門樓廳堂 The Gate and the Hall
長老連忙下馬。見一座門樓,乃是垂蓮象鼻,畫棟雕梁。沙僧歇了擔子,八戒牽了馬匹道:「這個人家,是過當的富實之家。」行者就要進去,三藏道:「不可,你我出家人,各自避些嫌疑,切莫擅入。且自等他有人出來,以禮求宿,方可。」八戒拴了馬,斜倚牆根之下;三藏坐在石鼓上;行者、沙僧坐在臺基邊。久無人出,行者性急,跳起身入門裡看處,原來有向南的三間大廳,簾櫳高控。屏門上掛一軸壽山福海的橫披畫;兩邊金漆柱上,貼著一副大紅紙的春聯,上寫著:「絲飄弱柳平橋晚;雪點香梅小院春。」正中間設一張退光黑漆的香几,几上放一個古銅獸爐。上有六張交椅兩山頭掛著四季吊屏。长老连忙下马。见一座门楼,乃是垂莲象鼻,画栋雕梁。沙僧歇了担子,八戒牵了马匹道:「这个人家,是过当的富实之家。」行者就要进去,三藏道:「不可,你我出家人,各自避些嫌疑,切莫擅入。且自等他有人出来,以礼求宿,方可。」八戒拴了马,斜倚墙根之下;三藏坐在石鼓上;行者、沙僧坐在台基边。久无人出,行者性急,跳起身入门里看处,原来有向南的三间大厅,帘栊高控。屏门上挂一轴寿山福海的横披画;两边金漆柱上,贴着一副大红纸的春联,上写着:「丝飘弱柳平桥晚;雪点香梅小院春。」正中间设一张退光黑漆的香几,几上放一个古铜兽炉。上有六张交椅两山头挂着四季吊屏。
逐句解 Line by line
The elder hastily dismounted.
連忙 is at once, hurriedly; 下馬, to get down off the horse. He is glad to.
He saw a gate-tower, its brackets wrought as drooping lotus and elephant-trunk, its ridge-beams painted and its rafters carved.
The gate alone tells you what kind of house this is. 垂蓮象鼻, hanging-lotus and elephant-trunk, are shapes carved into the bracket sets (斗栱) that hold up a Chinese roof — the sort of joinery you pay for. 畫棟雕梁, painted ridgepoles and carved beams, is the set phrase for a house built to be looked at.
Sha Monk set down the load and Bajie led the horse, saying, "This household — it's an exceedingly wealthy and well-stocked one."
歇了擔子, set the load down, with 擔 as the noun dàn. 過當 is read guò dàng, beyond the ordinary measure, so here excessively, extravagantly rich; 富實 is wealthy and well-stocked. Bajie has appraised the property before anyone has knocked.
Pilgrim made to go straight in, but Tripitaka said, "You mustn't. We are men who have left the household life; each of us must keep clear of any cause for suspicion. On no account barge in uninvited."
三藏 takes 藏 as zàng — Tripitaka's name means Three Baskets, the three divisions of the Buddhist canon. 出家人 is one who has left the household, a monk; 嫌疑 is suspicion or the appearance of impropriety, and 避 is to steer clear of it; 擅入 is to walk in without leave. Note what he is anxious about. Four monks and a house with no men in it — his scruple is precisely the one the household is about to trample.
"Better wait until someone comes out, and then ask for lodging with due courtesy — that will do."
且自 is for now, just; 以禮求宿, ask for lodging properly; 方可, only then is it allowable.
Bajie tethered the horse and lounged aslant against the foot of the wall; Tripitaka sat upon the stone drum-block; Wukong and Sha Monk sat at the edge of the terrace-plinth.
Everyone finds somewhere to sit. 拴了馬, tied up the horse; 石鼓 is the drum-shaped stone block set beside a gate, used for mounting; 臺基 (tái jī) is the stepped stone platform a building stands on. And 行者 is read xíng zhě, the Pilgrim — the same character that gave the geese their rows as háng back in the autumn poem.
When no one came out for a long while, Wukong — impatient by nature — sprang up and went in through the gate to look, and found a great south-facing hall of three bays, its blinds and lattices hung high.
性急, of an impatient temper, which excuses nothing and explains everything. 向南的三間大廳 is a three-bay hall facing south, the honoured direction for the main room of a house; 簾櫳 (lián lóng) is blinds and window-lattice; 高控, hung high, drawn up.
On the screen-door hung a horizontal scroll-painting of "Longevity Mountains and Seas of Blessing"; and on the gilt-lacquered pillars to either side was pasted a spring-couplet on great red paper, which read: "Silk threads drift from the frail willow — dusk on the level bridge; snow dots the fragrant plum — springtime in the little court."
The furnishings are being read like a bank statement. 壽山福海, Mountain of Longevity and Sea of Blessing, is a stock auspicious subject; 橫披畫 is the wide horizontal scroll it is painted on. The 春聯 is a New Year door-couplet, written on red paper and pasted up the pillars — the ancestor of every red-and-gold sticker you still see on Chinese doorframes each spring. Because it is quoted as a written object rather than recited, it stays inside the prose here instead of being set as verse. 貼著 and 寫著 both take the running 著 (zhe): pasted up, and still pasted; written, and still written.
In the very center stood an incense-table of dull-finished black lacquer, and upon it sat an ancient bronze censer in the form of a beast.
退光黑漆 is a black lacquer rubbed back to a dull, lustreless finish, which costs more than a shine. 香几 is the incense stand; 獸爐 a censer cast in the shape of a beast. 中 is zhōng.
Above stood six folding armchairs, and on the side walls to either end hung four hanging-panels of the four seasons.
交椅 (jiāo yǐ) is the cross-legged folding chair — a seat with rank attached to it, which is why Chinese still says a person's 交椅 when it means their position. 兩山頭 is the two gable-end walls; 四季吊屏, a hanging set of four panels for the four seasons. 掛著 takes the running 著 (zhe).
This is one of the novel's interior inventories, and it works two ways at once. On the surface it simply furnishes the widow's hall — gate-tower, south-facing three-bay room, lacquered incense table, bronze censer, folding chairs, seasonal panels — with the exact eye of somebody who knows what such things cost. Bajie's verdict, an exceedingly wealthy house, is confirmed object by object.
None of that accumulation is idle. Every gilt pillar and folding chair is bait, laid for four men and above all for the one whose eye for comfort has already been established. The narrator's loving catalogue of nice things is a trap described in the language of interior decoration.
Two notes of propriety frame the scene, and both will be tested. Tripitaka insists the monks wait to be invited and stay clear of 嫌疑, any breath of impropriety — the exact scruple the coming offer of marriage will run straight over. And Wukong's impatience, which sends him poking through the gate ahead of everyone, quietly reasserts a temperament no amount of doctrine has ever quite settled.