觀音院眾僧禮拜 The Monks of Guanyin Temple Bow in Terror
話說孫行者一觔斗跳將起去,諕得那觀音院大小和尚並頭陀、幸童、道人等一個個朝天禮拜道:「爺爺呀!原來是騰雲駕霧的神聖下界,怪道火不能傷。恨我那個不識人的老剝皮使心用心,今日反害了自己。」三藏道:「列位請起,不須恨了。這去尋著袈裟,萬事皆休;但恐找尋不著,我那徒弟性子有些不好,汝等性命不知如何,恐一人不能脫也。」眾僧聞得此言,一個個提心弔膽,告天許願,只要尋得袈裟,各全性命不題。话说孙行者一觔斗跳将起去,諕得那观音院大小和尚并头陀、幸童、道人等一个个朝天礼拜道:「爷爷呀!原来是腾云驾雾的神圣下界,怪道火不能伤。恨我那个不识人的老剥皮使心用心,今日反害了自己。」三藏道:「列位请起,不须恨了。这去寻著袈裟,万事皆休;但恐找寻不著,我那徒弟性子有些不好,汝等性命不知如何,恐一人不能脱也。」众僧闻得此言,一个个提心吊胆,告天许愿,只要寻得袈裟,各全性命不题。
逐句解 Line by line
The tale tells how Sun the Pilgrim sprang aloft on a single somersault, and how the monks of the Guanyin Temple, great and small alike, with the mendicants, the serving lads, and the lay attendants,
觔斗: the graph 觔 writes 筋, and by the loan-graph rule the ruby takes the reading of the word written, jīn. 斗 is the peck-measure graph borrowed for the tumbler, and reads dǒu, not the default dòu. 諕 (U+8AD5) writes 嚇 and reads xià; the 得 that follows is the resultative de. 頭陀 transliterates Sanskrit dhūta, the austerities and so the ascetics who keep them; 道人 in a Buddhist house is no Taoist but a lay servitor.
bowed one and all toward Heaven, crying: "Merciful Father! So he is a holy one come down among us, who mounts the clouds and drives the mist. Small wonder the fire could work him no hurt.
朝天: 朝 reads cháo, to face or to attend upon, as in 朝拜. 爺爺呀 is a cry of fright rather than an address to any father; 呀 is the toneless exclamatory ya. 怪道 is idiomatic for 怪不得, "no wonder."
That old flayer of ours, who could not know a man when he saw one, plotted and contrived, and this day has undone none but himself."
老剝皮, "the old flayer," is the epithet the monks now fasten on the covetous abbot of the preceding chapter; 剝 takes the colloquial reading bāo, ruled at ch16. 使心用心 — literally to spend the heart and employ the heart — is scheming turned upon itself, and the sentence turns it back on the schemer.
Sanzang said, "Rise, gentlemen; there is no cause for reproach. If he finds the cassock, all matters may rest;
三藏 is the name and always reads zàng. 尋著 is an attainment compound: the goal is reached, so 著 reads zháo. 萬事皆休, "all matters may rest," is the formula of a debt discharged.
but should the search come to nothing, my disciple is of no gentle temper,
找尋不著 is the negative potential of the same compound, again zháo. The sandhi of 不 is computed mechanically on the base tone of 著 (zhù, fourth tone) and so yields bú; an editorial reading never disturbs the sandhi. In 性子 the 子 is the toneless suffix.
and what may become of your lives I cannot say. I fear not one among you would get clear."
脫 here is to get clear, to come off with life. Sanzang phrases a threat as a regret, and the courtesy makes it colder.
Hearing these words, the monks were seized every one with a lifted heart and a hanging gall. They called upon Heaven and vowed offerings, praying only that the cassock be recovered and their lives preserved entire. Of this no more.
聞得 takes the resultative de; 尋得 is potential-acquisitive and takes dé. Both fall in one segment, so the two readings must be pinned by position. 提心弔膽, the heart lifted and the gall hung, is the common idiom of dread; 弔 is the older writing of 吊. 不題 closes the thread: of this we say no more.
The chapter resumes on the exact beat the last one ended: the Pilgrim is already airborne, and the narrator lingers not on him but on the upturned faces below. The comedy is broad — a courtyard of monks kowtowing at empty sky — yet it does theological work. What the monks read in the somersault is 神聖下界, a holy one come down; and their conclusion, 怪道火不能傷, is drawn correctly. Fire could not touch him. They had assumed a monk and were burning a god.
Sanzang then converts their relief into terror with three quiet clauses. He does not threaten; he predicts. 我那徒弟性子有些不好 is a masterpiece of understatement from a man who has spent the last chapter unable to control that temper, and the monks understand him perfectly. The passage closes with the whole community praying for the recovery of a robe they had tried to steal — the first of the chapter's several ironies of ownership, and the one on which its plot turns.