認他不出 She Does Not Know Him
那洞門裡有兩個女童，聞得聲音開了門，看見是牛魔王嘴臉，即入報：「奶奶，爺爺來家了。」那羅剎聽言，忙整雲鬟，急移蓮步，出門迎接。這大聖下雕鞍，牽進金睛獸；弄大膽，誆騙女佳人。羅剎女肉眼，認他不出，即攜手而入，著丫鬟設座看茶。一家子見是主公，無不敬謹。那洞门里有两个女童，闻得声音开了门，看见是牛魔王嘴脸，即入报：「奶奶，爷爷来家了。」那罗刹听言，忙整云鬟，急移莲步，出门迎接。这大圣下雕鞍，牵进金睛兽；弄大胆，诓骗女佳人。罗刹女肉眼，认他不出，即携手而入，着丫鬟设座看茶。一家子见是主公，无不敬谨。
逐句解 Line by line
Within the cave door were two serving-maids, who heard the voice and opened, and seeing the face of the Bull Demon King went straight in to report: "Madam, the master is come home."
聞得 takes dé, the reading for hearing that succeeds. And 爺爺來家了 is the servants' phrase carrying the whole weight of the deception: they announce not a visitor but a homecoming.
The Rākṣasī, hearing it, hastily set her cloudy coiffure in order, moved her lotus steps in haste, and came out at the door to receive him.
剎 is chà. 雲鬟, cloudy coiffure, and 蓮步, lotus steps, are both from the standard vocabulary of feminine beauty, and the doubled 忙 and 急 make the haste unmistakable. She has not seen her husband in two years.
The Great Sage got down from the carved saddle and led in the golden-eyed beast; he played the bold man and cozened the fair lady.
The source cuts this at a semicolon, and the two halves are a matched pair of three-and-five phrases under one unstated subject — 下雕鞍／牽進金睛獸 and 弄大膽／誆騙女佳人. The parallelism is exact, but 維基文庫 does not indent it, so it stays prose rather than becoming a set-piece.
The Rākṣasī's fleshly eyes could not make him out. She took him by the hand and went in, and ordered the maids to set a seat and serve tea.
肉眼 — fleshly eyes — is a Buddhist term for the ordinary eye that sees only surfaces, and it sits at the bottom of a scale that runs up through the divine eye to the eye of the dharma. 著 is the causative zhuó here, against the two continuous readings in the previous passage. 看 in 看茶 is kàn.
The whole household, seeing it was their lord, were every one of them respectful and careful.
一家子 takes the colloquial collective suffix zi, where 龍子 and 男子 earlier in the chapter took the full zǐ. 一 takes yì before the level tone of 家.
The homecoming is staged with every detail of a real one, and that is what makes it cruel. The maids run in to say the master is home; the wife hurries to put her hair straight before she goes to the door; the household is respectful because their lord has returned. Nobody in the cave has the slightest reason to doubt it, and we watch an entire establishment welcome a monkey.
肉眼 is the term the novel chooses for her failure to see through him, and it is not an insult to her intelligence. Fleshly eyes see what is in front of them; it takes the divine eye or the eye of the dharma to see through a transformation, and the Rākṣasī has neither. She is being deceived by a technique she has no faculty to detect, and the text says so in a technical term rather than a mocking one.
The embedded couplet at the centre of the passage does something the surrounding prose does not. 弄大膽，誆騙女佳人 — he played the bold man and cozened the fair lady — steps outside the narration to pass judgement in the storyteller's own metre. The text has just called her a fair lady and him a cheat, in one breath, and then returns to plain prose as though nothing had been said.