The Enigmatic Journey of Sūn Wùkōng in Journey to the West
Sūn Wùkōng 孫悟空 stands as the central figure in the renowned Chinese fictional work, Journey to the West (西遊記 Xī Yóu Jì), which is celebrated as one of the four masterpieces of Chinese literature. This tale narrates the extraordinary journey undertaken by Xuánzàng 玄奘, a real-life monk from the Táng 唐 dynasty, who embarked on a lengthy pilgrimage to India in pursuit of Buddhist scriptures. Accompanying him on this epic adventure are four immortal disciples endowed with supernatural powers, aiding him through various challenges. Among these companions are the pig demon Zhū Bājiè 豬八戒 (Wùnéng 悟能), the sand monk Shā Sēng 沙僧 (Wùjìng 悟淨), a dragon that transforms into a horse named Bái Lóng Mǎ 白龍馬, and of course, the illustrious Wùkōng, better recognized as the Monkey King or Handsome Monkey King (Měi Hóu Wáng 美猴王).
Without a doubt, Sūn Wùkōng captures the essence of the narrative, often overshadowing even Xuánzàng himself.
Wùkōng’s Origin and Powers
In Journey to the West, Sūn Wùkōng emerges from a celestial rock nourished by the Five Elements (wǔxíng 五行), dedicating himself to mastering the Dào 道 until he achieves immortality and extraordinary capabilities. His journey soon leads him to Heaven, where he is notorious for inciting disruption through his antics. Just when it appears that no deity can subdue him, Buddha intervenes, teaching him a lesson that results in his confinement beneath the Mountain of Five Phases (Wǔxíng shān 五行山) for 500 years. It is only when the bodhisattva Guānyīn 觀音 assists him in embracing Buddhism that he is tasked with protecting Xuánzàng on his quest, earning him the moniker Wùkōng, which translates to “He Who Awakens to the Void.” Throughout the narrative, he frequently demonstrates his charisma, even guiding his master in Buddhist teachings.
Wùkōng is also celebrated for his remarkable abilities, which include the “cloud summersault,” a magical iron rod that can alter its size at will, and his vast repertoire of transformations, which he utilizes to confront various adversities and clear the path for Xuánzàng.
Literary Predecessors and Cultural Influences
However, the character of this whimsical monkey is not solely the creation of the Xī Yóu Jì author, as Wùkōng’s archetype can be traced back through earlier literary sources that influenced his persona. Notably, two significant texts depict Xuánzàng’s fictional adventures prior to Journey to the West:
- Poetic History of the Acquisition of Scriptures by Tripitaka of the Táng Dynasty (大唐三藏取經詩話 Dà Táng Sānzàng Qǔjīng Shī Huà)
- New Record of the Acquisition of Scriptures by the Master of the Law, Tripitaka, of the Táng Dynasty (新雕大唐三藏法師取經記 Xīn Diāo Dà Táng Sānzàngfǎshī Qǔjīng Jì)
Dating back to the 13th century, these works represent some of the earliest examples of popular fiction in China, reflecting how the narrative of Xuánzàng had already transitioned into fictional storytelling. Within these texts, a monkey-discipleship (猴行者 hóu xíngzhě) is illustrated, portraying a monkey donning a white scholar’s robe, similarly earning the title of dà shèng 大圣, or “great sage.” Over the years, this monkey character garnered increasing attention until ultimately eclipsing Xuánzàng’s stature in Journey to the West.
Indigenous and Foreign Myths
One pivotal influence identifiable in the development of Wùkōng is found in the Ramayana, a seminal work of Hindu literature from the third century BC. This grand epic narrates the endeavors of Rama seeking to rescue his wife, Sita, from the demon king Ravana, supported by Hanuman, the revered white monkey god.
There are claims positing Hanuman as a potential precursor to Wùkōng. Even though the references to the Ramayana in Chinese folklore seem scant and modified, some authors suggest that while the Xī Yóu Jì author may not have had direct exposure to it, the thematic parallels concerning Wùkōng and Hanuman—enhanced abilities, valor in struggle, the iron rod as a weapon, and expansive leaps—are too pronounced to dismiss.
Hera S. Walker’s research, Indigenous Or Foreign?: A Look at the Origins of the Monkey Hero Sun Wukong, goes a step further, positing that while the Ramayana may not have had a direct influence, it indirectly shaped certain elements of Chinese folklore, which in turn affected the creation of Journey to the West. Thus, Wùkōng emerges as a blend of indigenous and external inspirations.
Furthermore, cultural exchanges facilitated through trade routes enabled Indian narratives, like that of Rama, to infiltrate Southeast Asia’s cultural framework while often being less pronounced within China due to its independent, flourishing local culture.
Local Legends and Their Reflections in Wùkōng
Wùkōng is also thought to embody features reflected in several local Chinese legends. Among these:
- The Cult of White Gibbons in the Kingdom of Chu: White gibbons were venerated by the ancient kingdom of Chǔ (700-223 BC) in the Yangtze basin, symbolizing a kinship between animal and human realms. Within Taoism, these gibbons were attributed mystical qualities, including the ability to transform and live for centuries, traits associated with the “white monkey” (白猿 bái yuán) in folklore.
- Sichuan’s White Ape Legend: In the Sichuan province, tales regarding the white monkey contributed to the mythology surrounding Wùkōng. Narrative threads often depict an evil monkey character or a god, Èrláng (二郎), triumphing over a monkey spirit, mirroring Wùkōng’s battles in Journey to the West, particularly evidenced by Èrláng’s role in restraining him.
In conclusion, Sūn Wùkōng is an intricately woven figure shaped by myriad influences, both indigenous and foreign, culminating in a character that epitomizes the richness of Chinese literature and cultural exchange.
