六賊自陳 The Six Senses Named
行者的膽量原大,那容分說,走上前來,叉手當胸,對那六個人施禮道:「列位有甚麼緣故,阻我貧僧的去路?」那人道:「我等是剪徑的大王,行好心的山主。大名久播,你量不知。早早的留下東西,放你過去;若道半個『不』字,教你碎屍粉骨。」行者道:「我也是祖傳的大王,積年的山主,卻不曾聞得列位有甚大名。」那人道:「你是不知,我說與你聽:一個喚做眼看喜,一個喚做耳聽怒,一個喚做鼻嗅愛,一個喚作舌嘗思,一個喚作意見慾,一個喚作身本憂。」悟空笑道:「原來是六個毛賊。你卻不認得我這出家人是你的主人公,你倒來擋路。把那打劫的珍寶拿出來,我與你作七分兒均分,饒了你罷。」行者的胆量原大,那容分说,走上前来,叉手当胸,对那六个人施礼道:「列位有甚么缘故,阻我贫僧的去路?」那人道:「我等是剪径的大王,行好心的山主。大名久播,你量不知。早早的留下东西,放你过去;若道半个『不』字,教你碎尸粉骨。」行者道:「我也是祖传的大王,积年的山主,却不曾闻得列位有甚大名。」那人道:「你是不知,我说与你听:一个唤做眼看喜,一个唤做耳听怒,一个唤做鼻嗅爱,一个唤作舌尝思,一个唤作意见欲,一个唤作身本忧。」悟空笑道:「原来是六个毛贼。你却不认得我这出家人是你的主人公,你倒来挡路。把那打劫的珍宝拿出来,我与你作七分儿均分,饶了你罢。」
逐句解 Line by line
The Pilgrim, bold by nature, would brook no discussion; he stepped forward, folded his hands at his breast, and made a bow to the six men, saying:
Wukong's courage brooks no parley. 那容分說 ("would not allow discussion") reads 那 as the rhetorical nǎ ("how would he tolerate"); 對那六個人 reads the second 那 as demonstrative nà. His folded-hands bow is mock-courtesy.
"Sirs, what is the reason you block the road of this poor monk?"
The polite form of the question — 列位, "you sirs" — sharpens the comedy against what follows. 甚麼 reads 甚 as shén.
The men said, "We are the great kings who cut the highways, the mountain lords of generous heart.
The robbers' boast is stock highwayman's bombast: self-styled "great kings" and "mountain lords." 那人 reads 那 as nà; 行好心 reads 行 as xíng.
Our great names have long been noised abroad — you must not have heard.
They claim a universal fame. 你量不知 ("you surely do not know") uses 量 in the sense "to presume," read liàng.
Set down your goods at once and we will let you pass; but say so much as half a 'no,' and we will grind you to bone and pulp."
The threat — hand over your goods or be ground to pulp — is delivered in ringing four-character phrases. 教你 ("make you") reads 教 as jiào.
The Pilgrim said, "I too am a great king by inheritance, a mountain lord of many years' standing — yet I have never heard that you sirs had any great names."
Wukong answers boast with boast, claiming a grander banditry of his own — and needling that their fame has not reached him. 聞得 takes 得 as de; 有甚大名 reads 甚 as shén.
The men said, "You do not know them; then let me tell you, and hear:
The robbers offer to name themselves — the cue for the passage's allegorical heart.
one is called Eye-that-Sees-and-Delights, one Ear-that-Hears-and-Rages, one Nose-that-Smells-and-Covets, one Tongue-that-Tastes-and-Longs, one Mind-that-Conceives-and-Lusts, and one Body-that-is-Rooted-in-Care."
The six names decode the chapter's title. These are the 六賊 ("Six Robbers"), the Buddhist figure for the six senses (六根) that plunder the mind's peace: eye, ear, nose, tongue, mind, and body, each yoked to its besetting passion — delight, anger, craving, longing, lust, and care. To slay them is to still the senses.
Wukong laughed and said, "So you are six petty thieves. You do not even know that this monk is your own master, yet you come to block my way.
Wukong, who grasps the allegory instantly, dismisses them as 六個毛賊 ("six petty thieves") and claims to be their rightful 主人公 ("master") — the mind that should command the senses. 不認得 reads 得 as de.
Bring out the treasures you have robbed, and I will divide them with you in seven equal shares, and let you off."
His counter-demand — that they surrender their loot to be split seven ways (their six shares and his) — is pure impudence. 把那打劫 reads 那 as nà; 均分 reads 分 as fēn.
The confrontation with the Six Robbers is the allegorical core of the chapter, and its title-line 六賊無蹤 ("the Six Robbers leave no trace") points directly here. When the bandits name themselves — Eye, Ear, Nose, Tongue, Mind, and Body, each bound to a passion — the reader is meant to recognise the 六根 or six sense-faculties of Buddhist teaching, the "thieves" that rob the practitioner of tranquillity.
Wukong grasps the figure at once, dismissing them as "petty thieves" and claiming to be their 主人公, their rightful master — for in the allegory the disciplined mind is precisely what should command and quiet the senses. The scene thus reads on two levels: a comic roadside robbery, and a parable of the newly converted Mind-Monkey confronting the sensory appetites he must subdue on the path.
The exchange keeps the surface comedy sharp — mock bows, duelling boasts, Wukong's outrageous demand for a seven-way split — while the names quietly carry the doctrinal weight. What follows, the killing of all six, is on the surface the reckless violence Sanzang will condemn; on the allegorical plane it is the annihilation of the senses' hold, the very thing the title celebrates.