明末清初清溪道人《東度記》，歷來評家視其為一部宣揚達摩事蹟的長篇神魔小說。細讀該書，描寫人情，發明因果，是否可以簡單地以魯迅等人所指出的正邪對立的模式來概括？宗教思想對於中國小說的情節構造、敘述模式究竟有何影響？予以全面的反省。本文緊扣「願」與「度」兩大概念，詮釋這支從不如密多尊者至達摩誓願普度群迷的隊伍，本著上求菩提，下化眾生的誓願，以及忠孝別願，針對時弊，直指世道人心。另外，還有一支東行的副線——梵志及誤入歧途的徒眾，所願只是尋個大施主，幸得度化。至於攔阻的勢力，其實也往往在予一心，幻化出各種邪魅，如何正心轉意，端賴高僧點化，立一正願，方可堅心向道。凡此交互作用，在正願與邪心的拉鋸中，「度」既是誓願的最終目標，「度」也是行願的擺盪過程。其次，從情節結構來說，在《東度記》不平衡的結構中，「度」既包含了地理空間的「跨越」，從南印度一路跨山、越海，到達摩一葦渡江，透顯出佛教百劫一瞬的時空美感；「度」也意指修道者的「通過」，東度隊伍歷經四?邪魔等一再阻撓；「度」無疑最後終指向全書的關鍵，「度化」群迷。同時，《東度記》在面對一系列神魔小說的挪用、仿作與競爭之下，一方面承繼《西遊》證道明心的傳統，另一方面企圖以「願」與「度」區隔於「出身修行傳」謫凡的敘事架構，別具巧思地將其轉化為具體的人物意向和敘述架構，並欲以消彌儒、道、佛三家的衝突。

Critics have traditionally viewed the Dongdu ji (Passage to the East), a work of the Ming-Qing transition, as a novel of spirits and demons propagating the cult of Bodhidharma. Its plot has been understood as a struggle between the orthodox and the evil . However, a close reading of the text, focusing on it s descriptions of human emotions, and the ways in which it presents the doctrine of retribution, renders such a view inconclusive. This reading also leads to a reconsideration of the influence of religious thought on plot structure and narrative form in Chinese fiction. My analysis revolves around the two major concepts of yuan (making the vow) and du (attaining enlightenment) in light of Amitabha’s vow to Bodhidharma to bring all sentient beings to nirvana. The “making the vow” is reflected in Fan Zhi and his d i s c i p l e s’ journey east. At first, all Fan Zhi wi shes i s to find a rich patron. This inevitably leads the group astray. A high monk appears to enlighten them. The demons actually arise from thei r own minds. They eventually establish a correct vow and embark on the correct way. The attainment of nirvana is the final goal of the vow, but nirvana resides also in the very vicissitudes of making the vow. The concept of d u within the plot informs the physical crossing over the mountains and sea from southern India, or in Bodhidharma’s crossing the river on a reed. This expresses the Buddhist belief that one can meet countless obstacles in a split second. Du also implies the stage of having passed through, i.e., having overcome the obstacles set up by demons such as Sili. Du, of course, points also to the salvation of humankind, the moral of the story. The Dongdu ji, compared to works such as the Journey to the West or Daoist tales of the supernatural, not only inherit s the trope of di splaying wisdom and understanding the mind, but also uses yuan and du innovatively. It aims to stand out from the conventional structure of fall from divinity, faces squarely the desires and experiences of part icular individuals, and aspires to resolve some of the conflicts between Buddhism, Daoism and Confucianism.