Living Wuchang would appear upon the stage.

在庙里泥塑的，在书上墨印的模样上，是看不出他那可爱来的。最好是去看戏。但看普通的戏也不行，必须看“大戏”或者“目连戏”。目连戏的热闹，张岱在《陶庵梦忆》上也曾夸张过，说是要连演两三天。在我幼小时候可已经不然了，也如大戏一样，始于黄昏，到次日的天明便完结。这都是敬神禳灾的演剧，全本里一定有一个恶人，次日的将近天明便是这恶人的收场的时候，“恶贯满盈”，阎王出票来勾摄了，于是乎这活的活无常便在戏台上出现。

我還記得自己坐在這一種戲臺下的船上的情形，看客的心情和普通是兩樣的。I still remember sitting in a boat below such a stage; the mood of the audience was quite different from usual.平常愈夜深愈懶散，這時卻愈起勁。Ordinarily the deeper the night grew, the more listless people became, but at such times the opposite happened — everyone grew more and more animated.他所戴的紙糊的高帽子，本來是掛在臺角上的，這時預先拿進去了；The tall paper-pasted hat he was to wear, which had originally been hung at the corner of the stage, was now taken inside beforehand;一種特別樂器，也準備使勁地吹。and a special instrument was made ready to be blown for all it was worth.這樂器好象喇叭，細而長，可有七八尺，大約是鬼物所愛聽的罷，和鬼無關的時候就不用；This instrument looked like a horn, slender and long, perhaps seven or eight feet — presumably something ghosts are fond of hearing, for it was never used except on ghost-related occasions;吹起來，Nhatu，nhatu，nhatututuu地響，所以我們叫它“目連嗐頭”。when blown, it sounded out "Nhatu, nhatu, nhatututuu," and so we called it the "Mulian Wail."

我还记得自己坐在这一种戏台下的船上的情形，看客的心情和普通是两样的。平常愈夜深愈懒散，这时却愈起劲。他所戴的纸糊的高帽子，本来是挂在台角上的，这时预先拿进去了；一种特别乐器，也准备使劲地吹。这乐器好象喇叭，细而长，可有七八尺，大约是鬼物所爱听的罢，和鬼无关的时候就不用；吹起来，Nhatu，nhatu，nhatututuu地响，所以我们叫它“目连嗐头”。

在許多人期待著惡人的沒落的凝望中，他出來了，服飾比畫上還簡單，不拿鐵索，也不帶算盤，就是雪白的一條莽漢，粉面朱唇，眉黑如漆，蹙著，不知道是在笑還是在哭。Amid the intent gaze of a crowd waiting for the villain's downfall, out he came, dressed even more simply than in the pictures — no iron chain, no abacus — just a great, snow-white fellow, powder-faced and rouge-lipped, his brows black as lacquer and knit together, so that one couldn't tell whether he was laughing or crying.但他一出臺就須打一百零八個嚏，同時也放一百零八個屁，這才自述他的履歷。But the instant he stepped onstage he had to sneeze a hundred and eight times, and let off a hundred and eight farts at the same time, before he could go on to relate his own history.可惜我記不清楚了，其中有一段大概是這樣：Unfortunately I no longer remember it clearly; one passage went roughly like this:

在许多人期待著恶人的没落的凝望中，他出来了，服饰比画上还简单，不拿铁索，也不带算盘，就是雪白的一条莽汉，粉面朱唇，眉黑如漆，蹙著，不知道是在笑还是在哭。但他一出台就须打一百零八个嚏，同时也放一百零八个屁，这才自述他的履历。可惜我记不清楚了，其中有一段大概是这样：

這敘述裏的“子”字都讀作入聲。In this recitation, every "子" is pronounced in the entering tone.陳念義是越中的名醫，俞仲華曾將他寫入《蕩寇志》裏，擬為神仙；Chen Nianyi was a famous physician of the Yue region, whom Yu Zhonghua wrote into his Dangkou Zhi (Quelling the Bandits) and cast as an immortal;可是一到他的令郎，似乎便不大高明了。la者“的”也；“兒”讀若“倪”，倒是古音罷；nga者，“我的”或“我們的”之意也。but when it came to his own son, the young man seems to have been not nearly so clever. ("La" here means "of," the possessive particle; "兒" is read like "ni," which is presumably an archaic pronunciation; "nga" means "my" or "our.")

这叙述里的“子”字都读作入声。陈念义是越中的名医，俞仲华曾将他写入《荡寇志》里，拟为神仙；可是一到他的令郎，似乎便不大高明了。la者“的”也；“儿”读若“倪”，倒是古音罢；nga者，“我的”或“我们的”之意也。

他口裏的閻羅天子仿佛也不大高明，竟會誤解他的人格，——不，鬼格。Even King Yama, as this Wuchang tells it, seems none too clever either, actually misjudging his character — no, his ghost-character.但連“還陽半刻”都知道，究竟還不失其“聰明正直之謂神”。But since he knew even about the "half-hour's leave to return to the living," he had, after all, not entirely lost his claim to being "a spirit both wise and upright."不過這懲罰，卻給了我們的活無常以不可磨滅的冤苦的印象，一提起，就使他更加蹙緊雙眉，捏定破芭蕉扇，臉向著地，鴨子浮水似的跳舞起來。Still, this punishment left our Living Wuchang with an indelible impression of grievance and suffering; the moment it is brought up, he knits his brows even tighter, grips his tattered plantain-leaf fan firmly, tilts his face toward the ground, and begins to dance about like a duck paddling on water.

他口里的阎罗天子仿佛也不大高明，竟会误解他的人格，——不，鬼格。但连“还阳半刻”都知道，究竟还不失其“聪明正直之谓神”。不过这惩罚，却给了我们的活无常以不可磨灭的冤苦的印象，一提起，就使他更加蹙紧双眉，捏定破芭蕉扇，脸向著地，鸭子浮水似的跳舞起来。

Nhatu，nhatu，nhatu－nhatu－nhatututuu！Nhatu, nhatu, nhatu-nhatu-nhatututuu!目連嗐頭也冤苦不堪似的吹著。The Mulian Wail, too, blares on as though it too could bear no more grievance.他因此決定了：And so he made up his mind:

Nhatu，nhatu，nhatu－nhatu－nhatututuu！目连嗐头也冤苦不堪似的吹著。他因此决定了：

“難”者，“今”也；“者個”者“的了”之意，詞之決也。“雖有忮心，不怨飄瓦”，他現在毫不留情了，然而這是受了閻羅老子的督責之故，不得已也。("難" here means "now"; "者個" carries the sense of "the," a particle marking finality of speech.) "Though one may harbor resentment, one does not resent a roof-tile blown loose by the wind" — he shows no mercy now, but this is only because he has been reprimanded by old King Yama; he has no choice in the matter.一切鬼眾中，就是他有點人情；Among all the host of ghosts, he alone has some measure of human feeling;我們不變鬼則已，如果要變鬼，自然就只有他可以比較的相親近。if we are never to become ghosts, well and good — but if we must become ghosts, then naturally he is the only one we could feel at all close to.

“难”者，“今”也；“者个”者“的了”之意，词之决也。“虽有忮心，不怨飘瓦”，他现在毫不留情了，然而这是受了阎罗老子的督责之故，不得已也。一切鬼众中，就是他有点人情；我们不变鬼则已，如果要变鬼，自然就只有他可以比较的相亲近。

我至今還確鑿記得，在故鄉時候，和“下等人”一同，常常這樣高興地正視過這鬼而人，理而情，可怖而可愛的無常；To this day I remember clearly how, back home, together with the "lowly folk," I would often gaze happily and straight-on at this Wuchang — ghost yet human, reason yet feeling, fearsome yet lovable;而且欣賞他臉上的哭或笑，口頭的硬語與諧談……。and how I relished the crying or laughing on his face, and the blunt words and jesting talk on his lips…

我至今还确凿记得，在故乡时候，和“下等人”一同，常常这样高兴地正视过这鬼而人，理而情，可怖而可爱的无常；而且欣赏他脸上的哭或笑，口头的硬语与谐谈……。

迎神時候的無常，可和演劇上的又有些不同了。The Wuchang of the god-welcoming procession, however, differs somewhat from the one on the opera stage.他只有動作，沒有言語，跟定了一個捧著一盤飯菜的小丑似的腳色走，他要去吃；He has only gestures, no words, and follows close behind a clown-like figure carrying a tray of food; he wants to eat it,他卻不給他。but the other man won't give it to him.另外還加添了兩名腳色，就是“正人君子”之所謂“老婆兒女”。Two more characters have also been added, namely what "men of decency and virtue" would call his "wife and children."凡“下等人”，都有一種通病：常喜歡以己之所欲，施之於人。All "lowly folk" share a common failing: they are fond of imposing on others what they themselves desire.雖是對於鬼，也不肯給他孤寂，凡有鬼神，大概總要給他們一對一對地配起來。Even toward a ghost they cannot bear to leave him lonely; whatever gods or ghosts there are, they will generally see to it that they are paired off, one with another.無常也不在例外。Wuchang is no exception.所以，一個是漂亮的女人，只是很有些村婦樣，大家都稱她無常嫂；And so one figure is a pretty woman, though rather village-wife-like in bearing, whom everyone calls Sister-in-law Wuchang;這樣看來，無常是和我們平輩的，無怪他不擺教授先生的架子。which, seen this way, makes Wuchang a man of our own generation — small wonder he never puts on the airs of a professor.一個是小孩子，小高帽，小白衣；The other figure is a small child, with a small tall hat and small white robe;雖然小，兩肩卻已經聳起了，眉目的外梢也向下。small as he is, his shoulders are already hunched up, and the outer corners of his brows and eyes already slant downward.這分明是無常少爺了，大家卻叫他阿領，對於他似乎都不很表敬意；This is plainly young Master Wuchang, though everyone calls him A-Ling, and no one seems to show him much respect;猜起來，仿佛是無常嫂的前夫之子似的。one might guess he is a son of Sister-in-law Wuchang's from an earlier husband.但不知何以相貌又和無常有這麽像？But then why, one wonders, does he resemble Wuchang so closely in looks?吁！Ah!鬼神之事，難言之矣，只得姑且置之弗論。The affairs of gods and ghosts are hard to speak of; I can only set the matter aside for now and not discuss it.至於無常何以沒有親兒女，到今年可很容易解釋了；As for why Wuchang has no children of his own, that, by this year, can easily be explained;鬼神能前知，他怕兒女一多，愛說閑話的就要旁敲側擊地鍛成他拿盧布，所以不但研究，還早已實行了“節育”了。gods and ghosts can foresee the future, and he must fear that, were his children too numerous, the gossips would take sidelong swipes at him and forge up some story that he'd taken Russian rubles — and so he has not only studied the matter, but has long since put "birth control" into practice.

迎神时候的无常，可和演剧上的又有些不同了。他只有动作，没有言语，跟定了一个捧著一盘饭菜的小丑似的脚色走，他要去吃；他却不给他。另外还加添了两名脚色，就是“正人君子”之所谓“老婆儿女”。凡“下等人”，都有一种通病：常喜欢以己之所欲，施之于人。虽是对于鬼，也不肯给他孤寂，凡有鬼神，大概总要给他们一对一对地配起来。无常也不在例外。所以，一个是漂亮的女人，只是很有些村妇样，大家都称她无常嫂；这样看来，无常是和我们平辈的，无怪他不摆教授先生的架子。一个是小孩子，小高帽，小白衣；虽然小，两肩却已经耸起了，眉目的外梢也向下。这分明是无常少爷了，大家却叫他阿领，对于他似乎都不很表敬意；猜起来，仿佛是无常嫂的前夫之子似的。但不知何以相貌又和无常有这么像？吁！鬼神之事，难言之矣，只得姑且置之弗论。至于无常何以没有亲儿女，到今年可很容易解释了；鬼神能前知，他怕儿女一多，爱说闲话的就要旁敲侧击地锻成他拿卢布，所以不但研究，还早已实行了“节育”了。

這捧著飯菜的一幕，就是“送無常”。This scene of carrying the tray of food is what is called "Seeing Off Wuchang."因為他是勾魂使者，所以民間凡有一個人死掉之後，就得用酒飯恭送他。Since he is the emissary who comes to seize souls, it is the custom among the people that whenever someone dies, wine and food must be respectfully offered to see him off.至於不給他吃，那是賽會時候的開玩笑，實際上並不然。As for refusing to let him eat, that is only a joke played during the procession; in actual practice it is not so.但是，和無常開玩笑，是大家都有此意的，因為他爽直，愛發議論，有人情，——要尋真實的朋友，倒還是他妥當。But everyone is indeed inclined to joke with Wuchang, because he is forthright, fond of speaking his mind, and full of human feeling — if you're looking for a true friend, he is, after all, the safest bet.

这捧著饭菜的一幕，就是“送无常”。因为他是勾魂使者，所以民间凡有一个人死掉之后，就得用酒饭恭送他。至于不给他吃，那是赛会时候的开玩笑，实际上并不然。但是，和无常开玩笑，是大家都有此意的，因为他爽直，爱发议论，有人情，——要寻真实的朋友，倒还是他妥当。

有人說，他是生人走陰，就是原是人，夢中卻入冥去當差的，所以很有些人情。Some say he is a living man who walks the underworld — that is, originally a man who, in his dreams, goes down to the netherworld to serve on duty — which is why he has so much human feeling.我還記得住在離我家不遠的小屋子裏的一個男人，便自稱是“走無常”，門外常常燃著香燭。I still remember a man living in a small house not far from mine who claimed to be one who "walks as Wuchang"; incense and candles were often kept burning outside his door.但我看他臉上的鬼氣反而多。But to my eye, his face carried, if anything, more of a ghostly air than most.莫非入冥做了鬼，倒會增加人氣的麽？Could it be that going down to the underworld and becoming a ghost actually increases one's human vitality?吁！Ah!鬼神之事，難言之矣，這也只得姑且置之弗論了。The affairs of gods and ghosts are hard to speak of; this too I can only set aside for now and not discuss.

有人说，他是生人走阴，就是原是人，梦中却入冥去当差的，所以很有些人情。我还记得住在离我家不远的小屋子里的一个男人，便自称是“走无常”，门外常常燃著香烛。但我看他脸上的鬼气反而多。莫非入冥做了鬼，倒会增加人气的么？吁！鬼神之事，难言之矣，这也只得姑且置之弗论了。

六月二十三日。June 23rd.