圈套飛砂 The Ring Takes the Sand
那妖魔見飛砂迷目,把頭低了一低,足下就有三尺餘深。慌得他將身一縱,跳在浮上一層。未曾立得穩,須臾,又有二尺餘深。那怪急了,拔出腳來,即忙取圈子,往上一撇,叫聲:「著!」唿喇的一下,把十八粒金丹砂又盡套去,拽回步,徑歸本洞。那妖魔见飞砂迷目,把头低了一低,足下就有三尺余深。慌得他将身一纵,跳在浮上一层。未曾立得稳,须臾,又有二尺余深。那怪急了,拔出脚来,即忙取圈子,往上一撇,叫声:「着!」唿喇的一下,把十八粒金丹砂又尽套去,拽回步,径归本洞。
逐句解 Line by line
The fiend saw the flying sand blinding his eyes, and dropped his head for one moment — and under his feet there was already more than three chǐ of it.
For the first time in three chapters, the demon is losing. 那妖魔 points, so 那 is nà; 低了一低: 了 is le, and 一 shifts to yì before a first tone. The measure 尺 stays untranslated as chǐ — a Ming foot of roughly 32 centimetres, so this is about a metre of sand underfoot in the time it takes to blink.
In alarm he gave his body a spring and jumped to the layer floating on top.
慌得: 得 is de; 將身一縱: 將 is jiāng. This is the closest anyone comes to winning in the whole chapter, and it lasts two sentences.
He had not yet got his footing when in a moment there were two chǐ more.
立得穩: 得 is de. 須臾 is a moment, a term borrowed from the Buddhist divisions of time. The sand is rising faster than he can climb.
The monster was desperate. He pulled his feet free, snatched out the ring in haste, flung it upward, and cried: "Have it!"
那怪 points, so 那 is nà; 急了: 了 is le; 圈子 takes the bare ending zi; the cry 著! is zháo, as before. 一撇: 一 is yì before a third tone.
With a whoosh and a rattle it snared away all eighteen grains of golden cinnabar sand as well; and he hauled his steps back and went straight home to his cave.
盡套去: 盡 is jìn, the reading used throughout this edition; 拽回步: 拽 is zhuài. 唿喇的一下 repeats the sound of the first confiscation word for word — the narrator is quoting himself, and the repetition is the point.
For three sentences the sand is winning, and the chapter lets the reader feel it: three chǐ underfoot before he has finished blinking, a jump to the surface, no footing there, two chǐ more. It is the only stretch in three chapters where the demon is in genuine trouble, and the narrative measures it out like a rising flood.
Then the same four characters as before — 唿喇的一下, with a whoosh and a rattle — and the sand is inside the ring with everything else. The repetition is exact and deliberate: the narrator used this sound when the ring took the six weapons and the fire-gear, and he uses it again here without varying a syllable. Four assaults have now ended in the same sentence. What is different this time is that the failure was expected. The Tathāgata gave the arhats a sealed instruction to be opened when the sand was lost, which means he knew it would be.