Antigone in the Japanese Yakuza Organized Crime Setting - Essay Example

?Running Head: ANTIGONE Antigone in the Japanese Yakuza Organized Crime Setting Antigone in the Japanese Yakuza Organized Crime Setting Summary For a modern audience the setting of the play Antigone could be done in the world of organized crime. Antigone, Ismene, Polynieces and Eteocles would all be the children of a dead boss, a gangland war breaking out between Polynieces and Eteocles ending in both of their deaths. The role of Creon would have a similar characterization as he would be the Uncle who takes control of the organized crime family. The issue of burial would change from Polynieces being left out for the carrion, which would be illegal, to being buried anonymously out in the woods and without a memorial. An interesting twist might be to make the organized crime family Japanese, a story based upon the Yakuza rather than the more commonly known organized crime structure of the Italian mob. The setting of the play is justified because of the familial themes that are similar in both of the genres. The Greek setting is based upon royal familial ties and the need for both legitimacy in Creon’s authority and a conflict in which Antigone must defy his decision. The character interactions in the play by Sophocles are defined by their ties within a family and this makes the transition to a setting in which organized crime is involved have a strong potential. The genre of organized crime is based upon the ‘family’, thus the line of succession is a part of their power structure. That the role of Creon would be in jeopardy of losing his place would also play nicely in the organized crime genre because although family is important, it is not the only criteria for establishing power. The son of an organized crime boss or the brother is not necessarily in line to inherit the control of the syndicate. The misogyny in organized crime can also be translated from the Greek. In the literary genre of organized crime stories women typically do not have a great deal of power and are more often portrayed as victims. Women in Japanese society have a tradition of being submissive, thus the nature of Antigone would have the same meaning if translated into a modern context. She is both young and female, thus her opinion would not be taken into consideration similar to the way it was not taken into consideration in the Greek version until she acted. Although modern Japanese women have more power than in the past, the organized crime syndicate of the Yakuza is based upon lower socio-economic male members of the Japanese society who are disenfranchised and find a brotherhood with the Yakuza gangs. It is typically male oriented (Howard, 2011). The setting of Japan in the environment of the Yakuza means that male dominance and family importance both remain important themes. Generation gaps in belief systems can be used to show the older generational beliefs in male dominance in conflict with female assertions of power from a feminist perspective. The central issue of funeral can be translated between an anonymous burial of Polyneices in the woods instead of the customary cremation with honor. Characters The main characters of the play are Antigone, Haemon, Creon, and Ismene. In addition, the names of Polynieces and Eteocles would have to be changed as well. Antigone would become Aneko, which means older sister. This gives her a familial designation which also supports a sense of her wisdom. While Antigone means “against offspring,” the familial tie is reinforced through the use of the name Aneko (Behind the Name, 2012). Ismene would be changed to Junko, which means “child of obedience,” relating to her reluctance to go against the will of Creon. Creon would be named Eito, meaning a “prosperous person” designating that he is wealthy as he has taken control of the organized crime family (Baby Names World, 2012). Haemon can be changed to the name Hansuke which is translated to mean “helpful friend.” Polynieces is changed to Ryoji which is translates to “good reign.” The war began because Eteocles failed to give up control to Polyneices despite their agreement to share the power of king. Eteocles will be changed to Sachio, which translates to “auspicious boy,” indicating the favor that is shown to him by Creon or Eito (Baby Names World, 2012). Funeral Rituals Japanese funeral rituals are combinations of Shinto and Buddhist traditions of religion that are often used as dual belief systems. The ritual of covering the home shrine with white paper would be done for Sachio, but not for Ryoji. This is done to protect the dead from evil spirits. Ryoji would not be given a dagger on his corpse to fight off evil spirits and his body would not be cremated. There would be no priest to chant for Ryoji and he would not be given a new name. A new name is given to the dead so that they cannot be recalled from the dead by the original given name which is still a powerful part of the rituals in Japanese funerals (Swanson & Chilson, 2006). In defiance of this, Aneko, the character who replaces Antigone, buys him an expensive name. She has his body cremated. She is caught as she tries to place his ashes in the family grave – something that Eito, the new character name for Creon, has forbidden. Because of her transgression against Eito’s wishes, Aneko is banished to a nunnery, her head shaven and cloistered against seeing anyone in their community (Sosnoski, 2001). When Haemon discovers what his father has done his grief is substantial and he begs his father for her release, stating that Creon is losing the respect of everyone they know. Just as in the play by Sophocles, even though Eito relents, Aneko has already taken her life in her cell at the nunnery. Excerpt The following excerpt from the play Antigone by Sophocles has been written so that it reflects daughters within a Yakuza organized crime family. This is the first scene from Act I which takes place between Aneko and Junko. [Taken from Sophocles, Rayor & Libman, 2011] Aneko: Do you have any idea what has happened? Haven’t you heard? Our father who left our brothers in conflict has left even more trouble to us. Now that Eito has taken power, he sees fit to make Sachio a hero and to deny Ryoji even the respect of a funeral. Junko: I didn’t know – I haven’t heard anything. I’ve only been sad because they are dead. That’s all I knew. Aneko: That’s why I called you. I wanted you to know what terrible things are being said about Ryoji and what our Uncle has done. Junko: I know that look. What are you thinking? You can’t do anything about it. Aneko: Come on. What is Eito doing? Sachio is getting the respect of a funeral while he has buried Ryoji somewhere in the woods, to be left there as if he is meaningless. Eito is crazy if he thinks he can do this – to just leave our brother out there buried like that with no respect! He says he will kill anyone who defies his order – but I don’t care. You have a chance here to show me what kind of person you are, Junko, to show me and to show Ryoji. [He is left in the woods rather than out in the sand because the laws of burial would not allow him to be left where people could find him.] Junko: Well, what can I do? There is nothing I can do but tell you how sad it makes me. Aneko: You could help me Junko: What do you mean? Aneko: Help me to go get Ryoji and give him the funeral rites he deserves. Give him peace. Junko: You can’t do that – Eito will kill you. Aneko: He won’t know. If you won’t help me, I understand, but I won’t let Ryoji be buried out there to rot in the woods. It isn’t right. Junko: But Eito says… Aneko: I don’t care! It isn’t right and I won’t let this happen to Ryoji. Junko: You can’t – you can’t! Think about what you’re saying. Our father died in disgrace, taking his own life to pay for his sins. Our mother – she was also destroyed by the disgraces of our father and she died for it! Our brothers also suffered because of his disgrace, destroying each other trying to somehow make it all right – but it can’t be made right this way. We are all that is left and if we don’t do what Eito says we will die – he will kill us! What are we supposed to do against his power, against his men! We have to stay quiet and just let it all happen. We have to obey Eito or we will lose everything. I can’t go against his orders! [The incest would be eliminated for reasons of modernity.] Aneko: I don’t want to ask you to do this. I won’t make you, but I am doing it. It’s worth the risk to me. I would rather die than let Eito put this shame on our family. You don’t have to, but I do. If you can’t show your brother respect, then that’s fine. Junko: I’m not showing him disrespect in obeying Eito. It’s not my nature to show disrespect to the family, and that includes our Uncle who is now Kumicho [head of the organized crime family]. Aneko: If that is your excuse, then fine, but I’m going to take care of Ryoji. Junko: Aneko, please don’t do this – it isn’t safe. Aneko: It isn’t right! Don’t beg me to do what isn’t right – to ignore him like he wasn’t our brother. Junko: Tell no one then what you are doing! Keep it a secret! Aneko: No – tell everyone! I want them all to know that Eito can’t do this and that I won’t let him do this to our family! I will be so angry if you don’t tell everyone about it! Junko: Your temper is going to be your undoing. You are too upset to do this now. Aneko: Yeah, but I know I’m right! Junko: So you are right – so what? You can’t do this – how are you going to go dig him up and take him to a funeral home – you can’t do that! Aneko: If I can’t, then I can’t, but I have to try! Junko: You will just get in trouble. Aneko: Do you want me to hate you? Would you want to face Ryoji knowing you won’t help him? Leave me alone then. I am going to do it because nothing is worse than just letting him rot out there. I couldn’t live with myself if I didn’t try to do the right thing. Junko: I love you, all of us love you. Go do it if you have to, but those of us still alive need you too. What you risk is to take yourself from us. Eito’s anger is not worth what you risk. Conclusion The development of Antigone into a modern version provides for the same themes to be explored and will make the setting of Japanese organized crime an interesting and compelling venue. The chorus is eliminated in order to comply with modern ideas of how a script should be written. Moreover, the way in which the body of Polyneices, now Ryoji, is handled and what is denied to him has been changed. The basic themes are still available, however, and the treatment has the potential to be a very interesting story with the twist of the nunnery instead of a cave tomb providing for further exploration of the Japanese culture. Although Antigone is a very old play, it presents themes that are still relevant in today’s societies and cross cultural barriers through gender inequality, family ties and power, and through the importance of funeral rituals.   Resources Baby Names World. (2012). Retrieved from www.babynamesworld.com. Behind the Name. (2012). Retrieved from www.behindthename.com. Howard, M. C. (2011). Transnationalism and society: An introduction. Jefferson, N.C: McFarland & Co. Sophocles, Rayor, D. J., & Libman, K.(2011). Sophocles' Antigone: A new translation. New York: Cambridge University Press. Sosnoski, D. (2001). Introduction to Japanese culture. Rutland, Vt.: Tuttle. Swanson, P. L., & Chilson, C. (2006). Nanzan guide to Japanese religions. Honolulu: University of Hawaii Press. Read More