《我執與我繫》(Selfhood and Relation) 意圖解讀貝克特的兩套三部曲。前部曲乃一九六五年結集出版之《三小說》(Three Novels)；後部曲乃一九九六年結集
出版之《無道有道》(Nohow On)。前部曲《三小說》包括《莫若伊》(Molloy)，《莫若你》(Malone)，《無以名之》(The Unnamable)；後部曲《無道有道》包括《伴》(Company)，《渾看渾說》(Ill Seen Ill Said)，《每下愈況》(Worstward Ho)。概括言之，《三小說》奠定了貝克特文壇宗師之位階，《無道有道》則是他的蓋棺鉅作。前者不落窠臼地解構「我」，一邊銷毀暨往之集體我執 (the collective assumptionsof selfhood)，一邊另闢蹊徑下探「我」之縱深，旨在融通我的「界面性與雙面性」(liminality and narthecality)。後者，一邊重述「我獨在 (I am alone)」之孤楚，一邊鋪陳「我獨見 (I alone see)」之人之景，旨在以「我獨見」的能量與境界打開「我獨在」之僵局。簡言之，《三小說》開疆拓土而《無道有道》反璞歸真，前後遙相呼應。而且，這兩套三部曲的寫作年代，一在一九五零年前後，一在一九八零前後，如同它們各自的出版年代，都相差三十年。架構上，三十年幽隔卻一脈相承，互為圭臬；主題上，《三小說》的「自我執著」(Selfhood) 震天價響而《無道有道》的「我所繫掛之人」（Relation）擲地有聲，兩番境界大相逕庭。
重要議題：
從「自有非永有」( ‗I Am Not I Am‘ )與「自有永有」 ( ‗I Am That I Am‘) 兩個極端不同的自我認同中探討貝克特如何在《夢見介於窈窕之間的淑女們》(Dream of Fair to Middling Women)，《多憂患少昂揚》 (More Pricks Than Kicks)，《莫非》(Murphy)，和《三小說》(Three Novels) 數文本?堙A游疑於「自有非永有」與「自有永有」兩造之間，既參照梵文 tat twam asi (本自具足)，欽定版英文聖經 this thou art (這就是你)，和老子之「名可名，非常名，無名天地之始，有名萬物之母」，又融會貫通叔本華、格林克斯 (Arnoldus Geulincx)、和馬勒霍克斯 (Audré Malraux) 三位思想家之厭世學說，一會兒像羅蘭巴特 (Roland Barthes) 似地「從文化之無數中心?堭鐃^隻字片語 (tissues of quotations drawn from the innumerable centers of culture)」，一會兒凸顯：如此這般拼貼也只是死胡同。在〈末了〉(─The End∥) 中他浩嘆：「確切說，我相信自己哪兒也到不了(Strictly speaking I believe I‘ve never been anywhere)。」；在《等待果陀》(Waiting for Godot)與 《三小說》中，「蟲」（the worm）或以意象或以角色貫穿全局，很有中國人「敵不過一坏黃土」之慨。 總之，貝克特老是在兩相干又兩不搭嘎中沒路找路，我執 (Selfhood) 變動不羈，一邊彙整一邊起承轉合。
時間、空間、自己反覆倒錯乃貝克特之拿手好戲，文本中之「文化、地誌與愛爾蘭性」(Culture, Topography, and Irishness)卻因而躍然紙上。在自我追尋到處碰壁時，貝氏轉向柏拉圖、叔本華、葉慈、喬艾思投石問路。柏拉圖形容蘇格拉底在暨存之原理原則上鑿洞取光 (maieutic method)；叔本華質疑自我覺知(self-perception) 的可能性，認為當人轉向自我一探究竟時就像是水晶球中空洞的迴音，硬是自討無趣；葉慈所主張的「浪漫愛爾蘭」，合併新教徒之知書達禮與天主教徒之聖潔自持、殉難精神，企圖打造出匹敵歐陸規模的文化底蘊；喬艾思將故土情懷寫成一個又一個都柏林人的漫遊史詩。巨匠風華，以斷片或去蕪存菁方式重現於貝克特文本?堙A文化縱深毋遠弗至，作者一邊沉潛其中一邊尋求突圍而出之計。在他的極簡風格 (minimalism) ?堙A家國風土人情，跌宕鏗鏘卻無名號、稱謂之累。種種逆勢操作不僅無損反而助長以下之貝氏創見：1.時間乃文化逆旅，回溯文化才知時間經綸；2.治空間必須欲擒故縱、欲迎還拒，緣而貝克特從巴黎反寫故鄉都柏林，繪聲繪影；3.「我執」在時間、空間?堬^來洗去，稜角漸失，別人亦自己，自己亦別人，「我繫」(Relation) 正好穿針引線，濃濃人情，不言而喻。字?埵瘨﹛A人類文化精髓、都柏林街景與威克婁山區出神入化，貝克特的愛爾蘭性 (the Irish Beckett) 奪頁而出。
貝克特「聲且唯聲」的信念不僅見諸他音韻泠泠而文義隱晦的文本，也有系統地交織入《三小說》的情節?堙C莫若伊、莫郎 (Moran)、莫若你和莫名 (the unnamable) 既戀母又有反母情節，巴不得退回子宮?堶奐s來過。四個人輪番上陣，老邁又每況愈下，由昂藏站立，而依靠枴杖，而匍匐在地，而缺手缺腳如圓球般供奉在一只甕上，可見貝克特刻意翻轉史芬克斯謎語 (Sphinx‘s riddle)，使人由兩隻腳、三隻腳、四隻腳而驟然變得如卵孕育於子宮中。反觀這一切，不免聯想到中國詩所言「此身非我有」和「醒時不知身是夢」。據此，我推斷：貝克特的「非我」 (Not I) 觀點實乃取鏡東方。
《三小說》和《無道有道》的每一個主述者都備受「聲音」 (The Voice) 牽動。在《三小說》中，「聲音」應許莫若伊說：「莫驚慌，我們這就來了 (Don‘t fret Molloy, we‘re coming)。」；「聲音」提醒莫郎說：「從你們共同的聲音可證，莫若伊與你原為一 ( For who could have spoken to me of Molloy if not myself and to whom if not to myself could I have spoken of him? )」；「聲音」告知莫若你：「現在是時候了(it‘s coming)」；「聲音」與莫名唱和，提領前此以往貝克特文本的主角們通通來到「門坎」(the narthex)，蓄勢重生 (to be born again)。在《無道有道》中，「聲音」環護繚繞要求主述者們正襟危聽一如置身古羅馬之半圓歌劇院(─Suggesting one lying on the floor of a hemispherical chamber of generous diameter with ear dead center∥) 。
貝克特自承，「非我」之觀念乃萌生於觀看卡拉瓦吉歐 (Caravaggio) 畫作〈施洗約翰斷頭圖〉(Ｔhe Beheading of St. John the Baptist)。觀畫猶如聆聽施洗約翰吶喊：「縱是身首異處也不改初衷，神諭雷霆萬鈞！」我耙梳文本後發現貝氏集結約伯與神辯論，以西結奉神之名使枯骨復活成大軍和耶穌對施洗約翰之讚辭：「凡母腹所生無人比約翰偉大」等三個聖經典故，鑄造「聲且唯聲」之意象，去神話而凸顯「聲音」之神通廣大。意欲以聲音封神榜 (the apotheosis of voice) 取代前一代現代文學大師們諸如普魯斯特(Marcel Proust)、吳爾芙 (Virginia Woolf)、喬艾思等人締造之文字封神榜 (the apotheosis of words)。貝克特的文學前輩們視文字為至高至聖，他不以為然，刻意以「非文字」 (unword) 與之抗衡。《三小說》和《無道有道》的中心要義乃是，與其靠「文字」永垂不朽，不如靠「聲音」蕩氣迴腸，甚至起死回生。

Beckett celebrates the solidity of selfhood and relation in his erosive texts against the grain. In light of this, this dissertation sets out with the intention to salvage the grains lost by Beckett‘s elliptic style with a focus on the device of inversion. In Three Novels, this device is employed to deal with world cultures, Irish landscapes and the looming relations, adumbrating a selfhood enriched by these select fragments. Also, the volatile self performs rites of rebirth with a voice as witness. Under the voice‘s narration and an un-specified hearing body, two births, one problematic the other immaculate, are at narthex: the former fading out the latter in. Thus, a selfhood is in transition. In Nohow On, a phosphorescent relation between one‘s plural selves and concerned others and between the artist and art denotes Beckett‘s ideas of relation to be interpersonal, aesthetical but inchoate. In an effort to explore the scale of inversion in the two trilogies, five aspects of Beckett are highlighted. First, his self-searching by fusing cultural elites and the distinct I into the voice of ─not-I∥ delivers an oracle about the everlasting soul rather than the ephemeral individual. Second, a kinetic I that acts against time, space and the superficial self indicates a dynamic and vigorous selfhood. Third, many incompatible things are juxtaposed and displaying their mutuality. By their examples, a new occasion and a new term of relation have been introduced. Fourth, aisling, an ancient Irish genre, characterizes Ill Seen Ill Said. It niches a deformed yet beloved hag and helps dissolve Beckett‘s trouble with May Beckett, to whom he is, simultaneously, son and lover. Last and not the least, a solipsistic Beckett negotiates the haunting others with virtuosities. His creative managements make others shine like stars in the artist‘s cosmos. Not until this constellational allocation of himself and his dear ones does Beckett‘s selfhood appear to be in plenum and cornucopia. Together, these five facets feature our author‘s triumph over the besieging void. Confronting the void, which Schopenhauer warns against yet Beckett embraces full-heartedly, becomes an opportunity to relate men, art and humor. While deploying selfhood and relation as the double agent to expose the very least things and persons he can‘t be without, Beckett accomplishes another task as well. Namely, he tames the void and makes it glow simultaneously. This ploy verifies Beckett‘s vow that an art, if not also the self, well done is a consecration to the void. For his capacities to contract laughter despite woes and his determination to have fun despite despair, our author that scrutinizes selfhood and relation with unblinking eyes is rhapsodic all in all.

Table of Contents

Acknowledgements 2
Declaration & Copyright Statement 3
Abstract 6
中文簡介 8
Introduction 11

Chapter One:
“Withershins on account of the heart”: A Synoptic Reading of Three Novels and Nohow On 20
“Going, being, and saying”
“Withershins on account of the heart”
Going Withershins to the Vertical Depths
The Arrival: Narthex and Kinesis
“I am not I am” in Three Novel; “I am that I am” in Nohow On
Schopenhauer Withershins

Chapter Two: Topography, Culture and Relation Inverted 44
Topography: Space Inverted
Culture: Time Inverted
Relation: The Self Inverted

Chapter Three: “The Voice, Not I”: The Oracle about “Rebirth” in Three Novels 70
The Voice
Departing from Mother and Body, Coming to the Narthex of Rebirth
Rites for Rebirth
Not I
Picturesque Rebirth through the Voice
Rebirth through “No’s Knife” and Bones’ “Rattles”

Chapter Four: Relational Remedies in Ill Seen Ill Said 102
Behind the Lids
The Woman
The Zone of Stones

Chapter Five: Worstward Ho: Consecration to the Void 133
“Way for worse”
Selfhood, Relation and the Void
Assembly and Synchronicity of Beckett’s Key Terms
Catechism of Pain
A Numerical Redemption
A Literary Alchemy
Rhapsody despite Despair

Conclusion 160

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