原文 Original text
繁體 Traditional
Reader's edition
惠岸還刀 Moksha Returns the Blades
菩薩叫：「惠岸，你將刀送上天宮，還你父王，莫來接我，先到普陀巖會眾諸天等候。」那木叉領命，送刀上界，回海不題。菩萨叫：「惠岸，你将刀送上天宫，还你父王，莫来接我，先到普陀岩会众诸天等候。」那木叉领命，送刀上界，回海不题。
逐句解 Line by line
菩薩叫：「惠岸，你將刀送上天宮，還你父王，莫來接我，先到普陀巖會眾諸天等候。」
菩萨叫：「惠岸，你将刀送上天宫，还你父王，莫来接我，先到普陀岩会众诸天等候。」
The Bodhisattva called: "Moksha, take the blades up to the Palace of Heaven and return them to your father the King; don't come to escort me, but go first to the crag of Putuo and wait with the assembled Devas."
Business first: the loan is closed before the miracle is finished. 將 in 將刀 is jiāng; 還 in 還你父王 is huán, to give back, not hái.
那木叉領命，送刀上界，回海不題。
那木叉领命，送刀上界，回海不题。
That Moksha received the charge, sent the blades up to the upper realm, and returned to the sea — of which no more.
不題 — "of which no more" — is the storyteller's way of closing a thread and moving the camera elsewhere. 那 points, so nà.
With the demon held fast by the barbed hooks, Guanyin's first act is administrative: she sends Moksha to return the thirty-six Sky-Net Blades to his father, closing the loan that furnished the trap. The brisk dismissal — return the blades, do not escort me, wait at Putuo — is the book's characteristic celestial bookkeeping, the machinery quietly resetting after the miracle. It also clears the stage: with the borrowed equipment gone, the final subduing will be accomplished by Guanyin's own means, the golden fillet.
There is a discipline in the timing worth noticing. The demon is impaled and pleading, the scene is at its peak, and Guanyin's first act is to send the borrowed equipment home. Nothing in the book's heaven is kept a moment longer than the errand requires. The tidiness is also practical for the story: the blades must be gone before the boy relapses, so that the final subduing rests on nothing but her own means.