Canonical Classics ← 第二十三回
第二十三回
三sān藏zàng不bú忘wàng本běn
四sì聖shèng試shì禪chán心xīn

Tripitaka Does Not Forget His Origin · The Four Saints Test the Meditative Heart

門樓廳堂
模式 Mode Read Study
拼音 Pinyin Off
字體 Script 繁
原文 Original text 繁體 Traditional Reader's edition

門樓廳堂 The Gate and the Hall

長zhǎng老lǎo連lián忙máng下xià馬mǎ。見jiàn一yí座zuò門mén樓lóu,乃nǎi是shì垂chuí蓮lián象xiàng鼻bí,畫huà棟dòng雕diāo梁liáng。沙shā僧sēng歇xiē了le擔dàn子zi,八bā戒jiè牽qiān了le馬mǎ匹pǐ道dào:「這zhè個gè人rén家jiā,是shì過guò當dàng的de富fù實shí之zhī家jiā。」行xíng者zhě就jiù要yào進jìn去qù,三sān藏zàng道dào:「不bù可kě,你nǐ我wǒ出chū家jiā人rén,各gè自zì避bì些xiē嫌xián疑yí,切qiè莫mò擅shàn入rù。且qiě自zì等děng他tā有yǒu人rén出chū來lái,以yǐ禮lǐ求qiú宿sù,方fāng可kě。」八bā戒jiè拴shuān了le馬mǎ,斜xié倚yǐ牆qiáng根gēn之zhī下xià;三sān藏zàng坐zuò在zài石shí鼓gǔ上shàng;行xíng者zhě、沙shā僧sēng坐zuò在zài臺tái基jī邊biān。久jiǔ無wú人rén出chū,行xíng者zhě性xìng急jí,跳tiào起qǐ身shēn入rù門mén裡lǐ看kàn處chù,原yuán來lái有yǒu向xiàng南nán的de三sān間jiān大dà廳tīng,簾lián櫳lóng高gāo控kòng。屏píng門mén上shàng掛guà一yì軸zhóu壽shòu山shān福fú海hǎi的de橫héng披pī畫huà;兩liǎng邊biān金jīn漆qī柱zhù上shàng,貼tiē著zhe一yí副fù大dà紅hóng紙zhǐ的de春chūn聯lián,上shàng寫xiě著zhe:「絲sī飄piāo弱ruò柳liǔ平píng橋qiáo晚wǎn;雪xuě點diǎn香xiāng梅méi小xiǎo院yuàn春chūn。」正zhèng中zhōng間jiān設shè一yì張zhāng退tuì光guāng黑hēi漆qī的de香xiāng几jǐ,几jǐ上shàng放fàng一yí個gè古gǔ銅tóng獸shòu爐lú。上shàng有yǒu六liù張zhāng交jiāo椅yǐ兩liǎng山shān頭tóu掛guà著zhe四sì季jì吊diào屏píng。长zhǎng老lǎo连lián忙máng下xià马mǎ。见jiàn一yí座zuò门mén楼lóu,乃nǎi是shì垂chuí莲lián象xiàng鼻bí,画huà栋dòng雕diāo梁liáng。沙shā僧sēng歇xiē了le担dàn子zi,八bā戒jiè牵qiān了le马mǎ匹pǐ道dào:「这zhè个gè人rén家jiā,是shì过guò当dàng的de富fù实shí之zhī家jiā。」行xíng者zhě就jiù要yào进jìn去qù,三sān藏zàng道dào:「不bù可kě,你nǐ我wǒ出chū家jiā人rén,各gè自zì避bì些xiē嫌xián疑yí,切qiè莫mò擅shàn入rù。且qiě自zì等děng他tā有yǒu人rén出chū来lái,以yǐ礼lǐ求qiú宿sù,方fāng可kě。」八bā戒jiè拴shuān了le马mǎ,斜xié倚yǐ墙qiáng根gēn之zhī下xià;三sān藏zàng坐zuò在zài石shí鼓gǔ上shàng;行xíng者zhě、沙shā僧sēng坐zuò在zài台tái基jī边biān。久jiǔ无wú人rén出chū,行xíng者zhě性xìng急jí,跳tiào起qǐ身shēn入rù门mén里lǐ看kàn处chù,原yuán来lái有yǒu向xiàng南nán的de三sān间jiān大dà厅tīng,帘lián栊lóng高gāo控kòng。屏píng门mén上shàng挂guà一yì轴zhóu寿shòu山shān福fú海hǎi的de横héng披pī画huà;两liǎng边biān金jīn漆qī柱zhù上shàng,贴tiē着zhe一yí副fù大dà红hóng纸zhǐ的de春chūn联lián,上shàng写xiě着zhe:「丝sī飘piāo弱ruò柳liǔ平píng桥qiáo晚wǎn;雪xuě点diǎn香xiāng梅méi小xiǎo院yuàn春chūn。」正zhèng中zhōng间jiān设shè一yì张zhāng退tuì光guāng黑hēi漆qī的de香xiāng几jǐ,几jǐ上shàng放fàng一yí个gè古gǔ铜tóng兽shòu炉lú。上shàng有yǒu六liù张zhāng交jiāo椅yǐ两liǎng山shān头tóu挂guà着zhe四sì季jì吊diào屏píng。


逐句解 Line by line

長zhǎng老lǎo連lián忙máng下xià馬mǎ。 长zhǎng老lǎo连lián忙máng下xià马mǎ。

The elder hastily dismounted.

連忙 is at once, hurriedly; 下馬, to get down off the horse. He is glad to.

見jiàn一yí座zuò門mén樓lóu,乃nǎi是shì垂chuí蓮lián象xiàng鼻bí,畫huà棟dòng雕diāo梁liáng。 见jiàn一yí座zuò门mén楼lóu,乃nǎi是shì垂chuí莲lián象xiàng鼻bí,画huà栋dòng雕diāo梁liáng。

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.

沙shā僧sēng歇xiē了le擔dàn子zi,八bā戒jiè牽qiān了le馬mǎ匹pǐ道dào:「這zhè個gè人rén家jiā,是shì過guò當dàng的de富fù實shí之zhī家jiā。」 沙shā僧sēng歇xiē了le担dàn子zi,八bā戒jiè牵qiān了le马mǎ匹pǐ道dào:「这zhè个gè人rén家jiā,是shì过guò当dàng的de富fù实shí之zhī家jiā。」

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.

行xíng者zhě就jiù要yào進jìn去qù,三sān藏zàng道dào:「不bù可kě,你nǐ我wǒ出chū家jiā人rén,各gè自zì避bì些xiē嫌xián疑yí,切qiè莫mò擅shàn入rù。 行xíng者zhě就jiù要yào进jìn去qù,三sān藏zàng道dào:「不bù可kě,你nǐ我wǒ出chū家jiā人rén,各gè自zì避bì些xiē嫌xián疑yí,切qiè莫mò擅shàn入rù。

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.

且qiě自zì等děng他tā有yǒu人rén出chū來lái,以yǐ禮lǐ求qiú宿sù,方fāng可kě。」 且qiě自zì等děng他tā有yǒu人rén出chū来lái,以yǐ礼lǐ求qiú宿sù,方fāng可kě。」

"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.

八bā戒jiè拴shuān了le馬mǎ,斜xié倚yǐ牆qiáng根gēn之zhī下xià;三sān藏zàng坐zuò在zài石shí鼓gǔ上shàng;行xíng者zhě、沙shā僧sēng坐zuò在zài臺tái基jī邊biān。 八bā戒jiè拴shuān了le马mǎ,斜xié倚yǐ墙qiáng根gēn之zhī下xià;三sān藏zàng坐zuò在zài石shí鼓gǔ上shàng;行xíng者zhě、沙shā僧sēng坐zuò在zài台tái基jī边biān。

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.

久jiǔ無wú人rén出chū,行xíng者zhě性xìng急jí,跳tiào起qǐ身shēn入rù門mén裡lǐ看kàn處chù,原yuán來lái有yǒu向xiàng南nán的de三sān間jiān大dà廳tīng,簾lián櫳lóng高gāo控kòng。 久jiǔ无wú人rén出chū,行xíng者zhě性xìng急jí,跳tiào起qǐ身shēn入rù门mén里lǐ看kàn处chù,原yuán来lái有yǒu向xiàng南nán的de三sān间jiān大dà厅tīng,帘lián栊lóng高gāo控kòng。

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.

屏píng門mén上shàng掛guà一yì軸zhóu壽shòu山shān福fú海hǎi的de橫héng披pī畫huà;兩liǎng邊biān金jīn漆qī柱zhù上shàng,貼tiē著zhe一yí副fù大dà紅hóng紙zhǐ的de春chūn聯lián,上shàng寫xiě著zhe:「絲sī飄piāo弱ruò柳liǔ平píng橋qiáo晚wǎn;雪xuě點diǎn香xiāng梅méi小xiǎo院yuàn春chūn。」 屏píng门mén上shàng挂guà一yì轴zhóu寿shòu山shān福fú海hǎi的de横héng披pī画huà;两liǎng边biān金jīn漆qī柱zhù上shàng,贴tiē着zhe一yí副fù大dà红hóng纸zhǐ的de春chūn联lián,上shàng写xiě着zhe:「丝sī飘piāo弱ruò柳liǔ平píng桥qiáo晚wǎn;雪xuě点diǎn香xiāng梅méi小xiǎo院yuàn春chūn。」

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.

正zhèng中zhōng間jiān設shè一yì張zhāng退tuì光guāng黑hēi漆qī的de香xiāng几jǐ,几jǐ上shàng放fàng一yí個gè古gǔ銅tóng獸shòu爐lú。 正zhèng中zhōng间jiān设shè一yì张zhāng退tuì光guāng黑hēi漆qī的de香xiāng几jǐ,几jǐ上shàng放fàng一yí个gè古gǔ铜tóng兽shòu炉lú。

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.

上shàng有yǒu六liù張zhāng交jiāo椅yǐ兩liǎng山shān頭tóu掛guà著zhe四sì季jì吊diào屏píng。 上shàng有yǒu六liù张zhāng交jiāo椅yǐ两liǎng山shān头tóu挂guà着zhe四sì季jì吊diào屏píng。

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).


總評 Commentary

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.