In this story, the “Mountain Spirit” does not refer to the modern zoological classification but rather to a mythical mountain monster. According to "Zhengzi Tong," citing "Baopuzi: Climbing the Peaks," it is said: “Mountain spirits take the form of children, with a single foot facing backward. At night, they delight in harassing humans and are called 'Xiao.'” In later editions of "Baopuzi," the character for "Xiao" is rendered as "臊," and both "The Seasonal Customs of Jingchu" and Dongfang Shuo’s "Records of the Gods and Spirits" also use this form. In Shandong folklore, it is considered a malevolent ghost, and local gazetteers often describe the custom of lighting firecrackers during the Spring Festival to ward off the Mountain Spirit. For example, in "Shanghe County Gazetteer": “On the morning of the New Year... at the fifth watch, firecrackers are lit to drive away the Mountain Spirit.” While the title of this story is "Mountain Spirit," the text refers to it as a “great ghost,” indicating that Pu Songling was simply using an existing term and it should not be taken too literally.
Sun Taibai’s great-grandfather’s encounter with the Mountain Spirit is brief but written with great depth. It begins with sound: First, an indistinct “roaring wind,” followed by the “wind growing closer,” then “the wind entering the room,” and finally, the “clanging sound of boots,” becoming increasingly specific. Spatially, the scene moves closer: from the main gate, to the dwelling, to the room’s door, then into the room, the bedroom door, and finally to the bedside. Next, the figure is described: the ghost stoops to enter, emphasizing its towering height; its face is likened to the color of an old pumpkin, highlighting its grotesque and eerie nature; its flashing eyes and gaping mouth, the size of a basin, add to its terrifying presence; the “huffing sound” from its throat reverberates against the walls, signaling imminent danger. The final part details the great-grandfather’s desperate fight with the Mountain Spirit—an intense and narrow escape. The ghost mistakenly believes it was attacked by the quilt and angrily storms off, dragging it with it—the quilt becoming the great-grandfather’s “sacrificial lamb.”
The story ends with the family discovering “claw marks as large as a dustpan, with five fingers piercing through the quilt,” leaving everyone in shock. This conclusion not only highlights the intensity of the struggle but also preserves a lingering sense of terror even after the story has ended, leaving readers with an unsettling aftertaste.
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