Azoulai 1

Ariana Azoulai

Professor Batty

English 102 #25031

18 October 2017

Being True to Yourself: an Analysis of M. Butterfly

It's important to be true to who you are, yet, controversy always follows when one does

so. In the play, M. Butterfly by David Henry Hwang, Rene Gallimard meets Song Liling, a male

spy disguised as a female opera singer. Their unique love story is followed through till the end,

while also touching on topics such as gender and culture. These points, however, have stirred up

some controversy amongst audiences. Critics may say Hwangs position in the play is supportive

of traditional binaries but I argue that such binaries are brought to the forefront by using

gender/queer theory, identity, and cultural differences.

Traditionally, each person is expected to conform to the role assigned by their gender.

While this is only a partial example of gender/queer theory, Hwang utilizes this facet throughout

the play. He brings up an idea in the audiences mind of not tying ones gender to who they are

and how as a result, others tend to form a sort of prejudice. Gender/queer theorys main idea

focuses on exploring problems connected with being abnormal, and is then talked about in

society and works of writings. In an article by the Purdue Owl, gender/queer theory is explained

as such: Gender studies and queer theory explore issues of sexuality, power, and marginalized

populations (woman as other) in literature and culture (Brizee). Hwang focuses, or touches on,

all three issues throughout M. Butterfly. A main example would be Gallimard who has an issue

with power. He struggles with rising to the occasion and feels a common pressure to fill the

role his gender calls for. Gallimards friend Marc uses the degrading term, Wimp (821
 Azoulai 2

Hwang) when Gallimard does not want to join him in his sexual escapades (which involves

objectifying women). A persons manhood is often determined by the amount of women they

can conquer, which serves as a measure of power. This highlights the pressure and

commonalities that are associated with being masculine; how one has to be dominant over a

woman to be considered manly or powerful. When Marcs behavior is shown in a negative

manner, Hwang causes the audience to subconsciously detest the traditional binary of a man

being in power over a woman.

Identity surpasses the physical confines of ones gender, and by showing the struggle to

separate identity from societys expectations, Hwang brings the question of judgement up. Song

(Butterfly) is rejected by Gallimard after the truth comes out about her/him not being female,

physically. Song points out that she/he is still the same person by replying with, Im your

Butterfly. Under the robes, beneath everything, it was always me (862 Hwang). Even though

Songs body is that of a mans, it does not mean Song relates her/his identity to her/his physical

being. Song is still the same person who Gallimard fell in love with. Songs identity, who she is,

is still who Gallimard became infatuated with and her exterior is merely a show. In an article

written by Michelle Balaev, the idea of gender being a show someone puts on is linked to the

pressures of society. She observes that ...gender itself is a type of performance constructed and

regulated by social myths, rather than an inherent quality of identity (Balaev, Performing

gender). Balaev makes the point that ones gender does not correlate with their identity and that,

in fact, these ideas associated with gender are merely fictitious. Our body doesnt know whats

right or wrong according to our gender. Gallimards cold response to Song because of her

exterior actually causes the audience to empathize with Song and forget, or dismiss, the
 Azoulai 3

traditional idea that identity ties in with gender. One might even debate whether gender truly

matters; had Gallimard grown up under different circumstances, would he have accepted Song?

Hwang shows how the East are, for the most part, stuck in their roots; unwilling to

change in regards to exploring transitions. This long-occurring binary might be trouble for Song.

It is not confirmed within the play, but hints dropped throughout the story causes the audience to

speculate; does Song enjoy (and possibly relate to) being a woman? If this is true, adding the

standard pressure to fit the male image on top of this would leave Song with an undeniable

pressure from her/his culture. When Comrade Chin questions Song as to why shes/hes wearing

a dress, Song hesitates in her response; Its a...disguise, Miss Chin (841). Songs hesitation

makes the reader wonder if shes/hes really wearing the dress solely as a disguise, or if its also

for pleasure because she/he wears it even when Gallimard is absent. Thus, Songs responsibility

to go undercover as a woman (becoming Butterfly) might be a form of freedom for her/him but

is now constrained by the ideals of China (Comrade Chin).

The east are also not very fond of same-sex couples, believing that relationships should

be between a man and a woman. Comrade Chin keeps Song in check, so to speak, by making

sure Song follows through and does her/his job. During one of their meetings, Comrade Chin

becomes suspicious of Songs motives and makes a remark regarding her/his work; Dont

forget: there is no homosexuality in China (841 Hwang). Chin has a fierce adamance about

Song not completing this job for personal reasons, which shows a parallel of most of the easts

view on homosexuality. The easts culture strongly believes in following traditions, such as a

man being with a woman, so homosexuality is often a taboo subject. For the audience to see the

interaction between Chin and Song, a pang of sadness is felt for Song. One wishes Chin (the

east) would change her (their) views.

 Azoulai 4

The disapproval of homosexuality in the east continues to be a problem to this day. A

study recently published in 2017, found that homophobia is still strong in China. The research

concluded that Social attitudes toward male homosexuality in China so far are still not

optimistic. Sexual minorities in China have reported high levels of internalized homophobia

(Wenjian, Internalized Homophobia). This lack of improvement shows how Chinas still stuck

in their old ways, even years later. By Hwang showing the easts views on homosexuality (in

particular through the use of Comrade Chin), the audience achieves an understanding of what

Chinas views on the issue are.

David Henry Hwangs M. Butterfly might present a positive view of traditional binaries

surfacely, however, the play actually demotes these traditions once the reader questions these

binaries. A writers work doesnt always represent their ideas or views (in a literal sense), so

even though Hwang talks about these issues in a seemingly appreciative way, it doesnt mean he

supports them. Hwang actually pushes the audience to oppose these conventional issues by

showing the extremities of what its like to be in the East as a member of the LGBTQ

community. Gallimard and Songs story sheds light on the common prejudice of being

different, by using a theory regarding gender and queerness, ones true self, and the differences

between east and west. Playwrights who write about these topics are crucial to society, especially

when it comes to bringing these issues to the frontline. Without people like Hwang, these points

would be forgotten and people who struggle to find themselves, or feel comfortable with who

they are, could be unhappy forever.

Works Cited

Balaev, Michelle. "Performing gender and fictions of the nation in David Hwang's M. Butterfly."

Forum for World Literature Studies, vol. 6, no. 4, 2014, p. 608+. Academic OneFile,
 Azoulai 5

library.lavc.edu:2077/ps/i.do?p=AONE&sw=w&u=lavc_main&v=2.1&it=r&id=GALE%

7CA398253065&sid=ebsco&asid=5ad802fe5b9463acaa15c64c2c291fa2. Accessed 16

Oct. 2017.

Brizee, Allen, et al. Gender Studies and Queer Theory (1970s-Present). Purdue OWL Online

Writing Lab, owl.english.purdue.edu/owl/resource/722/12/.

Hwang, David Henry. M. Butterfly. Dramatists Play Service, 2008.

Wenjian, Xu, et al. "Internalized Homophobia, Mental Health, Sexual Behaviors, and Outness of

Gay/Bisexual Men from Southwest China." International Journal for Equity in Health,

vol. 16, 17 Feb. 2017, pp. 1-10. EBSCOhost, doi:10.1186/s12939-017-0530-1.