generally pertains to textual (structural or deconstructive) studies
　　　　  of Beckett's plays. In opposition to a linguistic study which is
　　　　  based on dissecting pieces of dramatic texts to show how they fit
　　　　  within a conceptual framework, "Phenomenology is the study of
　　　　  givenness of the world as it is lived rather than the world as it is
　　　　  objectified, abstracted, and conceptualized" (448), and this is true
　　　　  whether the world is ours or the one we see on stage.
　　　　  (11) Taisen Deshimaru, The Zen Way to the Martial Arts (New York,
　　　　  1982), 49.
　　　　  (12) One can achieve this state of enlightenment accidentally -- in
　　　　  cases of a pre-reflective response to an intense aesthetic
　　　　  experience, or an emergency situation, for example -- as it is "the
　　　　  return to the normal human condition" (Deshimaru, The Zen Way 55).
　　　　  (13) Kasulis, 113-14. See note 10.
　　　　  (14) Mary Doll, Beckett and Myth: An Archetypal Approach (Syracuse,
　　　　  1988), 52.
　　　　  (15) Mary Doll, "Rites of Story: The Old Man at Play," in Myth and
　　　　  Ritual in the Plays of Samuel Beckett, ed. Katherine H. Burkman
　　　　  (Rutherford, NJ, 1987), 73. In this article, Doll notes the
　　　　  similarities between the koan and Beckett's later plays.
　　　　  (16) Suzuki has an appropriately metaphorical warning for such
　　　　  overzealous conceptualization: "Let the intellect alone, it has its
　　　　  usefulness in its proper sphere, but let it not interfere with the
　　　　  flowing of the life-stream ... . The fact of flowing must under no
　　　　  circumstances be arrested or meddled with; for the moment your hands
　　　　  are dipped into it, its transparency is disturbed, it ceases to
　　　　  reflect your image which you have had from the very beginning and
　　　　  will continue to have to the end of time." Like the river in R's
　　　　  narrative, we should be content to experience life's "joyous
　　　　  eddies." Daisetz Teitaro Suzuki, Essays in Zen Buddhism: First
　　　　  Series (New York, 1949), 19.
　　　　  (17) Doll, 50. See note 14.
　　　　  (18) McMullan, 31. See note 6.
　　　　  (19) David Loy, Nonduality: A Study in Comparative Philosophy (New
　　　　  Haven, CT, 1988), 218.
　　　　  (20) Most, if not all of these hypotheses have been circulating
　　　　  throughout the critical literature for years.
　　　　  (21) McMullan, 28. See note 6.
　　　　  (220 The Yin-Yang, an ancient Oriental symbol, operates like the
　　　　  river-Isle image: it indicates at once the duality of the universe
　　　　  (the separate black and white halves of the circle) and its ultimate