Canonical Classics ← 第十二回
第十二回
唐táng王wáng秉bǐng誠chéng修xiū大dà會huì
觀guān音yīn顯xiǎn聖shèng化huà金jīn蟬chán

The Tang King, Sincere in Faith, Convenes the Grand Assembly · Guanyin, Manifesting Her Holy Form, Transforms the Golden Cicada

敕建相國
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原文 Original text 繁體 Traditional Reader's edition

敕建相國 The Xiangguo Temple Is Built

尉wèi遲chí恭gōng見jiàn他tā苦kǔ苦kǔ推tuī辭cí,只zhǐ得dé具jù本běn差chāi人rén啟qǐ奏zòu。太tài宗zōng見jiàn了le本běn,知zhī相xiàng良liáng不bú受shòu金jīn銀yín,道dào:「此cǐ誠chéng為wéi善shàn良liáng長zhǎng者zhě。」即jí傳chuán旨zhǐ教jiào胡hú敬jìng德dé將jiāng金jīn銀yín與yǔ他tā修xiū理lǐ寺sì院yuàn,起qǐ蓋gài生shēng祠cí,請qǐng僧sēng作zuò善shàn,就jiù當dàng還huán他tā一yì般bān。旨zhǐ意yì到dào日rì,敬jìng德dé望wàng闕què謝xiè恩ēn宣xuān旨zhǐ,眾zhòng皆jiē知zhī之zhī。遂suì將jiāng金jīn銀yín買mǎi到dào城chéng裡lǐ軍jūn民mín無wú礙ài的de地dì基jī一yí段duàn,周zhōu圍wéi有yǒu五wǔ十shí畝mǔ寬kuān闊kuò,在zài上shàng興xīng工gōng,起qǐ蓋gài寺sì院yuàn,名míng「敕chì建jiàn相xiàng國guó寺sì」,左zuǒ有yǒu相xiàng公gōng、相xiàng婆pó的de生shēng祠cí,鐫juān碑bēi刻kè石shí,上shàng寫xiě著zhe「尉wèi遲chí恭gōng監jiān造zào」,即jí今jīn「大dà相xiàng國guó寺sì」是shì也yě。尉wèi迟chí恭gōng见jiàn他tā苦kǔ苦kǔ推tuī辞cí,只zhǐ得dé具jù本běn差chāi人rén启qǐ奏zòu。太tài宗zōng见jiàn了le本běn,知zhī相xiàng良liáng不bú受shòu金jīn银yín,道dào:「此cǐ诚chéng为wéi善shàn良liáng长zhǎng者zhě。」即jí传chuán旨zhǐ教jiào胡hú敬jìng德dé将jiāng金jīn银yín与yǔ他tā修xiū理lǐ寺sì院yuàn,起qǐ盖gài生shēng祠cí,请qǐng僧sēng作zuò善shàn,就jiù当dàng还huán他tā一yì般bān。旨zhǐ意yì到dào日rì,敬jìng德dé望wàng阙què谢xiè恩ēn宣xuān旨zhǐ,众zhòng皆jiē知zhī之zhī。遂suì将jiāng金jīn银yín买mǎi到dào城chéng里lǐ军jūn民mín无wú碍ài的de地dì基jī一yí段duàn,周zhōu围wéi有yǒu五wǔ十shí亩mǔ宽kuān阔kuò,在zài上shàng兴xīng工gōng,起qǐ盖gài寺sì院yuàn,名míng「敕chì建jiàn相xiàng国guó寺sì」,左zuǒ有yǒu相xiàng公gōng、相xiàng婆pó的de生shēng祠cí,镌juān碑bēi刻kè石shí,上shàng写xiě着zhe「尉wèi迟chí恭gōng监jiān造zào」,即jí今jīn「大dà相xiàng国guó寺sì」是shì也yě。


逐句解 Line by line

尉wèi遲chí恭gōng見jiàn他tā苦kǔ苦kǔ推tuī辭cí,只zhǐ得dé具jù本běn差chāi人rén啟qǐ奏zòu。 尉wèi迟chí恭gōng见jiàn他tā苦kǔ苦kǔ推tuī辞cí,只zhǐ得dé具jù本běn差chāi人rén启qǐ奏zòu。

Seeing how bitterly he declined, Yuchi Gong had no choice but to draw up a memorial and dispatch a man to lay it before the throne.

只得, 'had no choice but,' reads 得 as dé; 差 in 差人, to send a man, is chāi.

太tài宗zōng見jiàn了le本běn,知zhī相xiàng良liáng不bú受shòu金jīn銀yín,道dào:「此cǐ誠chéng為wéi善shàn良liáng長zhǎng者zhě。」 太tài宗zōng见jiàn了le本běn,知zhī相xiàng良liáng不bú受shòu金jīn银yín,道dào:「此cǐ诚chéng为wéi善shàn良liáng长zhǎng者zhě。」

When Taizong saw the memorial and learned that Xiang Liang would not accept the gold, he said: 'This is truly a good and worthy elder.'

為 in 此誠為善良長者 is wéi, to be; the surname 相 in 相良 is xiàng; 長者 reads 長 as zhǎng; and the 不 of 不受 shifts to bú before the fourth tone of 受 (shòu).

即jí傳chuán旨zhǐ教jiào胡hú敬jìng德dé將jiāng金jīn銀yín與yǔ他tā修xiū理lǐ寺sì院yuàn,起qǐ蓋gài生shēng祠cí,請qǐng僧sēng作zuò善shàn,就jiù當dàng還huán他tā一yì般bān。 即jí传chuán旨zhǐ教jiào胡hú敬jìng德dé将jiāng金jīn银yín与yǔ他tā修xiū理lǐ寺sì院yuàn,起qǐ盖gài生shēng祠cí,请qǐng僧sēng作zuò善shàn,就jiù当dàng还huán他tā一yì般bān。

He at once decreed that Hu Jingde should use the gold and silver to repair a monastery for him and raise a shrine to his living merit, and invite monks to perform good works — counting this as though the debt were repaid to him.

胡敬德 is another name for Yuchi Gong himself — Yuchi Jingde. 敬德 (Jìngdé) is his courtesy name, and the 胡 (Hú) marks his non-Han descent. A 生祠 is a shrine raised to honour someone still living, the nearest thing the age had to putting a donor's name on a building. 將 is the disposal jiāng; 還 in 就當還他 is huán; and 當 in 就當 is dàng, to count as or treat as — the emperor's accounting device for a debt the creditor will not take.

旨zhǐ意yì到dào日rì,敬jìng德dé望wàng闕què謝xiè恩ēn宣xuān旨zhǐ,眾zhòng皆jiē知zhī之zhī。 旨zhǐ意yì到dào日rì,敬jìng德dé望wàng阙què谢xiè恩ēn宣xuān旨zhǐ,众zhòng皆jiē知zhī之zhī。

On the day the decree arrived, Jingde bowed toward the palace gate, gave thanks for the grace, and proclaimed it, so that all came to know of it.

望闕謝恩, bowing toward the palace gate in thanks, is how an official receives a decree when he is nowhere near the throne: you face the emperor's direction and perform the obeisance anyway.

遂suì將jiāng金jīn銀yín買mǎi到dào城chéng裡lǐ軍jūn民mín無wú礙ài的de地dì基jī一yí段duàn,周zhōu圍wéi有yǒu五wǔ十shí畝mǔ寬kuān闊kuò,在zài上shàng興xīng工gōng,起qǐ蓋gài寺sì院yuàn,名míng「敕chì建jiàn相xiàng國guó寺sì」,左zuǒ有yǒu相xiàng公gōng、相xiàng婆pó的de生shēng祠cí,鐫juān碑bēi刻kè石shí,上shàng寫xiě著zhe「尉wèi遲chí恭gōng監jiān造zào」,即jí今jīn「大dà相xiàng國guó寺sì」是shì也yě。 遂suì将jiāng金jīn银yín买mǎi到dào城chéng里lǐ军jūn民mín无wú碍ài的de地dì基jī一yí段duàn,周zhōu围wéi有yǒu五wǔ十shí亩mǔ宽kuān阔kuò,在zài上shàng兴xīng工gōng,起qǐ盖gài寺sì院yuàn,名míng「敕chì建jiàn相xiàng国guó寺sì」,左zuǒ有yǒu相xiàng公gōng、相xiàng婆pó的de生shēng祠cí,镌juān碑bēi刻kè石shí,上shàng写xiě着zhe「尉wèi迟chí恭gōng监jiān造zào」,即jí今jīn「大dà相xiàng国guó寺sì」是shì也yě。

So with the gold and silver he purchased within the city a parcel of ground unencumbered by soldiery or commoner, some fifty mu in compass, and there set the work in motion and raised a monastery, named 'The Xiangguo Temple, Built by Imperial Command.' To its left stood a shrine to the living merit of Master and Mistress Xiang; and a stone was carved and graven, inscribed 'Overseen in the building by Yuchi Gong' — which is the very temple known today as the Great Xiangguo Temple.

The novel invents a founding story for a real building — the 大相國寺, the Great Xiangguo Temple of Kaifeng, which stood when the book was written and stands now. Its name comes from 相國, chancellor or minister of state, where 相 is xiàng; and the almsgiver whose buried gold pays for it is surnamed with the very same character, also xiàng. Whether the author noticed the coincidence he leaves to the reader. 興 in 興工, to set work going, is xīng; 著 in 寫著 is the ongoing-action zhe. A 畝 (mǔ) is a Chinese unit of land area.


總評 Commentary

Taizong's solution is a small masterpiece of statecraft and piety at once. Unable to force wealth on a man who will not have it, and unwilling to leave a debt of merit unpaid, he turns the gold into a monastery and a living-shrine in Xiang Liang's honour, counting the work as though the debt were repaid to him.

The refusal is honoured rather than overridden: the money returns to the very channels of devotion from which its otherworldly value first arose. The storyteller then anchors the whole invention to the visible world with an antiquarian flourish, identifying the result as the Great Xiangguo Temple of Kaifeng that stands today, founder's stele and all — a characteristic move by which the novel grafts its karmic fiction onto a famous real institution.