RAS-1961 — Page 96

Journal of the Royal Asiatic Society Hong Kong Branch

ORASHKB and author

92

Vol. 1 (1961)

ISSN 1991-7295

father" was only one of revelation of supernatural powers (神通), and it was because of the imagination and the literary gifts of the author of the Fêng-shên that the story became so impressive and full of emotional appeal. The author continues:

The Immortal T'ai-I asked No-cha to follow him to the peach-garden and taught him personally how to use his "fiery-pointed spear" (火尖槍) which the master now bestowed on him. After that, the Immortal gave him the wind-wheel and fire-wheel which he might tread on while chanting incantations and which served him as a magic vehicle; and also a bag made of panther skin in which were the magic bracelet, the red silk gauze and a brick of gold completed his new armour. No-cha prostrated himself before his master once more, and after thanking him, held the magic spear in hand, safely mounted his wind-and-fire wheels and darted straight to the Ch'ên-t’ang Pass and challenged Li Ching, his father. (Ch.14)

**

** In order to prove again how the author of the Fêng-shên Yen-i adapted and utilized confused and promiscuous materials from previous works, we may list some of the arms used by No-cha with their earlier appearances in other prompt-books or plays as follows:

(a) Fiery-pointed spear. In Act 4 of the anonymous play of the Yüan dynasty, Han Kao-huang Cho-tsu Ch'i Ying-pu (漢高皇祖母齊英布), the spear used by Hsiang Yu (項羽) is a "fiery-pointed spear".

(b) Wind-wheel. The wind-wheel is originally the wheel, or circle of wind below the circle of water and metal upon which, according to Buddhist teaching, the Earth rests. It appears in many sutras including the Surangama-sutra (楞嚴經), Ch. 4. In Nan-yu-chi (南遊記) (Ch. 2 and 11) and Pei-yu-chi (北遊記) (Ch. 15) it is one of the arms of the Flowery Light (Hua Kuang or Ling Yao 華光, or San-yen Ling Yao 三眼華光). Ling Yao with a deva-eye).

(c) Fire-wheel. The alatacakra, a wheel of fire produced by rapidly whirling a fire-brand. In chuan 3 of his Lêng-yen Ching Shu-chih (楞嚴經疏治) (? “The Principles of the Surangama-sutra", in the First Series, Second Collection of the Tripitaka in Chinese, 大藏經, 1912), Lu Hsi-hsing says "as the whirling of a fire-brand, reality does not exist". In Nan-yu-chi (Ch. 2 and Ch. 11) and Pei-yu-chi (Ch. 15), the fire-wheel is also a weapon of Flowery Light.

(d) Gold brick, The gold brick is also one of the arms of Flowery Light in Nan-yu-chi (Ch, 2 and Ch. 11) and Pei-yu-chi (Ch. 15). But both the gold brick and the fire-wheel are attributed to Flowery Light also in Yang Ching-hsien's T'ang San-tsang Hsi-t'ien Ch'ü-ching, a play of the Yüan dynasty, Scene 8. In Hsü Fu-tso's (徐復祚) T'ou-so Chi (鬧府記), Scene 19, these two weapons belong to Nata of Eight Arms (八臂那吒).

(e) Magic bracelet. In Ch. 11 of the Nan-yu-chi, one of the weapons of No-cha is a "purple-gold bracelet with raised flowers" (紅花紫金圈) and it is the origin of the magic bracelet (ch'ien-k'un ch'üan 乾坤圈 the Bracelet of Vitreous & Resinous Electricity) in the Fêng-shên Yen-i,