Review of Imagin8 Press’ Bilingual Edition of Journey to the West for Chinese Language Learners

Note: This post is not endorsed. I received no compensation for the review.

I have an ongoing international survey gauging the readership of Journey to the West. With almost 1,000 responses, 53.4% of the respondents have never read the novel. Another 28.8% have only read a few chapters, including abridgements. Most have learned about the story via video games, comic books, or the internet. This shouldn’t come as a surprise, though, as the majority of respondents come from North America (52.5%) and Europe (18.8%). Such non-Chinese speaking/reading populations do, however, have access to assorted translations. For example, the most popular English renditions are Arthur Waley’s 30-chapter abridgement Monkey (1942) and full translations like W.J.F. Jenner’s Journey to the West (2001) and Anthony C. Yu’s The Journey to the West (revised 2012 edition). Yu’s version is by far the most accurate, but it runs well over 2,000 pages (including a 100 page introduction, copious explanatory notes throughout the four volumes, and many scholarly sources), making it a daunting task to read. But what about those who wish to read the original Chinese? Well, the edition put out by the People’s Literature Publishing House (人民文學出版社, 1955/2017), for example, has 866,000 Chinese characters, and while the novel is written in the vernacular, a person would need to know 3,000 or more characters before they could comfortably read it. This means beginning students would normally have to wait years until they reached the appropriate reading level. But now they have a new option.

Jeff Pepper (writer and publisher) and Dr. Xiaohui Wang (translator) of Imagin8 Press have produced a series of bilingual retellings of the tale at the 600 and 1,200 HSK word levels, as well as a few with 1,500 based on new words introduced in past books. [1] So far there are 14 books in the series covering chapters one to 42 (Monkey’s stone birth to the defeat of Red Boy). All are available in Simplified Chinese, while (as of March 2021) only the first six books are available in Traditional Chinese. Each is divided into four parts: 1) a preface with a brief explanation of the series and a recap of the story from previous books; 2) the story proper presented in pinyin with the corresponding Chinese on the adjoining page; 3) the English translation; and 4) an alphabetized glossary of terms with four columns listing the Chinese character, pinyin, English meaning, and when new words (not part of HSK3) are “First Used” in a given book (i.e. 1, 2, 3, etc.). [2] If the First Used column is blank for a given character, this is because “the word is part of HSK3 or is in common usage” (Pepper & Wang, 2018a, p. 119). Furthermore, students have the added option of listening to audiobooks available for free on Imagin8’s YouTube channel. This means they can practice both their reading and listening skills. Needless to say, this series truly is an amazing resource.

The cover of book one. Design by Katelyn Pepper (larger version).

Now on to the story. Given the reduced word count, the tale in each book is a simplified version of the original. The first book opens on a parent telling Journey to the West as a bedtime story to their child, each subsequent volume representing a different night’s story. Certain aspects, such as the names of minor gods, immortals, and demons, as well as copious literary poems, are cut out as they don’t really affect the overall story. [3] The narrative flows smoothly and follows the general outline from Anthony C. Yu’s English translation. [4] The rhythm of pages is occasionally broken up by beautiful black and white drawings by Next Mars Media, each of which is accompanied by a bilingual caption.

Beyond a few very minor inaccuracies in the story, I only have two major complaints. One, the tendency to gloss over certain facets of the narrative resulted in the removal of one major aspect of Sun Wukong’s early training, which is the source of his most famous magic power. In the original, the Buddho-Daoist Sage Subhuti teaches Monkey the 72 transformations in order to hide from a trio of heaven-sent punishments scheduled to kill him for attaining immortality. After subsequently learning how to fly via the cloud somersault, he is expelled from the Sage’s school for showing off his newfound powers of metamorphosis to his less accomplished classmates. But in book one of the series, Wukong’s lesson on shapeshifting is mysteriously replaced with flight training. It is implied that he can simply fly away from said punishments (Pepper & Wang, 2018c, pp. 55 and 57 and 82-83). And instead of being kicked out for showing off his transformations, Subhuti simply tells him to leave because he’s “disturbing the other students” (Pepper & Wang, 2018c, pp. 57 and 83). This removal doesn’t make any sense, especially when our hero exhibits transformations in later books (Pepper & Wang, 2018b, pp. 39 and 78, for example).

Two, the Chinese sections of books one to five are very short, running between 25 to 30 pages with only 14 lines per page. The rest of the books are comprised of the aforementioned preface, the pinyin pages, the English translation, the images, and the glossary. However, book six and beyond tend to have more pages, especially those from book seven onwards as this is when the 1,200 word level is introduced. In addition, Imagin8 has produced a number of compilations, each collection containing three books (example).

For my overall rating, I would give the series 4.5 out of five stars. I highly recommend it for those in the early stages of learning Chinese. It will surely serve as a gateway to learning more about Chinese history, religion, and mythology.


1) Mr. Pepper was kind enough to send me the first six volumes in Simplified Chinese back in 2019. He recently sent me the Traditional Chinese version of volume six.

2) Book one is missing this “First Used” column. It was introduced in book two under the listing “New?”. This was subsequently changed to “Used In” in book five and then “First Used” in book six.

3) The names of certain reoccurring characters, such as Heavenly King Li Jing and his son Prince Nezha, are cut in earlier books. I’d be interested to see if their full names grace later books as the characters do appear several more times in the original narrative.

4) Dr. Yu is thanked in the acknowledgements.


Pepper, J., & Wang, X. (2018a). The Emperor in Hell (2nd ed.). Pittsburgh, PA: Imagin8 Press.

Pepper, J., & Wang, X. (2018b). The Immortal Peaches (2nd ed.). Pittsburgh, PA: Imagin8 Press.

Pepper, J., & Wang, X. (2018c). The Rise of the Monkey King (2nd ed.). Pittsburgh, PA: Imagin8 Press.

The Great Sage Monkey King Scripture: A Brief Analysis

The Journey to the West Research blog is proud to host an entry by our friend Edward White (his blog). The following is a reformatted and lightly edited version of his brief but insightful analysis of The Great Sage Equaling Heaven’s True Scripture of Awakening People and Enlightening the World (Qitian Dasheng xingren jueshi zhenjing, 齊天大聖醒人覺世眞/真經) posted on Twitter (see here). He was gracious enough to give me permission to post it here. – Jim


This book alone is extremely interesting, because it shows the sheer amount of syncretism that is found in Chinese popular religion: It freely combines Buddhist and Daoist elements. The first text in this book is not actually the Great Sage scripture itself, but rather The Thousand-Handed and Thousand-Eyed Bodhisattva Guanshiyin’s Great Compassion Heart Mantra (Qianshou qianyan Guanshiyin pusa dabbixin tuoluoni, 千手千眼觀世音菩薩大悲心陀羅尼), better known as the Great Compassion Mantra (Dabei Zhou, 大悲咒), followed by the celebrated Heart Sutra (Xinjing, 心經), here called by its full name the Prajnaparamita Heart Sutra (Bore boluomi duo xinjing, 般若波羅蜜多心經) (pp. 9-13). Both are quintessentially Buddhist texts. These are, however, followed by a set of mantras for cleansing the body and the surroundings, which are associated with Daoist rites (starting from p. 13).

This is followed again with a “Precious Admonition of the Great Sage Equalling Heaven” (Qitian Dasheng Baogao, 齊天大聖寶誥) (p. 25). This format—effectively a hymn—is a liturgical form that is associated exclusively with Daoist scriptures (Cf. the set phrase 志心皈命禮 on p. 26). [1] Then, you have a list of salutations of four Buddhas and bodhisattvas, and five Heavenly Worthies (Tianzun, 天尊) (Daoist deities), all of which are equally saluted by the Sanskrit “Namo” (南無) (pp. 28-30).

The scripture itself starts on page 30, and has five chapters in total. Chapter one is titled “Cultivating the Body and Rectifying Fate” (Xiushen liming di yi zhang, 修身立命第一章) (p. 30). Chapter two is titled “Entering Sagacity and Transcending Ordinariness” (Ru sheng chaofan di er zhang, 入聖超凡第二章) (p. 33). Chapter three is titled “Returning to the Origin of Brilliance and Kindness” (Mingshan fu chu di san zhang, 明善復初第三章) (p. 40). What is interesting in this text, however, is that between chapters two and three, there is a lengthy section titled “True Words of the Great Sage Equalling Heaven” (Qitian Dasheng zhenyan, 齊天大聖眞言) (p. 36). [2] This is absent in the online edition. Chapter 4 is titled “Cause, Effect, and Retribution” (Yinguo baoying di si zhang, 因果報應第四章) (p. 44). The fifth and final chapter is titled “Cultivating Both Internally and Externally” (Neiwai shuangxiu di wu zhang, 內外雙修第五章) (p. 52). In this particular edition of the Great Sage Scripture, between chapters four and five are found a long list of evils that reciting this scripture can resolve (this is also not found on the online edition) (pp. 48-52). Our Daoist readers may find this similar to a list found in the very, very Daoist “Big Dipper Scripture” (Beidou jing, 北斗經), which I translate here.

Fig. 1 – Weituo standing guard at the end of the scripture (larger version). Fig. 2 – Examples of percussion marks (larger version).

The text ends with a hymn called “In Praise of the Great Sage Equalling Heaven” (Qitian Dasheng zan, 齊天大聖讚) (p. 56), followed by a text called “The Essentials of Cultivating the Dao” (Xiudao shouyao pian, 修道首要篇) (p. 57). This is immediately followed by the “Mantra of the Seven Buddhas to Extinguish Offences” (Qi fo miezui zhenyan, 七佛滅罪眞言) (p. 59). Syncretism indeed. On the last page we have a picture of the Buddhist god Weituo (韋馱) (fig. 1), who stands guard on the last page of scriptures to protect them (p. 65). Thus we have an extremely Daoist text literally bookended by Buddhism.

We are hence immensely grateful to Jim for uploading scans of this scripture. As even from this preliminary reading shows, it preserves liturgical texts that are not found in online editions of the scripture. The online presence of non-Buddhist Chinese religious works is extremely poor and patchy; we have nothing like the Taisho Tripitaka to work on; every scripture uploaded advances our knowledge greatly. By observing not just the scripture itself, but also its front and back matter that is printed along with it, we can tell how the scripture was used by the religious communities that produced it—something again that gets lost in transmission.

Some words should be said about the format of the book. The book is clearly bound in what is called in the west the “Concertina format”. This format is unique to religious books, thereby increasing its authenticity as a holy work. But also more importantly, makes the book very easy to use in a liturgical context: it lays absolutely flat, and is easy to turn—valuable features if you are chanting off the scripture. In turn, on some pages, you see little dashes and dots besides the characters (fig. 2) (p. 13, for example). These are indications of the percussion—when the various gongs and bells are to be struck. These factors—along with the inclusion of several hymns inserted between chapters of the scripture—would lead me to conclude that this book represents not just a scripture to be contemplated, but a scripture prepared for public performance as a ritual (refer back to “True Words of the Great Sage Equalling Heaven” between ch. 2 and 3). The appended mantras, percussion, and inserted hymns, would only make sense in a context where people would chant the scripture in a grand ceremony: they would be irrelevant if the text was produced with quiet study and contemplation in mind. I could be wrong, though.


1) For a Chinese example of another “Precious Admonition”, see here. My translation of another can be seen here.

2) “True Words” 真言 is one of the names by which mantras are known in Chinese. Thus, the term “True Words of the Great Sage” might just as well be read as “Mantra of the Great Sage”.

Archive #21 – The Monkey King’s Scripture


Last updated: 03/10/2021

I am absolutely thrilled to share a PDF scan of “The Great Sage Equaling Heaven’s True Scripture of Awakening People and Enlightening the World” (Qitian Dasheng xingren jueshi zhenjing, 齊天大聖醒人覺世眞/真經). That’s right, the Monkey King has a holy book! I first learned of it when I visited the Great Sage Equaling Heaven Temple (Qitian Dasheng Miao, 齊天大聖廟) in the Zhongshan District of Keelung, Taiwan. I had spent a few minutes taking pictures, when I briefly looked back through the images to make sure they weren’t blurry (a common problem when photographing in dimly lit temples). This is when I saw a blue booklet tucked among the altar statues (fig. 1 and 2). I hadn’t notice it upon first inspecting the figures. But once I looked up and read the characters, I knew I had found something special.

Fig. 1 – The image where I first noticed the blue booklet (larger image). Fig. 2 – The Great Sage Scripture (larger version).

After posting about it online and inquiring with my monkey temple contacts, a gentleman from Taichung wrote me on Facebook and offered to send me a copy free of charge (a BIG thank you to Mr. Chen). A few days later, I received a package in the mail and was delighted to find he had sent me an exact copy as that seen in Keelung.

The resulting scans are the product of an overhead scanner set to document mode. I found the book mode cropped off the page numbers and slightly widened the characters when the program attempted to flatten the curved pages. Still, the final product is not perfect as the accordion-style pages can’t be laid perfectly flat.

The document states that this is the fourth batch printed in September of 2006. I’m not sure when it was first written; though, I’ve been told by a few informants that it is likely the product of the “flying phoenix” (feiluan, 飛鸞), otherwise known as “planchette writing” or “spirit writing” (fuji, 扶乩 / 扶箕). Jordan and Overmyer (1986) note the Chapel of Compassion and Goodness (Cishan Tang, 慈善堂) of the Society of Wisdom and Enlightenment (Huiming She, 慧明社) in Tainan published a book via the planchette in 1965 with 724 “revelations” from assorted Buddhist and Daoist deities, including the Great Sage (pp. 107-108). Perhaps this scripture is part of that tradition. A tangki from Taipei said that last year a sister temple had gifted 20 copies of the Great Sage scripture to various temples. One informant said they saw it at a temple on “Five Fingers Mountain” (Wuzhi shan, 五指山) in Hsinchu, while another said they saw an exact copy in Singapore. The internet has a few videos of the scripture being performed aloud, one in Hokkien and the other in Cantonese (video 1). The latter suggests the scripture is present in Hong Kong as well.

Video 1 – The Cantonese version of the Great Sage scripture.

I am not a translator, so I don’t plan to make my own. My hope is that a more qualified individual will use the PDF to give the scripture the proper translation and analysis that it deserves. I would love to one day host it on my site.

Scripture link:

Update: 03/10/21

I have posted a brief analysis of the Great Sage scripture by Edward White. A big thank you to him.


Jordan, D. K. & Overmyer, D. L. (1986). The Flying Phoenix: Aspects of Chinese Sectarianism in Taiwan. Princeton: Princeton University Press.

The Buddhist Monkey King

(Note: I originally wrote this in late 2020 but just now got around to cleaning it up and posting it.)

Following his birth, the Stone Monkey (Shi hou, 石猴) comes to live with a tribe of primates on the Mountain of Flowers and Fruit. One day, the monkeys and apes decide to follow a stream to its source in the mountain and find a beautiful waterfall. They state anyone who can discover what is behind the blanket of water will be proclaimed their king. The Stone Monkey takes up this challenge by leaping through and discovers a grotto paradise with a stone mansion and enough room for all the primates to live. After he emerges victorious:

Each one of them [the primates] then lined up according to rank and age, and, bowing reverently, they intoned, “Long live our great king!” From that moment, the stone monkey ascended the throne of kingship [fig. 5]. He did away with the word “stone” in his name and assumed the title, Handsome Monkey King [Mei hou wang, 美猴王] [fig. 1] (Wu & Yu, 2012, p. 105).

In this article, I suggest Sun Wukong’s position as a primate monarch is based on “The Story of the Great Monkey” (Sk: Mahakapi jataka; Ch: Houwang bensheng, 猴王本生, “Birth Story of the Monkey King”; “The Great Monkey” hereafter), an ancient story about the Buddha’s past life as a monkey king, which appears in various collections of moralistic birth tales (Sk: jakata; Ch: bensheng jing, 本生經) in Buddhist literature. After summarizing the tale, I will briefly discuss 2,000-year-old Indian Buddhist art depicting the story at important religious sites, thereby showing its intense popularity. Next, I will demonstrate that the tale traveled the Silk Road to China, where it was represented in Buddhist art and literature. Finally, I will highlight similarities between “The Great Monkey” and a 13th-century precursor of Journey to the West, as well as similarities with the standard 1592 edition of the novel.

Fig. 5 – The Stone Monkey sits on his throne (larger version). From the Japanese children’s book Son Goku (1939).

1. Story of the Great Monkey

Buddhist literature contains different versions of the tale. I will describe two of them here. The first is story no. 27 in the Garland of Birth Stories (Sk: Jatakamala, 4th-century) by the monk Arya Sura. [1] The tale opens with the following epigraph: “Those who make a practice of good behavior can win over the hearts even of their enemies” (Khoroche, 1989, p. 186). According to the story, the bodhisattva was born a virtuous monkey king in the verdant paradise of the Himalayas, which abounded in fruits and flowers, crystal clear streams, and choirs of singing birds. He and his tribe lived near an unnamed river and ate from a mountainous banyan tree that produced figs larger than palmyra nuts. The monkey king feared that the fruit would cause trouble for his people, so he gave instructions to regularly clear them from a branch overlooking the river. However, one season a fig escaped the monkeys’ attention and it grew to maturation, dropping into the water, drifting downstream, and lodging in the fence of a pool where an unnamed human king played with his consorts. The smell and color of the fruit entranced the women, and after the king tasted it, he became obsessed with its flavor and led an army in search of the tree. The ruler and his entourage cut a path upstream and followed a sweet scent directly to the massive banyan, which rose high above all the surrounding trees like the lord of the forest. When he saw the monkeys eating figs, the enraged ruler ordered his men to shoot them down with arrows, spears, and rocks. Seeing the dire situation of his tribe, the monkey king made a tremendous leap to the summit of a nearby mountain, a feat that would have required any other monkey a series of jumps. On the mountain, he found a strong-rooted cane of the appropriate length needed to span the gap and tied it to his feet. But his return jump to the tree was hampered by the binding, and so he came up short, forcing him to grab a branch and use his body as a bridge so that his tribe could escape. But the monkey king was mortally wounded as throngs of the panicked primates clawed their way across his body to safety. The human king took note of this selfless deed and ordered his men to relieve the suspended monkey by placing a canopy beneath him and simultaneously shooting the branch and cane. After his wounds were tended and he regained consciousness, the monkey king spent the last few moments of his life teaching the human king the virtue of putting his people’s needs before his own (Khoroche, 1989, pp. 186-192).

The second is story no. 407 [2] in Commentary on the Birth Stories (Pali: Jatakatthakatha, a.k.a. Jatakatthavannana, 5th-century), which is attributed to the monk Buddhagosa. The narrative opens with the Enlightened One talking to a large assembly of monks in Jetavana. He tells them of a previous life when he helped his relatives. Here, the story is quite similar to the first, with slight differences in certain details, such as the monkey king leading a specified number of 80,000 primates, the river is the Ganges, the fruit is water pot-sized mangoes, the specimen that floats downstream is caught in a fisherman’s net, and the human ruler is named King Brahmadatta of Benares. [3] Instead of leaping to a nearby mountain, the monkey king jumps one hundred bow lengths across the Ganges. The cane is tied to his waste instead of his feet, and the cause of falling short on the return jump is not hindrance but miscalculating the length of cane needed to span the gap. And instead of being seriously injured by his people during their escape, a rival of the king—a previous incarnation of the Buddha’s evil cousin Devadatta—mortally wounds his heart by jumping onto his back from a high branch. Brahmadatta instructs his men to build a tower so that he can retrieve the primate and tend to his wounds in his last few moments of life. And just like before, the monkey king teaches the human monarch the value of his people’s needs prior to dying. But this time the discussion is much shorter, being presented as a poem of seven stanzas. Brahmadatta then honors the monkey with funeral rites befitting a king and worships the skull as a religious relic. In the end, the Buddha reveals that the ruler was the past incarnation of his disciple Ananda, the 80,000 monkeys were incarnations of the assembled monks, and the monkey king was himself (Cowell, 1895, vol. 3, pp. 225-227).

2. The tale in Indian and Chinese Buddhist art

This birth story is over 2,000 years old as it appears among the stone carvings of the Bharhut Stupa (c. 2nd-century BCE) (fig. 2 and 3) and the western torana (c. 1st-century BCE/CE) of the Great Stupa at Sanchi (fig. 3 and 4) (Marshall, Foucher, Majumdar, 1902, vol. 1, pp. 224-225, vol. 2, plate 64). I should note that the story is one of 547 such tales appearing in the Pali canon (Robert & David, 2013, p. 381). So the fact that it was one of only a few past life narratives chosen to appear at these religious sites speaks volumes to its popularity. This explains why the story spread beyond India.

Fig. 2 – “The Great Monkey” medallion from Bharhut stupa (c. 2nd-century BCE) (larger version). Picture adapted from Wikipedia. Fig. 3 – Key: A) The monkey king leaps and grasps a banyan tree, making a bridge with his body; B) attendants hold a canopy to catch the injured monkey; and C) The human king sits with the monkey discussing the actions of a good ruler prior to the latter’s death (larger version). Fig. 4 – “The Great Monkey” carving from the western torana at Sanchi (c. 1st-century BCE/CE) (larger version). Picture adapted from Wikipedia. Fig. 5 – Key: A) Brahmadatta travels with a retinue to the tree; B) he orders his archer(s) to shoot the monkeys; C) He watches as the monkey king leaps across the Ganges and grasps a banyan tree to make a bridge with his body; and D) Brahmadatta’s discussion with the monkey king (larger version).

The tale is known to have traveled east to China along the northern silk road. This is demonstrated by murals appearing in the Kizil cave complex (5th to 7th-century), one of the earliest and most popular Buddhist centers in Kucha, in what is now Xinjiang, China. Zhu (2012) describes the murals, noting that they lack the detail of their Indian counterparts and are therefore more mnemonic than narrative:

[I]n Kizil Cave 38 [fig. 5], a very large monkey is depicted in the center, stretching his body and holding a tree on the other side of a river. Two other smaller monkeys are stepping on his body to cross the river. In the foreground, a kneeling archer is shooting at them. In Kizil Cave 17 [fig. 6] this story is represented even more simply, with the archer omitted. However the stretching monkey, the river, and the trees are enough for anyone who knows the story to recognize it […] Compared to the Indian representations that are more explicitly narrative, the Kizil paintings are more like a reminder of the story. They communicate with the viewers as if they already know the story well” (pp. 59-60).

Fig. 5 – The Kizil cave no. 38 mural (larger version). Found here. Fig. 6 – Kizil cave no. 17 mural (larger version). Found here. Both are circa 5th to 7th-century. Zhu, 2012, p. 61 includes black and white line drawings of the murals.

3. The tale in Chinese Buddhist literature

The Kizil murals are predated by a brief story appearing in The Collection of Sutras on the Six Paramitas (Liudu jijing, 六度集經, 3rd-century, The Collection hereafter), a compilation of karmic merit tales (Sk: avadana) translated into Chinese by the Sogdian Buddhist monk Kang Senghui (康僧會, d. 280). [4] The 56th story in this collection is an adaptation of the original Indian version with several noticeable differences: The Bodhisattva was formerly a monkey king (mihou wang, 獼猴王) who frolicked with 500 primates. At that time a drought made the various kinds of fruit scarce. Only a river separated their mountain from a nearby kingdom, so the monkey king led his tribe to eat fruit in the royal garden. The human king ordered that they be secretly captured, but the monkey called for his tribe to gather cane to make a rope. One end was tied to a tree and the other to the king, who leaped from a branch across the river. Unfortunately, the rope wasn’t long enough, and so he came up short, forcing him to grab a branch on the other side and create a bridge with his body. After the 500 monkeys crossed to the other side, the king’s body split in two under the strain. When the human king came upon the scene, the dying primate begged that his tribe not be hurt and offered up his own flesh as payment for his bad judgment. However, the king admired the monkey’s superior, sage-like virtue and questioned his own willingness to sacrifice his body for his people. He then issued a proclamation that all monkeys were to be fed throughout the kingdom, and those who refused would be punished as thieves. Upon his return to the palace, the king recounted the events to his queen, touting the monkey’s kindness and comparing it to the height of Mt. Kunlun. She then suggested that the monkeys be fed and the king confirmed that he had already given the order. In the end, the Buddha revealed that the monkey king was himself, the human king was Ananda, and the 500 monkeys were the monks at the assembly (CBETA, 2016a). [5]

Instead of the original 80,000 monkeys, this version reduces the number to only 500. Instead of the king traveling to the banyan/mango tree in the monkey’s mountain territory, the monkeys travel from their mountain to the royal fruit garden in the king’s territory. Instead of being trampled by his people/a rival, the monkey king’s body breaks in two from the strain. And instead of giving the monkey royal funeral rights and worshiping his skull as a relic, the king enacts a law that all monkeys should be fed.

This version is different enough from the originals to suggest a separate Chinese tradition, one that had circulated for some time. This fits with Chavannes’ (1910) suggestion that The Collection of Sutras on the Six Paramitas is not an original Indian text but one compiled in China by Kang Senghui, who likely selected and edited the stories himself (vol. 1, p. 1 n. 1).

Story no. 56 finds parallels with another tale from Chinese Buddhist literature. [6] It appears in the Scripture on the Storehouse of Sundry Treasures (Za baozang jing, 雜寶藏經, mid-5th-century), which was translated into Chinese by the monk Tan Yao (曇曜). According to the 12th story in this collection: The Buddha was in Rajagrha when the monks commented on the woes faced by those who rely on Devadatta, while celebrating the happiness, positive rebirth, and eventual deliverance of those who rely on the Enlightened One. The Buddha confirmed this by telling a brief tale about two monkeys, each with 500 members in their tribe. A prince of Kashi (a.k.a. Benares) was on a hunting excursion when he surrounded the monkeys. The good monkey (shan mihou, 善獼猴) suggested that they cross the river to escape, but the evil monkey (e’mihou, 惡獼猴) wavered. The good monkey instructed his tribe to cross by using the long branches of a nearby tree. But the evil monkey and his tribe were captured due to inaction. In the end, the Buddha revealed that the good monkey was himself and Devadatta was the evil monkey. He used this story to advocate following the virtuous over the evil, for the former would lead others to safety and happiness, while the latter would lead others to suffering over numerous incarnations (CBETA, 2016b). [7]

This version does away with the fruit element altogether. The monkeys are in danger not because a king is protecting his fruit but because a prince is out hunting. The most noticeable difference here is the addition of a second monkey, one who is labeled as “evil” (e, 惡) (no connection to the Six-Eared Macaque). But like story no. 56, the monkey king is said to lead 500 primates.

It is clear that both Chinese tales were influenced by the later Indian version, story no. 407 from Commentary on the Birth Stories, as they specify a number for the troupe size (500 vs. 80,000), state the monkey king leaps over a river (as opposed to jumping to a nearby mountain top), and characters are revealed in the end to have been the past lives of Buddhist personages (the Buddha, Ananda, Devadatta, monks, etc.). Story no. 12 even opens in a city associated with the Enlightened One’s historical lectures (Rajagrha vs. Jetavana), where he discusses philosophical matters with monks; and an unnamed prince who poses a threat to the monkey king and his people is said to hail from Kashi, another name for Benares, the seat of King Brahmadatta.

4. The Chinese Monkey King

The oldest Chinese source mentioning Sun Wukong as a king of monkeys is The Story of How Tripitaka of the Great Tang Procures the Scriptures (Da Tang Sanzang qujing shihua, 大唐三藏取經詩話, late 13th-century, The Story hereafter), a 17 chapter storytelling prompt that predates the Ming Journey to the West by 300 years. In chapter two, our hero’s literary antecedent, a white-clad scholar called the “Monkey Pilgrim” (Hou xingzhe, 猴行者), meets the Tang monk Tripitaka on the road to the west and warns the monk that his two previous incarnations have died trying to procure the Buddhist scriptures. When asked how he knows events of the past, the scholar replies: “I am none other than the bronze-headed, iron-browed [8] king of the eighty-four thousand monkeys of the Purple Cloud Grotto on the Mountain of Flowers and Fruit. I have come to help the reverend monk procure the scriptures” (Wivell, 1994, p. 1182).

The Story‘s depiction of the Monkey Pilgrim was influenced by Saint Mulian (目連; Sk: Maudgalyayana) (fig. 7), a disciple of the Buddha, who appears in a late-9th to early-10th-century Bianwen (變文) text in which he travels to the underworld to release his mother from karmic torment. For example, both are depicted with occult powers enabling them to fly between heaven and earth (Wivell, 1994, pp. 1183; Mair, 1994, pp. 1097-1098); both visit a realm ruled by a deity named Brahma, the Mahabrahma devaraja Vaisravana in the case of Monkey and Brahma in the case of Mulian (Wivell, 1994, pp. 1183; Mair, 1994, p. 1098); both are bestowed magic weapons by heaven, a golden-ringed monk staff and alms bowl for Monkey and a matching staff for Mulian (he enchants his own alms bowl) (Wivell, 1994, p. 1184; Mair, 1994, p. 1111); the power of said weapons are tied to the recitation of a Buddhist deity’s name, Vaisravana and the Buddha, respectively (Wivell, 1994, p. 1184; Mair, 1994, p. 1111); and both use said weapons with the expressed purpose of saving someone important, Tripitaka and Mulian’s mother, respectively (Wivell, 1994, p. 1189, for example; Mair, 1994).

Mulian saves his mother, scroll - small

Fig. 7 – A painting depicting Mulian rescuing his mother from the underworld (larger version). Originally found here.

If The Story borrows from Mulian’s tale, it’s not a stretch to suggest that it also appropriated material from other Buddhist tales, including “The Great Monkey”. For example, the Mountain of Flowers and Fruit could be based on the Himalayas and the massive, fruit-bearing banyan/mango tree. Additionally, both The Story and the “The Great Monkey” describe the respective monkey kings leading a similar number of primates, 84,000 in the former and 80,000 in the latter. [9] While the Chinese variants drastically reduce the number to 500, it’s interesting that both tales would display such similar counts. This is because said numbers are significant to Buddhism. For example, 84,000 generally denotes a very large number, hence the belief that the body contains this many atoms. Other examples include the 84,000 stupas of Asoka, the 84,000 bodily relics of the Buddha, the Amitabha‘s 84,000 rays of illumination, the 84,000 bodily signs of a Buddha, the 84,000 teachings of the Buddha, etc. In addition, the Chinese term for 80,000 (bawan, 八萬) can be shorthand for 84,000. It can also refer to separate Buddhist concepts, such as the “bodhisattva’s 80,000 duties” (Soothill & Hodous, 1937/2006, p. 39). It’s certainly possible that both stories independently chose similar numbers due to their demonstrated connection to Buddhism. But maybe the storytellers who developed The Story had access to some non-Chinese version of the tale, perhaps by way of Buddhist monks, for Buddhism has a long history of proselytizing through oral literature. [10]

Furthermore, in chapter 11 of The Story, the pilgrims enter the earthly paradise of the Daoist goddess Queen Mother of the West, home to the famed peaches of immortality. Tripitaka asks Monkey to steal the group a few fruits, but the latter refuses, stating:

Because I stole ten peaches to eat when I was eight hundred years old, I was captured by the Queen Mother and given eight hundred blows on my left side and three thousand blows on the right with an iron cudgel. Then I was exiled to the Purple Cloud Grotto on the Mountain of Flowers and Fruits. Even today my sides hurt and now I definitely don’t dare to steal any more peaches!” (Wivell, 1994, p. 1195).

This event was surely influenced by the fabled meeting of Emperor Wu and the Queen mother, during which she reveals his jester Dongfang Shuo (東方朔), formerly the planet Jupiter (Sui, 歲), was exiled from heaven for stealing her peaches (Campany, 2009, p. 126). However, a monkey king running afoul of an earthbound monarch for raiding their imperial fruit garden mirrors story no. 56 in The Collection. As mentioned above, the tale recalls the Buddhist monkey king leading his tribe out of the mountains to eat fruit in a human sovereign’s garden during a time of drought. The ruler orders the primates captured, leading to the monkey king’s sacrifice. Therefore, this portion of The Story could be a combination of Buddhist and Daoist sources.

“The Great Monkey” could have also influenced the 1592 edition. In chapter one, the monkeys following the stream to find its source in the Mountain of Flowers and Fruit is reminiscent of the human king’s trek up the Ganges to find the source of the fruit in the Himalayas. Also, recall that the Indian and Chinese versions place great emphasis on the monkey king leaping over a river. For example, story no. 407 reads: “[H]e ascended a branch that rose up straight, went along another branch that stretched towards the Ganges, and springing from the end of it, he passed a hundred bow-lengths and lighted on a bush on the [other] bank” (Cowell, 1895, vol. 3, p. 226). This could have influenced the competition to leap through the waterfall. It’s interesting that Wukong alone is successful in the jump, leading to his kinghood:

The monkeys said to each other, “We don’t know where this water comes from. Since we have nothing to do today, let us follow the stream up to its source to have some fun.” With a shriek of joy, they dragged along males and females, calling out to brothers and sisters, and scrambled up the mountain alongside the stream. Reaching its source, they found a great waterfall.


All the monkeys clapped their hands in acclaim: “Marvelous water! Marvelous water! So this waterfall is distantly connected with the stream at the base of the mountain, and flows directly out, even to the great ocean.” They said also, “If any of us had the ability to penetrate the curtain and find out where the water comes from without hurting himself, we would honor him as king.” They gave the call three times, when suddenly the stone monkey leaped out from the crowd. He answered the challenge with a loud voice, “I’ll go in! I’ll go in!” 


Look at him! He closed his eyes, crouched low, and with one leap he jumped straight through the waterfall (Wu & Yu, 2012, pp. 103-104).

This takes us back to where we started from in the introduction.

5. Conclusion

I suggest Sun Wukong’s position as the Monkey King is based on the “The Great Monkey”, a jataka tale about the Buddha’s past life as a primate monarch, which appears in various Indian Buddhist sources, such as the 4th-century Garland of Birth Stories (no. 27) and the 5th-century Commentary on the Birth Stories (no. 407). The tale describes the monkey king’s efforts to save his tribe from a human monarch who seeks to claim a massive banyan/mango tree in the Himalayas by killing all of the monkeys inhabiting it. After leaping to a mountain top or over the Ganges River to retrieve a length of cane needed to span the gap, his return jump is hindered, forcing him to make a bridge with his body. He is mortally wounded in the process, though, when throngs of clambering monkeys run across his back or a rival primate assaults him from a high branch. In the end, the human monarch takes note of this selfless act and learns from him the value of putting the needs of his people first moments prior to the monkey king’s death.

The popularity of the tale, as evidenced by 2,000-year-old Indian Buddhist art at the Bharhut and Sanchi stupas, explains why it spread beyond Bharata and traveled the Silk Road to the Middle Kingdom, where it was represented in Chinese Buddhist literature and art. Simplistic mnemonic depictions of the tale in Xinjiang’s Kizil Cave complex (no. 17 and 38) (5th to 7th-century) are predated by stories in the 3rd-century Collection of Sutras on the Six Paramitas (no. 56) and the mid-5th-century Scripture on the Storehouse of Sundry Treasures (no. 12). The first tells how the monkey king leads his people down from the mountain to raid an imperial fruit garden and ultimately sacrifices his life so the tribe can escape punishment. The second involves the decisions of two monkey kings, one good and one evil, whether or not to cross a river to escape capture at the hands of a prince on a hunting trip. It serves as a parable warning of the consequences of putting one’s faith in those of evil character.

The oldest Chinese source mentioning Sun Wukong as a king of monkeys is the late-13th-century tale The Story of How Tripitaka of the Great Tang Procures the Scriptures. This story borrows from the Mulian story cycle, so it’s possible that it selected from other Buddhist tales, including Indian and Chinese versions of the “The Great Monkey”. For example, the Mountain of Flowers and Fruit could be based on the Himalayas and the banyan/mango tree. The 84,000 primates led by the Chinese Monkey King could be based on the 80,000 from an Indian version. Likewise, Monkey stealing peaches from the Queen Mother of the West in chapter 11 could be based on the Chinese version in which the monkey king and his people raid an imperial fruit garden. In addition, the emphasis on leaping over a river in the various versions of “The Great Monkey” could have influenced the waterfall jumping contest in the standard 1592 edition of Journey to the West.


1) Little is known about Arya Sura’s life. Based on various Indian and Chinese sources, the monk has been estimated to have lived somewhere between the 2nd to the 5th-century, with the 4th-century being the best guess (Khoroche, 1989, pp. xi-xiii).

2) This should not be confused with the similarly named Mahakapi jataka (no. 516). See Cowell, 1895, vol. 5, pp. 37-42.

3) This page (see #3) explains Brahmadatta is the name of several kings from jataka tales.

4) See Nattier, 2008, pp. 149-155 for more information about Kang Shenghui and his work, including the Liudu jijing.

5) See Chavannes, 1910, vol. 1, pp. 216-218 for a French translation of the story. Click here for an English translation by Edward P. Butler (@EPButler).

6) Thank you to Eric Greene of Yale university for bringing this story to my attention.

7) See Tanyao, Kikkāya, & Liu, 1994, pp. 40-41 for a full English translation. As of 03/02/21 the book can be downloaded here for free. See Chavannes, 1910, vol. 3, p. 13 for a partial French translation.

8) According to Mair (1989), “‘Bronze-headed, iron-browed’ is a conventional Chinese epithet for boldness and bravery” (p. 701).

9) Interestingly, the number of primates led by Wukong in the final Ming edition of the novel is 47,000 (Wu & Yu, 2012, p. 133). I don’t know if this number holds any significance.

10) Mair (1988) explains Indian Buddhist prosimetric oral literature was very popular in China during the Tang but rapidly became secularized and Sinicized during Song (when The Story was published) due to past anti-Buddhist pogroms, Muslim incursions in Central Asia cutting off fresh Buddhist material, and the reemergence of Confucianism as a state power. But I suggest material that influenced The Story may predate this shift. For example, the Monkey Pilgrim appears with Xuanzang in an 11th-century (Western Xia) mural from Eastern Thousand Buddha Cave number two in the Hexi Corridor of Gansu Province (see this article). Xuanzang is shown worshiping Guanyin from a riverbank, while our hero stands behind him tending to a brown horse. The fact that Monkey appears in religious art at an important stop along the Silk Road shows his association with Xuanzang’s journey was well-known even during this early period. And since story cycles take time to form and become cemented in the public psyche, it’s not a stretch to suggest Monkey’s tale goes back to the previous century or even before the Song. Therefore, it’s possible that these earlier storytellers may have had access to some non-Chinese version of “The Great Monkey”.


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