莫與人鬥富 Do Not Vie in Riches
行者一一觀之,都是些穿花納錦,刺繡銷金之物,笑道:「好,好,好。收起,收起。把我們的也取出來看看。」三藏把行者扯住,悄悄的道:「徒弟,莫要與人鬥富。你我是單身在外,只恐有錯。」行者道:「看看袈裟,有何差錯?」三藏道:「你不曾理會得。古人有云:『珍奇玩好之物,不可使見貪婪奸偽之人。』倘若一經入目,必動其心;既動其心,必生其計。汝是個畏禍的,索之而必應其求,可也;不然,則殞身滅命,皆起於此,事不小矣。」行者道:「放心,放心,都在老孫身上。」行者一一观之,都是些穿花纳锦,刺绣销金之物,笑道:「好,好,好。收起,收起。把我们的也取出来看看。」三藏把行者扯住,悄悄的道:「徒弟,莫要与人斗富。你我是单身在外,只恐有错。」行者道:「看看袈裟,有何差错?」三藏道:「你不曾理会得。古人有云:『珍奇玩好之物,不可使见贪婪奸伪之人。』倘若一经入目,必动其心;既动其心,必生其计。汝是个畏祸的,索之而必应其求,可也;不然,则殒身灭命,皆起于此,事不小矣。」行者道:「放心,放心,都在老孙身上。」
逐句解 Line by line
The Pilgrim looked them over one by one — all of them things of flowered weave and patched brocade, of embroidery and beaten gold thread — and laughed. "Good, good, good.
穿花納錦 and 刺繡銷金 are four-graph phrases for costly needlework — flowers threaded through the weave, brocade set in panels, embroidery, gold beaten into thread. 都 is dōu. The triple 好 is not admiration but dismissal: this is a creature who has walked through the treasuries of Heaven.
"Put them away, put them away. Now fetch out ours as well, and let us have a look."
收起 ("pack them up") ends the display before the monks have finished mounting it. And then 我們的 — "ours." Two graphs, and the monastery is doomed.
Sanzang caught the Pilgrim by the sleeve and said softly, "Disciple, do not vie in riches with other men.
扯住, to catch by the sleeve; 悄悄, softly, as at the gate. 鬥富 ("to contend in wealth") names the sin with precision: not the owning of a treasure but the showing of it against another man's.
"You and I are alone and abroad; I fear only that something may go amiss." "What can go amiss," said the Pilgrim, "in looking at a cassock?"
單身在外, "single-bodied and abroad" — without kin, without recourse. 差錯 is read chācuò ("a slip, a mishap"); 差 is chā here, neither chà nor chāi. Wukong catches up his master's 有錯 and hands it back as a question.
Sanzang said, "You have not understood it. The men of old had a saying: things rare and precious, things kept for delight, must never be let fall beneath the eyes of the greedy and the false.
理會得 takes the neutral de. The maxim belongs to no classic; it is the accumulated prudence of the Chinese household, and Sanzang cites it with 古人有云 exactly as he would cite a sūtra. 玩好 (wánhào), objects kept for pleasure.
"Once such a thing has passed before the eye, it must stir the heart; and the heart once stirred, a scheme must be born of it.
A chain of four clauses, each seizing the verb of the last: 入目 → 動其心 → 動其心 → 生其計. The syntax is that of the classical maxim, and the prophecy is exact — 動了奸心 will be the narrator's own phrase for the old monk two passages hence, and 此計絕妙 his phrase for the scheme.
"If you are a man who fears calamity, then when they demand it, comply with their asking — and it may pass. If not, then bodies are destroyed and lives are ended, and the whole of it takes its rise from here. The matter is no small one."
The register shifts without warning into literary Chinese — 汝, 索之, 可也, 不然則, 矣 — as though Sanzang were reading aloud from a book. 應 is yìng, "to comply with." He is right in every particular, and he is about to be overruled.
"Rest easy, rest easy," said the Pilgrim. "It all rests on old Sun's shoulders."
都在老孫身上 — "it all rests upon old Sun's body," the vernacular guarantee. He means it, and he will keep it: the fire will be shut out, the cassock recovered, the promise honoured to the letter. The monastery will nonetheless be ash.
Sanzang delivers, in this passage, the most accurate speech in the chapter, and it changes nothing. He identifies the sin (鬥富, contending in wealth), states the mechanism (a thing seen stirs the heart; a heart stirred breeds a scheme), predicts the outcome (殞身滅命, bodies destroyed and lives ended), and prescribes the remedy (give it up when it is demanded). Every clause of the prediction will be fulfilled, in order, within the next thousand graphs. Wukong answers with a shrug and a guarantee.
Notice how the passage is built out of the other characters' words. 有錯 ("something may go wrong") in Sanzang's mouth becomes 有何差錯 ("what could go wrong?") in Wukong's, one graph added and the whole sense inverted. 必動其心 in the maxim becomes 動了奸心 in the narration. And 都在老孫身上 — the boast — is answered at the chapter's end by 等老孫去尋他一尋, when the boast has become a debt. Wú Chéng'ēn's vernacular is often called loose; it is in fact one of the tightest weaves in Ming fiction, and the loop is always closed.