（幾乎）非關孔子的《芬尼根守靈》

(Almost) Nothing about Confucius in James Joyce’s Finnegans Wake

喬學專家對於《尤利西斯》第十二章〈獨眼巨人〉的敘述者，通常認為他和「市民」一樣，同是愛爾蘭國族主義基進份子的代表，尤其那份古代愛爾蘭男女英雄的名單，把各國偉大的人事物全都囊括進去，甚至還包含莎士比亞和孔子，更引人詬病，充分顯示夜郎自大的偏狹心態。但是論者鮮少進一步提出質疑，如此混糅的現象本來就是《芬尼根守靈》常態的事實。當孔子和西方人事物混糅在同一單詞出現，前述論點是否還適用？本篇論文由此提問出發，探討喬伊斯在《芬尼根守靈》再現「孔子」的過程中所呈現出來的深層結構和人文關懷。孔子其實和其他的歷史人物一樣，大抵都以破碎殘缺的形象隱蔽在多音複義的字句之內，但顯然喬伊斯熟悉孔子的程度遠遠不如他對莎士比亞的瞭解，在那份名單中，假如「帕特里克‧威‧莎士比亞」象徵本土的帕特里克和英國的莎士比亞之間永無修止的詰抗和對話，那麼「布賴恩‧孔子」則是愛爾蘭的布賴恩和中國的孔子初次接觸時激盪出來對於異國文化無可避免的歧思畸想。喬伊斯忠實呈現西方文化霸權對孔子形象的扭曲、形變和操弄，也同時從如此宏大格局的文化視角，轉而以更為誠實的筆法創造出一個自己非得直接面對自己極限（或侷限）的情境，而也就是這種情境方能凸顯喬伊斯面對生命置之死地不計「而後」的決心和勇氣。在這方面，本論文首先呈現喬伊斯眼中《論語》的斷片(fragment)結構，來映照十九世紀德國哲學家詩人施萊格爾(Friedrich Schlegel)對於詩、斷片和小刺蝟的討論，並參酌德希達(Jacques Derrida)的相關分析，用以說明喬伊斯選擇面對它者朝向死亡的生命態度。

It is the consensus of Joycean scholars that the narrator of “Cyclops” chapter of Ulysses, like the character Citizen, is the representative of radical Irish nationalists. The catalogue of the so-called Irish heroes and heroines of antiquity, which includes famed personages with Shakespeare and Confucius among them, is highly ego-centric, symbolically revealing the pompous narcissistic narrow-mindedness. The critics, however, hardly inquire further that the similar technique of hybridizing proper names from different cultures is also employed in Finnegans Wake, only more sophisticated. If Confucius is mixed with some Western big names in the same Wakean word, could we understand the mixture from the same perspective of the above critique? The paper starts from there, and then explores the deep structure of the strange making of Confucius images in Finnegans Wake. Like the other historical figures, Confucius has also been presented in verbal shreds and fragments, but obviously, Joyce is much more familiar with Shakespeare than with Confucius. In the catalogue, if Patrick W. Shakespeare represents the constant struggle and negotiation between Irish Patrick and English Shakespeare, Brian Confucius then ironically represents the inevitable misunderstanding, willfully or not, by the hegemonic western culture that bends Confucius to serve their own agenda. In this paper, I will first show the fragmentary structure of Confucian Analects, in contrast with Friedrich Schlegel's notion of the fragment/hedgehog, and then a discussion of Jacques Derrida's notion of hedgehog/poetry will follow; several Confucius passages from Finnegans Wake will be discussed revolving around the idea of fragment to show Joyce's life philosophy in the face of death.