Archive #44 – The God Erlang Captures the Great Sage Equaling Heaven (Erlang shen suo Qitian dasheng) Zaju Play

Last updated: 03-08-2025

The God Erlang Captures the Great Sage Equaling Heaven (Erlang shen suo Qitian dasheng / Erh-lang shen so Ch’i-t’ien Ta-sheng, 二郎神鎖齊天大聖) is a zaju play from the Yuan-Ming period. To my knowledge it is roughly contemporaneous with the early-Ming Journey to the West zaju play (Xiyou ji zaju西遊記雜劇). Here, I would like to archive the Chinese script, as well as provide a brief description for those unable to read the original.

1. Synopsis

Dudbridge (1970) gives a brief overview of the play:

The action, in brief, is as follows: An ape-demon, Qitian dasheng [齊天大聖], steals Taoist elixir and fairy wine from the Immortal Yuanshi tianzun [元始天尊] and returns with it to his home Shuilian dong [水簾洞] on Huaguo shan. The theft reported, Erlang is summoned to capture him. The ape meanwhile feasts with members of his family on Huaguo shan. Erlang, mustering his traditional followers, advances in company with Juling shen [巨靈神] and effects the capture. In the final act he surrenders the prisoner to the Taoist deity Quxie yuanzhu [驅邪院主]. The ape begs for clemency and is finally dismissed with only a firm injunction to reform (p. 129). [1]

Apart from Erlang and his followers, some of these figures carried over into the 1592 Journey to the West novel. Yuanshi tianzun (“Celestial Worthy of Original Commencement”) is mentioned by name in the novel six times. Juling shen (“Might-Spirit God”) is easily bested by Sun Wukong in chapter four (Wu & Yu, 2012, vol. 1, pp. 153-154). His name is mentioned a total of 15 times.

Quxie yuanzhu (驅邪院主, “Lord of the Court for Exorcising Evils”) does not appear in the novel.

2. Similarities with the JTTW Zaju

As noted in the introduction, this zaju shares parallels with the early-Ming JTTW zaju. Dudbridge (1970) explains:

A number of details demand attention:
the name of the ape: Qitian Dasheng;
the name of his home: Huaguo shan, Shuilian dong [花果山水簾洞];
the members of his family: “My elder brother Tongtian Dasheng [通天大聖], myself Qitian Dasheng, my elder sister Guishan shuimu [龜山水母], my younger sister Tiese mihou [鐵色獼猴], my younger brother Shuashua Sanlang [耍耍三郎]” (speech in the first act);
the stealing of elixir and wine;
the role of Erlang and Juling shen;
the ‘iron cudgel’ [鐵棒], with which the ape defends himself in the third act;
the name Sun xingzhe [孫行者] claimed by the youngest brother in the same act;
minor details of the battle—the attendants of Erlang, the Taoist gods—also peripherally related to the Xiyouji story (pp. 129-130).

For a list comparing the names of Monkey’s siblings from both plays, see the 12-20-23 update here.

Erlang vs the Great Sage (larger version).

3. Archive link

The Chinese text is split up in sections just like it was posted to Text Court (see below).

Click to access The-God-Erlang-Captures-the-Great-Sage-Equaling-Heaven.pdf

Thanks:

Thank you to the Text Court of the University of Oxford for making this zaju play freely available. The original can be found here.


Update: 03-07-25

Above, Quxie yuanzhu (驅邪院主, “Lord of the Court for Exorcising Evils”) was mentioned as a character that didn’t carry over to the 1592 JTTW. I originally couldn’t find any info about said deity, but I have found a possible lead. According to Kohn (2020), “In Daoism under the Song, [the immortal Zhongli Quan] was particularly honored as the head of the Department of Exorcism (Quxie yuan 驅邪元[院]), a central part of the celestial administration” (p. 13). Perhaps there is a connection between the two.


Update: 03-08-25

I apparently didn’t look hard enough because Text Court (thanked and linked above) provides a list of the character’s other titles:

  • 北極鎮天真武玉虚師相玄天元聖仁威
  • 北極驅邪院主
  • 北極驅邪院都教主

The first title, “北極鎮天真武玉虚師相玄天元聖仁威” (Beiji Zhentian Zhenwu Yuxushi Shixiang Xuantian Yuansheng Renwei), or the “Northern Ultimate and Suppressing Heaven True Warrior, Jade Emptiness Prime Minister, Dark (or Mysterious) Heaven Primal Sage of Humane Power,” contains several illusions to a deity associated with exorcism. The most obvious of these is Zhenwu (真武) and Xuantian (玄天), both of which refer to a singular martial god. I guess this is mystery solved.

Zhenwu appears as the “Demon-Conquering Celestial Worthy” (Dangmo tianzun, 蕩魔天尊) in JTTW chapter 66 (Wu & Yu, 2012, vol. 3, p. 226), but his role is small like in the play.

Notes:

1. All Wade-Giles has been converted to Pinyin.

Source:

Dudbridge, G. (1970). The Hsi-yu chi: A Study of Antecedents to the Sixteenth-Century Chinese Novel. Cambridge: Cambridge University Press.

Kohn, L. (2020). The Zhong-Lü System of Internal Alchemy. Russia: Three Pines Press.

Archive #14 – Alchemy and Journey to the West: The Cart-Slow Kingdom Episode

Chapters 44 to 46 of Journey to the West sees the pilgrims enter the Cart-Slow Kingdom (Chechi guo, 車遲國) where they find Buddhist monks have been enslaved by local Daoists to haul a cart full of materials up an impossibly narrow, steep, spine-like ridge in order to construct buildings behind an abbey. After some investigation, Sun Wukong discovers their enslavement is a royal punishment for losing a rain-making competition some years prior to three mysterious Daoist priests, Tiger Strength Great Immortal (Huli daxian, 虎力大仙), Deer Strength Great Immortal (Luli daxian, 鹿力大仙), and Goat Strength Great Immortal (Yangli daxian, 羊力大仙) (fig. 1). (For their victory in saving the country during a time of drought, the three priests are bestowed the royal titles “Precepts of State” (Guoshi, 國師).) Monkey and his brothers break into the abbey and trick the three priests, under the guise of the Three Pure Ones, into thinking their urine is heavenly elixir. The enraged priests then gain permission from the country’s ruler to engage our heroes in a series of magical competitions in order to defend their dignity. After aiding Tripitaka in contests of meditation and clairvoyance, the Great Sage personally faces each of the three priests in contests of surviving corporal punishment, namely beheading (vs Tiger Strength), evisceration (vs Deer Strength), and being boiled in oil (vs Goat Strength). Each priest dies as a result of having lesser magical skills born from heretical practices, and in the end they are revealed to have been animal spirits (a tiger, a deer, and a goat) in disguise. The country’s ruler releases the monks from their bondage and our pilgrims continue their journey to India.

Three Animal Priests (Tiger Strength, Deer Strength, Goat Strength) - small

Fig. 1 – A modern depiction of the three animal priests (larger version). Artist unknown.

Oldstone-Moore’s (1998) paper “Alchemy and Journey to the West: The Cart-Slow Kingdom Episode” explores the history and hidden meaning of the three chapters. She reveals certain aspects of the episode serve as allegories for internal alchemical processes. For background she explains Daoism sometimes presents the body as a microcosmic mountain landscape. In the case of the story, the ridge represents the spine and the building material being hauled by the monks represents unrefined qi, seminal essence, and spiritual energies that, when purified via circulation up the spine and down the front of the body numerous times, bolster the body and aids in the attainment of immortality. The cart itself represents a meditation technique used in the Quanzhen school of Daoism to transport the aforementioned energies up the spine. Interestingly, one Zhong-Lü scripture [1] notes this “River Cart” (heche, 河車) is pulled by a number of animals, including an oxen, a deer, and a goat. Therefore, Deer Strength and Goat Strength likely represent these animals. Oldstone-Moore (1998) suggests Tiger Strength is based on Uncle Eyes Great Immortal (Boyan daxian, 伯眼大仙), a tiger spirit appearing in an earlier version of the Slow-Cart Kingdom episode recorded in a 14th-century Korean primer on colloquial Chinese. Additionally, she highlights the conflict between orthodox and heretical practices in the episode. Sun Wukong is shown to have stronger magic because his early Daoist cultivation was guided by a teacher. This differs from the three priests, whose lesser abilities are the result of self study. So taken together, the episode is a warning that esoteric alchemical cultivation should only be pursued under the guidance of an initiated teacher.   

portrait_of_amoghavajra2c_14_century2c_national_museum2c_tokyo

Fig. 2 – A 14th-century painting of the Buddhist monk Amoghavajra (larger version). Image from Wikipedia. 

Oldstone-Moore (1998) also mentions the rain-making competition between Buddhist and Daoists at the beginning of the episode is based on historical events. This is laid out by Yu (1987), who suggests it is based on Tang-era magic competitions between the Indo-Sogdian Buddhist monk Amoghavajra (Bukong, 不空) (fig. 2) and the Daoist Luo Gongyuan (羅公遠). What’s interesting is that, just like the three priests, Luo was also a Precept of State.

Archive link

Click to access alchemy-and-journey-to-the-west-the-cart-slow-kingdom-episode.pdf

Disclaimer

This has been posted for educational purposes. No malicious copyright infringement is intended. Please support the official release.

Notes:

1) This refers to teachings associated with the immortals Zhongli Quan and his student Lü Dongbin.

Sources:

Oldstone-Moore, J. (1998). Alchemy and Journey to the West: The Cart-Slow Kingdom Episode. Journal of Chinese Religions, 26(1), 51-66, DOI: 10.1179/073776998805306930

Yu, A. C. (1987). Religion and literature in China: The ‘Obscure Way’ in The Journey to the West In C. Tu (Ed.), Tradition and creativity: Essays on East Asian civilization (pp. 122-24). Publisher City, State: Publisher.