a fall of the kingdom but Older Daughter’s

a modern representation of Fortescue’s tyranny/power/sovereignty archetypal, limited monarchy complex that precedes the foundation of “mixed polity” in 1467-71 in the present day.1 Following this, Younger Daughter struggles as she witnesses Older Daughter’s brief ‘coronation’ (Scene 2, 0:20:00-0:20:25)  reiterates the stark contrast between power sublime and subordination of her society that has a determinate standard of justice, highlighting the fealty of Cordelia and Kent holds the world back from the chaos toward which the sister and her retainer propel.

The gender alteration as well allows a study on social macrocosm that the ultimate destruction corroborates Younger Daughter’s anticipation unfavorably.2 Ong’s Younger Daughter does not witness the fall of the kingdom but Older Daughter’s murder of her father followed by her loss of ambition. The arrangement of dying scenes allow examination in the monologue questioning the absurdity of an absolute power. Throughout the play, the Older Daughter regards her exaggeration of Love ‘a means of survival’ (Scene 2, 0:19:37-43), following foulness with retainer, torture and murders to the denouement a total misery of nothingness. Such a stark contrast between Younger Daughter silence love that leads to her voiced death and the voiced love to a silent misery establishes Ong’s perception of fall of the morality; one may question the familial background Ong has provided that colours the royal personae.

 

3.3 A Clean City and its Political Centralisation

An effective yet stricter way to examine transcendental moralism with the indubitable imperative morality in order to elicit the play’s central question is through validating its directive or indirective discourse which Kant exemplifies himself by showing a ‘moral willing’ to principle.3 Focusing on the momentary sacrifices, Ong’s post-modernist Younger Daughter’s only imperative appeal in her monologue to ‘help father’ highlights her drive of daughterly duty. In another scenes, Younger Daughter’s moral nature bifurcates new area of studies: the love for nature (Scene 3, 0:27:25-30:20, Scene 7, 0:48:18-50:45). Mother of Earth can be seen as Younger Daughter’s Fool to hint dwellers’ destruction while mother earth provides ‘Spring flows like a stream in the blood’ and make ‘I revive like a flower’, human’s destruction, on another hand,

 

Mother Earth.                   I’m woman, I do what I can.

But in the night I am free and I weave

magic to capture the stars in my sleeves …

We dance with the stars in our hands …

We rise above all in our head.

Oh I lie, oh…

 

It is interesting to note that Younger Daughter’s accompany with Woman (Edgar) suggests that Ong may have referred to Tate’s King Lear. The spokesperson for natural disaster and opposition to power, Younger Daughter’s early death seems to cast a question of environmental justice as she concludes in lullaby singing combined speech,

 

Younger Daughter.           (speak) I have memories. A lullaby my mother sung for me. A lullaby my father taught me.

(Sings.) In the moonlight. Stars twinkle. Let us go and enjoy the moonlight.

(speak) My father … help him … my memory …

Older Daughter.                Kill her! Kill the memories! (Scene 13, 1:37:15-40:45).

 

Clearly, Ong’s Younger Daughter primitiveness represents by her white costume non-related to any dramatic culture symbolises to strictest sense for ecological justice redemption. One may relate to Singapore’s clean environment with its campaings supervised thoroughly by former Prime Minister Lee Kwan Yew and its strict imposition on penalty.4 Although Ong would like the reader to point the audience