Chapter 91- Indulgence Leads to Retribution

Stories of Journey to the West, Chapter 91. There in the opening poem, right away there's this deep reflection on, you know, self-mastery, the spiritual path. That poem, right? Exactly. It asks Tatcha Ekra essentially, where do you put your effort in meditation? Get rid of that unruly horse and crazy monkey. The classic symbols for the mind and desires. Precisely. It's about managing those desires, protecting your inner vitality, the text calls it, like a leaking divine elixir and avoiding downfall, the ah, falling into lower realms. And it stresses sweeping away emotions, you know, joy, anger, worry, all that mental noise. It really sets the theme for the challenges ahead, both outside and maybe more importantly, inside. That's a great framing. So internal quest is key. And then the actual journey picks up right after Yua City. The text says their path was peaceful, a real land of utmost bliss. For a moment, yeah. But yeah, it doesn't last long before they approach this new city. And there's this weird detail, a pole on the wall, but no flag. So they don't even know where they are initially. Then they hit the Ur, the East Gate area, and bam, suddenly alive. Tea houses, wine shops are noisy, rice markets, oil markets bustling. Quite the sudden shift. It is, isn't it? That immediate contrast is so important. You go from this calm, almost meditative state, straight into this vibrant, maybe even jarring urban scene. It really highlights the constant flux of their journey. Quiet contemplation, one minute, worldly chaos, the next. Yeah, no easy ride. And this shift puts the disciples right in the spotlight. The locals, the street loungers, they spot them instantly. I mean, Pigsy's long snout, Sha Wujing's dark face, Monkey King's red eyes, hard to miss. Definitely not blending in. Right. The text says they just swarmed around, really eager to look. But it's interesting, they just didn't dare get close enough to ask questions. There's this mix of fascination and maybe fear. Probably a bit of both. Ah, maybe. Could be. Even Tang Monk is sweating it. It says he's literally squeezing a handful of sweat because he's terrified to cause trouble. It really shows you how alien and striking they must have appeared. So in the middle of all this commotion, before they even enter the city proper, they spot a temple gate. Siyun Temple. Tang Monk, naturally, suggests stopping for a rest and a meal. Good idea. Always practical, the master. And this place sounds amazing. Not just some little shrine. The text talks about sure, magnificent treasure towers, majestic seats. It mentions ku, Buddha pavilions above the clouds, and sun, quiet monk rooms in the moonlight. It's very evocative. And ko, misty red clouds around pagodas and sum, lush trees, clear scripture places. It sounds like a real sanctuary. And the welcome they get is telling, isn't it? The head monk shows just immense respect for Tang Monk. He explains that people there, they all hope to cultivate themselves enough to be reborn in China. That's huge. It really underlines this deep reverence for China as a, well, a spiritual center, even out here. That's a significant detail. And the monk looks at Tang Monk's, you know, his whole bearing, his clothes, and says something like, seeing your dignified appearance, truly, you must have cultivated in a past life to deserve this. It reinforces that idea of spiritual status being, well, earned, visible merit. So, deep respect for Tang Monk. But then comes a gigger. Tang Monk calls his disciples over. They've been standing with their backs turned right. So they turn around, and the monk just freaks out. He cries, How are your esteemed disciples so ugly? Huh, you can just picture it. The shock. It's brilliant. So human. And Tang Monk, bless him, jumps right in to defend them. He says, Oh, Tangoon. Okay, they're ugly, but they have quite a bit of magical power. And adds, Tangon, I've really relied on their protection the whole journey. Good old Tang Monk. Sticking up for his guys. Totally. And later, other monks basically say the same thing. China has handsome people and ugly people. The handsome are hard to describe, but the ugly ones. Really bizarre. It's such a funny down-to-earth moment after all that high reverence. Yeah. Okay, so after tea, Tang Monk gets practical. He asks the big question. Tang, what's this place called? Finally get the answer. Yep. Tang Tang. Outer district of Tianshu, Jinping Prefecture. Then he asks about Lingshan, the goal. How far? The monks know it's 2,000 Li to the capital, but beyond that, no idea. Which is interesting in itself. Even on this massive spiritual quest, the practical stuff matters. Maps, distance, local knowledge. It grounds the whole epic thing, you know, makes it feel real. And it emphasizes just how far they still have to trek. They're relying on word of mouth, bit by bit. Exactly. It really adds that layer of realism. So Tang Monk, ever the focused pilgrim, wants to head out right after eating. Mission first. But the monks, and some patrons too, they urge them to stay. Hey, stay a day or two, wait till after the Lantern Festival, have some fun. It won't hurt. And Tang Monk's reaction is quite revealing, isn't it? It really is. He says, basically, look, on the road, all I know is mountains, water, worrying about monsters and demons. He says, I've completely lost track of time. I have no idea when the Lantern Festival even is. So wrapped up in the quest, yeah. Survival mode, almost. Totally. So the monks explain. Dude, it's the 13th day of the first month. Tonight they test the lanterns. The day after tomorrow is the 15th. The main event, Shan Yun Festival. It goes on till the 18th or 19th. They talk about how the local prefect is benevolent, loves the people. So everyone hangs lanterns high. There's music all night. And they specifically mention the Jian, the Golden Lantern Bridge, calling it an Iwit, an ancient tradition. Sounds like a big deal. And sure enough, that same night, the temple itself comes alive. Ji Nut, bells and drums booming in the Buddha Hall. Locals are bringing lanterns as offerings to Buddha. The disciples and Tang monk watch for a bit before turning in. Taking it all in. The next day, after eating again, they check out the temple's rear garden and the description. Just beautiful. A serene garden, beautiful, dense scenery. Talks about Qin Shi, flowers and trees from all seasons showing off their beauty. Specific flowers get mentioned. Peonies, crepe myrtles just waking up. Then camellias, red plums, winter jasmine already in bloom. It sounds incredibly lush. A real feast for the senses, it sounds like. Absolutely. And peaceful, too. Done deer reflected in the pond. Steep cranes listening to music under pine trees. Just idyllic. But then there are these intriguing buildings. Ontu, a cultivation of spirit building and a demon refining room. Ah, OK. So it's not just pretty. Right. It suggests this temple isn't just beautiful. It's a serious place for spiritual work, for tackling those inner demons. That connects back beautifully to the opening poem, doesn't it? That garden with its spirit cultivation and demon refining. It's like a physical echo of that call to inner work. It's this tranquil space that perfectly complements the chaos of the external journey. But it's still about the same goal. Inner cultivation. Great point. OK, so then the main event. City at night, lantern festival time. And wow, the descriptions are just dazzling. It's called a an agate flower city, a quibble, a glazed immortal cave, crystal palaces, layers of brocade, intricate designs, chick or something. Absolutely stunning. It does. Star bridges and shadows moving heaven and earth. Saturday, these fiery trees swaying with red light. The whole city is alive. Flutes, drums on every street. Moonlight on a thousand gates. Fragrant wind from everywhere. You can almost feel the energy. Totally. And the lanterns themselves sound fantastical. High tortoise peaks made of light. Fish dragons emerging from the sea. Phoenixes soaring. Incredible displays. The text sums it up. You let it. Envy the lantern light, the moonlight, the harmony melting together. Carriages rumbling high and just endless beautiful faces, heroes, amazing sights. It's pure spectacle and joy. And, you know, this whole festival scene, it really highlights the richness of the cultural life they're passing through. Their pilgrimage isn't just about scriptures and solitude. It's also about experiencing local customs, people's joy, the sheer beauty they create. It's a powerful reminder, I think, that even the most profound spiritual journeys are woven into this vibrant tapestry of, well, human existence. Teng Sanzang has this heartfelt wish. He's at Sien Temple and he tells the monks he wants to sweep the pagoda. It's the Lantern Festival, an auspicious day. Okay, a personal act of devotion. Exactly. And he's so careful about it. Floor by floor, sweeping each level, looking at the Buddhas, admiring the views from the windows right up to the very top. It's shown as this really sincere, personal thing. So he takes a sort of pause from the main journey for this, this spiritual moment. How does that quietness then shift into the, you know, the big public festival? Well, it flows quite naturally, actually. By the time he's done and comes back down, it's evening. The city's all lit up. And the monks basically say, hey, you should come see the real show, the golden lanterns in the city, not just the lights they'd seen from, you know, out in the wilds earlier. And he's up for it. Oh, yeah. Totally enthusiastic. Ready to go see it all. So what was it like? What are some of the standout images? The description sounds incredibly vivid in the source. Oh, it really paints a picture. You've got the six streets and three markets bright with lanterns. The moon is like a silver plate, making all the lights look even brighter. And the lanterns themselves describe like brocades woven onto the ground. It's this image of like immortal maidens having embroidered the whole city. That's beautiful. And there were all sorts of practical ones like walnut and lotus flower lanterns hanging up high, but also really intricate stuff like iron chain star bridges and lantern flower fire trees. Saying star bridges, that sounds complex. Doesn't it? And there's more like snowflower lanterns, plum blossom ones described like spring ice cut into pieces, embroidered screens, painted screens made of five colors piled together. And then it gets really imaginative. OK, like what? Green lions, white elephants standing tall, shrimp and turtle lanterns that actually moved in front of stalls. Moving lanterns. Yeah. And lively lamb and rabbit lanterns under the eaves. Eagle and phoenix lanterns linked together. Tiger and horse lanterns running alongside each other. It's like a zoo made of light. It really is. And even more mythical things, immortal cranes, white deer with the god of longevity riding them. And an Io mountain lantern where immortals gather. And the classic running horse lantern, the Zuma Dang, showing generals fighting. The scale sounds immense. Totally. Tens of thousands of family lanterns and towers. It created this effect of dozens of miles of a misty world. Just light everywhere. So amazing artistry, huge scale. What about the people? What was the vibe, the atmosphere like? Oh, totally vibrant. The text mentions red grist women leaning on balconies, couples by the Greenwater Bridge just enjoying themselves. Nice. And everywhere, the sound of flutes and drums singing and dancing uninterrupted throughout the night. Just this joyful, lively chaos almost. Chaos in a good way. Absolutely. Yeah. Especially because of the Jinwabushan, basically. No curfew. Ah, okay. Special treat. A really special thing for a celebration like this. And performers everywhere. Dancers, stilt walkers, people dressed as ghosts, even elephant riders. Just total freedom and community celebration. Sounds like a night you wouldn't forget. But you mentioned a focus point amidst all this. Three massive golden lanterns. Yes, exactly. On the Golden Lantern Bridge. These were the main event, you could say. What made them so special? Well, their size, for one. As large as a jar or a vat. Huge. And the design. Two layers of exquisite, transparent pavilions woven with fine gold thread. Wow. Gold thread again. Yeah. And inside, glassy thin slices that made the light shine like the moon. And the oil itself apparently sprayed fragrance. Just sounds magical. And Tang Sanzang noticed the smell? He did. He was curious about this unusual fragrance, which leads him to ask the monks about the oil. Right. So what was the deal with the oil? What did they tell him? They explained it wasn't just any oil. It was suhexian oil. Suhexian? What's that? It's a kind of prized, very fragrant, clarified butter often used in temples for special rituals. And this particular oil came all the way from Mintian County. How far was that? About 240 lies. So maybe 75 miles or 120 kilometers. A fair distance to bring this special oil. Okay. So it's rare. It's fragrant. It comes from far away. Sounds expensive. Oh, you have no idea. It wasn't just the volume, though that was huge too. The cost. It was a massive burden on the community. How so? Well, the sources mentioned 240 lamp oil households. Basically, families designated to supply the oil. Okay. And each one spent over 200 taels of silver every year just for their share. 200 taels each. Yeah, that sounds like a... It was an enormous amount back then. And the price of the oil itself was staggering. They say one tael of oil costs two taels of silver. Wait, the oil costs twice its weight in silver. Yes. And one gin, that's a caddy, about half a kilo or a bit over a pound, costs 32 taels of silver. 32 taels for a pound of oil. Good grief. Exactly. And each of these three giant lanterns held 500 gins. So 1,500 gins total. Right. Which comes out to 48,000 taels of silver. 48,000 just for the oil. Just for the oil. And they mention other expenses push it over 50,000 taels. Right. All that just to light these three lanterns for only three nights. That's an unbelievable expense. Yeah. It really shows incredible dedication, doesn't it? But why? Why spend so much? That's the key question, right? And it's basically what Wukong asks, too. He's like, how does all that oil get used up so fast? So the monks explain, first, that each lantern has 49 large lamp wicks. And these aren't tiny wicks. They're as thick as a chicken egg made of lamp grass wrapped in silk floss. So they burn a lot of oil. Okay, big wicks. But still, that cost. Right. The real reason, the core belief, is what happens after the third night. When the oil is finally gone, the lanterns dim, and people say, the Buddhas collect the oil. The Buddhas collect the oil. What does that mean for them? Why is that important? It was absolutely crucial. Their whole prosperity, their agriculture, was tied to this belief. How so? The monks explain, if the oil dries up completely, it guarantees bumper harvests. Good crops, good year. Okay. But if it doesn't dry up, if there's oil left, that's a terrible omen. It signals drought, bad harvests, and unstable weather. I see. So that huge expense was like an offering, an investment in their future. Exactly. That's why the people desire this offering so much, despite the cost. It shows how powerful a collective belief can be, you know? Shaping everything. They're interpreting a simple physical thing, oil running out, as this direct sign from the Buddhas about their survival. It's not just a ritual, then. It's like a contract with the divine, ensuring they can eat. Pretty much, yeah. That's how deeply held it was. So this whole amazing spectacle, built on this profound belief, this is where things go wrong, isn't it? This is where it takes the turn. Right as they're discussing this, there's this sudden whooshing sound of wind. Oh! It scatters the crowd. But the local monks, they're thrilled. They think it's the Buddhas. They think the wind is the Buddhas arriving. Yes. Buddhas descending auspiciously to see the lanterns. They say it happens every year, just before the third watch. And Tang Sanzang being so devout. He totally buys it! He immediately rushes forward to bow down to these Buddhas. But Wukong, he's not buying it, is he? Not for a second. This is where his insight is just critical. He grabs Tang Sanzang, pulls him up fast, and says, Master, these are not good people. They must be evil spirits. Wow. What a contrast. Pure faith versus sharp suspicion. Exactly. And then, just like that, the lantern light dims. Another whoo! And Tang Sanzang is just gonched, snatched, grabbed, and carried off in the wind. Just vanished. Oh, man. So Wukong has to explain this to the others. The monks must have been terrified. Terrified. Confused. Yeah. Wukong basically lays it out for them and for Bajie in Sha Wujing. He says, look, you mortals, you've been tricked for years. So the Buddhas they thought they saw. Weren't Buddhas at all. They were three demons. He saw them in the wind. And they were the ones taking the oil all along. That's what Wukong figures out. The demons caused the wind, dimmed the lights as a distraction, scooped up all that expensive oil into their own containers. Unbelievable. And then grabbed Tang Sanzang while everyone was disoriented. Wukong sounds a bit frustrated, actually. Like he was just a fraction too slow to stop them escaping. So the whole belief, the whole ritual. Yeah. It was based on a lie. Perpetuated by demons. Seems so. It's a stark contrast, isn't it? This widespread, deeply held community belief versus Wukong's ability to see the demonic reality underneath. Wow. Okay, so his master's been kidnapped. Wukong doesn't mess around, does he? What's the plan? No, he's all action. He tells Bajie and Xiao Wujing, you guys stay here, guard the horse, the luggage, back at the temple. I'm going after them. And poof. He's on his cloud somersault, heading northeast, following the smell of foul wind, flying all night. Following the smell. Okay. He tracks them until dawn. Yeah, until dawn. The wind dies down and he sees where they must have gone. This mountain. What kind of mountain? Sounds like it would have to be pretty forbidding. Oh, it is. The description is intense. Magnificent and dangerous, truly craggy. It's got layered ravines, winding springs, but also these really imposing features like lofty peaks like spears and rugged rocks like a piled rock terrace. You immediately get a sense of danger, you know, somewhere things could hide. A real fortress of a place. Is it like desolate or is there life? Definitely not desolate. It's described as a kind of primal wilderness. Vines hanging from sheer cliffs, pines and cypresses on empty rocks. You hear things too. Cranes calling in the mist, geese crying at dawn, even tigers and leopards snoring. Enjoying tigers. Yeah. And deer running around, musk deer and white deer, jade rabbits and green wolves. It's wild. But even the beautiful parts like wildflowers and singing cuckoos and orioles don't really soften it. The overall feeling is majestic, yes, but also rocky, strange, rugged, dangerous and difficult. It's like a perfect demon lair. Exactly. And there's this constant sound of water too. Deep ravines, swirling rapids, hitting rocks. It just adds to that feeling of a wild, hidden, untamed place. Wukong, ever loyal, right? He's immediately chasing the monster that grabbed his master, hot on the trail, relentless. And he finds himself facing this huge, imposing mountain. Yeah, you can almost feel his frustration building, can't you? Just searching for any sign, any clue. And this is where it gets really unexpected. Wukong's scanning the mountain and suddenly, four figures appear. The herding three sheep. Just shepherds on this desolate mountain. Well, that's what it looks like. And they're shouting this phrase, kai tai. Now, Wukong, he has his fiery golden eyes, right? They see through illusions. Ah, right. So he knew. Instantly. These weren't just random shepherds. They were the four duty gods. You know, year, month, day, and hour. In disguise. Wow. Okay, so the very gods meant to be protecting his master are herding sheep. I bet Wukong wasn't thrilled. Oh, he was really annoyed. He went right up to them, basically accused them of being slackers. You know, where were you? Why the costumes? Yeah, I can picture that. But the gods, they quickly explained this wasn't just random. They'd set up these three sheep. It's a whole concept, san yang kai tai. It means something like three positive forces bringing prosperity. Okay. They did it specifically to counteract Tang Seng's bad luck. This foul blockage, they called it. So it wasn't just a disguise. It was like a ritual. A countermeasure. Exactly. They said Tang Seng's trouble came from his relaxed zen nature and greedy joy back at that temple, Siyun Temple in Jinping Prefecture. Greedy joy. That sounds a bit harsh for a monk. It does. But that's their take. They said even though he had Dharma protectors, his state made him vulnerable. So their whole point in showing up like this, it was to warn Wukong, point him right towards the danger on this mountain. That's incredible. So the sheep weren't just sheep. They were a divine warning system. Okay, so Wukong gets this cryptic heads up. Now he's heading into the danger zone. What about the demon's lair? Right. That brings us to King Long Mountain, Green Dragon Mountain. And deep inside, there's the Suan Ying cave. And this is no ordinary monster den. And who's living there? Who's Wukong about to face? Three pretty formidable demon kings. Pihong Great King, Pishu Great King, and Pishun Great King. And get this, they've apparently been ruling this mountain for a thousand years. A thousand years. Okay, and you mentioned something unsettling about their diet. Yes. This is where it gets really unique and frankly quite disturbing. Their favorite food isn't just, you know, flesh. It's suhei xiangyu, a very specific type of fragrant oil, like clarified butter. Suhei xiangyu. Why that specifically? Well, that oil was often used in like religious offerings back then. So using it to cook a holy monk. It's incredibly perverse. Twists something sacred into pure evil. Okay, that is deeply unsettling. And it ties into their whole routine. They have this annual ritual. Every Lantern Festival, they impersonate Buddha images. They pretend to be Buddhas. Yeah, it's this whole elaborate deception. They trick the officials in Zhenping Prefecture into setting up these golden lanterns and providing this specific oil, suhei xiangyu, for their supposed devotional use. Ah, so that's how they get their supply. Exactly. Right. But this year, they saw Tang Seng recognize him as a holy monk. So taking the oil, they grabbed him. I know. And the plan was, well, to slice him up, dice him, and fry his flesh in that very same oil. Ugh, that's horrific. But Wukong's not going to stand for that. He arrives at the cave, right? Chuaning Cave. He does. Swiftly. Finds the half-open stone doors, sees the name carved on a tablet, and he doesn't waste any time. He just bellows out a challenge. Release my mastery! A bold move. What happens inside? Immediate reaction. Ox-headed imps, you know, the guards, they rush out. Who are you? Why are you shouting? And Wukong. Classic Wukong. Identifies himself loud and clear. Tang Sanzang's eldest disciple. And he threatens to smash their whole cave to bits if they don't return his master. He means business. So Wukong's outside making threats. What was actually happening inside, like, right at that moment? Oh, it was close. Really close. The three demon kings were literally just about to start preparing Tang Sang. No. Yeah. The text says they'd already stripped him, were washing him, planning how to slice him up finely. They were basically about to cook him. Wow. Talk about an 11th hour arrival. So the little demons burst in, report Wukong's outside making threats. How do the kings take that news? They're completely startled. I mean, one minute they're planning dinner, the next minute this incredibly powerful figure is at their door. So they immediately decide, okay, hold off on the meal. Smart move. Yeah. They're alarmed. They tell the imps, get him dressed again. Bring him here. We need to question him. They need to figure out who this monk really is and why someone like Wukong is after him. Right. And Tang Sang, he must be absolutely terrified by now. Oh, completely. He's brought before them. He's kneeling, just begging for his life. Total fear. And what did the demons ask him first? It's quite telling, actually. They ask him why he didn't avoid their Buddha disguise. You know, why did he bow? And Tang Sang, terrified. He just spills everything. Tells them about his journey, getting scriptures. Explains he was at the Siyun Temple for a feast, stayed for the Lantern Festival. Okay. Then he says he saw their Buddha image on the Golden Lantern Bridge. And being, as he puts it, mortal flesh and eyes, he just bowed out of respect. He basically says he stumbled into their path by accident. And he doesn't stop there, does he? He reveals who he is. He does. Tells them his name, Chen Wanzhang. His background, Jinshan Temple, Hongfu Temple. The big waterland assembly he led. How Guanyin Bodhisattva set him on this path. Gave him the name San Zhang. Trying to impress them, maybe? Or just sheer terror. Could be both. But then, this is the crucial part. He reveals his disciples. Ah, the heavy hitters. He starts with Wukong. Right. He says, Sun Wukong, the great sage equal to heaven who returned to righteousness. And then the kicker. He caused great havoc in the Heavenly Palace 500 years ago. Oof. Yeah, dropping that detail is significant. Huge. Then he mentions Zhu Bajie, the former Heavenly Marshal reincarnated. And Shao Wujing, the former Curtain-Lifting General, also reincarnated. This isn't just a list of names. It's a warning. A declaration of who's protecting him. And the demon's reaction when they hear Sun Wukong and havoc in heaven. Total shock. The text says they were heart-shaken. Suddenly, this monk isn't just potential food. He's connected to that Sun Wukong. The most notorious figure in the cosmos, basically. Pretty much. They immediately realize, whoa, we almost ate him. Meaning Tang Seng. Knowing who his disciples are changes everything. So the dinner plans are definitely off. Oh yeah, completely off. Their whole strategy flips instantly. Lock Tang Seng up, iron chains and all. Forget eating him for now. And then? Then gather the troops. All their imps, mountain ones, water ones, yellow ox ones. The new plan? Go out, capture the other three disciples. Wukong, Bajie, and Wujing. Capture them. That sounds ambitious. Extremely ambitious. But their plan is, capture all three, then eat the whole group together. Master and disciples, one big feast. So they immediately start preparing for battle. Ready to head out of the cave. Wow. What a turn of events. Just the name Sun Wukong completely changed their plans. It's fascinating, isn't it? How all these threads come together. You have the four duty gods working behind the scenes with their sheepomen. Right, the Sanyang Kaitei. Exactly. Then you have these ancient demons with their incredibly specific, ritualistic, and frankly disgusting M.O. Yeah, the Sui He Qing Yu thing is memorable. And then, boom. The power of reputation. Sun Wukong doesn't even have to fight yet. Just his name, the legend of his past actions, is enough to stop these thousand-year-old demons in their tracks and save Tongasseng. At least for the moment. What makes these demons stand out? I mean, from all the others we've seen before. The descriptions are really vivid. They absolutely are. And it's fascinating how detailed they are. The source describes them with these vibrant, colorful faces, piercing round eyes, and a really striking pair of magnificent horns. They even have four-pointed, brightly shining ears. It's quite specific. And their bodies are depicted almost like colorful paintings adorned like flying heroes. So these aren't just generic monsters. They've got this almost regal, but sinister presence. But it's not just a random group either, is it? There are three main demon kings. Each with a distinct look, a specific weapon, we learn. The first king, he wears a warm fox fur flower hat, face full of fiery hair, and he's got an axe. Then there's the second one. Described with light gauze flying with flames, hooves like jade, carries a great sword. And the third king. Let's have this mighty roar, sharp tusks like silver needles. And he carries a really unique weapon. A jidatang, which is some kind of vine club. Exactly, a rattan or vine club. And this jidatang, it isn't just a simple weapon. Often in Chinese folklore, these kinds of natural weapons, they symbolize a sort of raw elemental power. An ancient spirit, maybe. It tells you something about this demon king's nature, sets them apart. But beyond just how they look and what they carry, the real issue here, their game, is this long-standing deception. For years, apparently, they've been impersonating buddhas back in Jiping Prefecture. Tricking officials, tricking the local people, all while secretly stealing lamp oil. Gallons of it, presumably. And now, well, unfortunately for the pilgrims, they've just grabbed Tripitaka, the monk. So not just strong, but masters of manipulation, too. Exploiting faith, stealing resources. Wukong naturally isn't going to let that slide. What kind of battle are we talking about when he finally confronts these three? Oh, it's quite something. What's fascinating is the sheer endurance of it and the strategy involved. Wukong, with his iron rod, he fights all three demon kings four at this. 150 rounds, grueling. The source says the fight lasts right up until evening. And neither side gets a clear upper hand. This isn't just filler, you know. It's showing us how powerful and clever these demons really are. Makes Wukong's actions, even his retreat later, seem more significant. It's a real test of strength, sure, but also tactics. Okay, 150 rounds. That's intense. And then, just when it seems like a stalemate, the third demon king, Pichindawang, he does something unexpected, right? A tactical move. He does. He shakes this flag and suddenly, boom, a whole swarm of their minions, bull-headed monsters, rush out and surround Wukong. Ah, changing the odds. Exactly. So Wukong, who's always thinking, always pragmatic, he sees the disadvantage. Night's coming on, too. So he uses his somersault cloud, zips away, makes a strategic retreat. And interestingly, the demons don't actually chase him. They just head back to their cave, have a celebratory dinner. They even send a bowl of food to Tripitaka, though, of course, he's way too upset to eat. This retreat, it's not really a defeat for Wukong. It shows his leadership, knowing when to pull back, save resources. That's just as important as fighting. Right. Regroup and rethink. So Wukong makes it back to Siyun Temple. He's clearly just had a tough fight. Yeah. What's the mood like when he tells Pigsy and Sandy that Pigsy had something to say? Oh, he definitely does. Wukong explains the whole thing, you know? King Long Mountain, Xuanyin Cave, the three demon kings, Pihandawang, Pichidawang, and Pichindawang, their whole history, stealing oil, pretending to be Buddhas. And of course, that they've got the master. And this is where we get that classic Pigsy moment, isn't it? Wukong figures out what they really are. And Pigsy's reaction is just, well, it's pure Pigsy. Absolutely classic. Pigsy, with his usual bluntness, he first jokes, they must be ghosts from Fengdu City. Because Wukong mentioned bullheaded ghosts. But Wukong corrects him pretty fast. He shares his insight. He thinks they're actually three rhinoceros spirits. And that's when Pigsy's ears perk up. But for a very practical reason, he immediately suggests, hey, let's capture them and cut off their horns. Notes they'd be worth a good few ounces of silver. That moment, focusing on the potential cash value of demon horns. It's that kind of humor that really grounds the epic, I think. It reminds you that even on these grand quests, the characters have very, well, human or Pigsy-like motivations. Probably key to why the story still resonates. You gotta love Pigsy. So, OK, they know they're dealing with rhinoceros spirits. What's the plan? And who's pushing for action? Well, Wukong initially suggests maybe waiting until morning, playing it safe. But it's Sandy, actually, who offers some key advice here. He argues against waiting. He brings up that saying delay causes wisdom, but then counters it with a slight delay might lead to loss. His point is basically, let's go now. Under the mean light, we might catch them off guard. Better chance to rescue Tripitaka quickly. Sandy's point isn't just impatience. It's smart strategy. Using the element of surprise. Makes sense. Strike while the iron's hot, or maybe while the rhinos are digesting dinner, and that's what they decide to do, right? Go immediately. But this mission, it feels like it's become bigger than just rescuing Tripitaka now. There's this whole societal angle. Yes, precisely. It really expands beyond just getting their master back. The plan now includes taking the captured demons, assuming they succeed, of course, right? Taking them to the local magistrate there in Jinping Prefecture. The goal is to expose them. Prove they aren't Buddhas. And by doing that, free the local people from having to pay these ridiculous lamp oil fees they've been extorting for years. So it's about justice, really. Fixing a wrong. Dismantling this whole exploitative system they've set up.