盂蘭盆會 The Ullambana Feast
佛祖居於靈山大雷音寶剎之間。一日,喚聚諸佛、阿羅、揭諦、菩薩、金剛、比丘僧尼等眾曰:「自伏乖猿安天之後,我處不知年月,料凡間有半千年矣。今值孟秋望日,我有一寶盆,盆中具設百樣奇花、千般異果等物,與汝等享此盂蘭盆會,如何?」概眾一個個合掌,禮佛三匝領會。如來卻將寶盆中花果品物,著阿儺捧定,著迦葉佈散。佛祖居于灵山大雷音宝刹之间。一日,唤聚诸佛、阿罗、揭谛、菩萨、金刚、比丘僧尼等众曰:「自伏乖猿安天之后,我处不知年月,料凡间有半千年矣。今值孟秋望日,我有一宝盆,盆中具设百样奇花、千般异果等物,与汝等享此盂兰盆会,如何?」概众一个个合掌,礼佛三匝领会。如来却将宝盆中花果品物,著阿傩捧定,著迦叶布散。
逐句解 Line by line
The Buddha-Patriarch dwelt within the Great Thunderclap Treasure Monastery of the Spirit Mountain.
寶剎 — 剎 read chà, a sacred precinct.
One day he called together the buddhas, arhats, guardian-spirits, bodhisattvas, vajra-warriors, monks and nuns, and all the rest, and said:
揭諦 (jiēdì) are protective deities, named from the mantra's 揭諦 (gate). 一日 takes yí before fourth-tone 日.
“Since the unruly ape was subdued and Heaven secured, here we have lost all count of months and years; I reckon a full half-thousand years have passed in the world of men.
The Buddha measures celestial against mortal time — five hundred years below for an interval here uncounted, the very span of Wukong's coming imprisonment.
“Now, on the full-moon day of early autumn, I have a precious basin set with a hundred kinds of rare flowers and a thousand sorts of strange fruits and the like — shall we share this Ullambana Feast together?”
盂蘭盆會 (Ullambana, yúlánpén) is the mid-seventh-month festival for the deliverance of suffering beings; 一寶盆 takes yì before third-tone 寶.
The whole assembly, every one, pressed their palms together and, circling the Buddha thrice in homage, grasped his intent.
三匝 — three circumambulations, the standard gesture of veneration; 一個個 takes yí before fourth-tone 個.
The Tathāgata then had Ānanda hold up the flowers and fruits of the basin, and Kāśyapa scatter them abroad.
著 here is causative zhuó (“to have someone do”). 阿儺 is Ānanda (the graph 儺 read nuó); 迦葉 is Mahākāśyapa, where 葉 takes the special reading shè.
The scene shifts to a quieter register: the Buddha, reckoning that five hundred mortal years have passed, proposes an Ullambana Feast. The festival's traditional theme — the deliverance of beings from suffering — silently anticipates the chapter's turn toward compassion for the mortal world.
The pairing of 阿儺 (Ānanda) and 迦葉 (Kāśyapa) as the Buddha's attendants is a deliberate touch: these are the very disciples who, in the novel's final chapters, will demand a gift before handing over the scriptures. Their appearance here, serving flowers and fruit, plants a thread the hundred-chapter design will pay off thousands of li and many years later.
The half-thousand-year measure also synchronises the two timelines the novel runs in parallel — the monkey's sentence under the mountain and the slow ripening of the pilgrimage's necessity. Yu notes how such temporal markers knit the episodic narrative into a single providential scheme; the feast is its calm hinge.