Beruflich Dokumente
Kultur Dokumente
Erick Castro
Professor H. Batty
English 102
(Revised)
When analyzing David Henry Hwangs play M. Butterfly, a common interpretation is the
exercise of Western colonialism over the East; having the relationship between the main
characters, Gallimard and Song, represent the West intruding upon Eastern culture and the East
having to seemingly accept it. This, however, is but one of many ways to view such a play; as
attention to the suppressive nature that comes with the concept of heterosexuality and the
difficulty found in analyzing the issues with sexuality that are also being called into question.
Eamvijit, like many others, applies a postcolonial lens and decides to approach in her article
At first glance, it can quickly be found that the main character, Gallimard, is clearly representing
the Western culture and their dominant behavior (Eamvijit). Even though Gallimard is
introduced as a weaker and less masculine male, when he meets song he adopts more confident
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and powerful characteristics. Song plays the role of a delicate looking Chinese woman who turns
out to be a bit submissive; this is to further emphasize the way Western cultures view Asian
culture and the Eastern cultures in general. Although this is a valid argument, it adds another
and someones sexuality, which constrains some people to the role that has been created by
society. When the play M. Butterfly was written, the concept of heterosexuality became a
controversial topic that left many questioning why there was a defined gender and the thought of
masculinity and femininity. Hsiao-hung Chang analyzes the meanings behind gender, sexuality
and the behavioral patterns forced on to people based on what society seems to be normal.
Everyones gender is decided at birth and that determines how a child is going to act and what
their sexual preference will be when they grow up; or at least that was what was considered
socially acceptable for most of human history (Chang). The concept that a man should be strong
and behave confidently, as well as the notion that women should be more empathetic and fragile
has had a significant impact on everyones life by insinuating that someones biological gender
dictates their character. Certain individuals have had a tough time trying to adjust and forcing
themselves to follow social norms, keeping their true selves hidden from the world because of
the desire to be normal. These social constructs make it hard to analyze a piece like M. Butterfly
because the actions of a character like Gallimard are simply overlooked and it is assumed that he
was simply being tricked by Song and the illusion of being a woman that she provided;
because of this, the possibility that Gallimard is a homosexual trying to conceal his true nature
while living in a world where such ideals are not accepted is often overlooked.
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Hwang uses the setting to express his views on heterosexuality and how people who do
not identify with it can live a life as a social outcast. The play begins with Gallimard in a jail cell
as an outcast to society; he does not belong with the rest of the world and therefore must remain
exiled, secluded, and confined to not disturb anyone. He states that he is a celebrity and has
known and been loved by... the Perfect Woman (Hwang Act 1, Scene 1). He begins to speak of
the tragic events that led him to where he is currently, but even so, those around him seem to
have trouble understanding him, eventually giving up on him and instead just laugh at his
predicament. At the start of the play Hwang is already portraying the main character, Gallimard,
as a man who is different and does not fit in with everyone else. Gallimards reputation, his
identity as a man has come into question simply because of the way he is. He is described to be
this weak individual who has always struggled with dating due to his awkwardness. His
masculinity is being called into question and because of this he begins to question himself,
struggling to find that power and confidence that he desires. He is trapped by the preconceived
notion of a man having to play the role of a man. His sexuality is being suppressed and he can
Perceived happiness will sometimes originate from the feeling that they belong
somewhere. For certain people who struggle with their identity, it becomes a matter of whether
they can find and accept who they are. When he first came across Song, he felt as though he and
was ecstatic. When around Song, his perception of who he was changed and was reflected in the
way he acted. He began to seem more confident and felt better about who he was. He fell in love
with her and even went so far as to divorce his wife so he could live together with Song. He went
on to live with her for twenty years before his trial for treason. During the case Song was
asked to testify and he appeared before the jury. When it was revealed that Song was a man,
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Gallimard refused to accept it. Another result of the trial was that it was made apparent that
Gallimard should have known about Songs identity; "Did I not undress her because I knew,
somewhere deep down, what I would find?" (Hwang Act 2, Scene 6) in the play he admits that
he always had a feeling that something was different. He accepted the illusion that it provided.
So long as everyone around him saw Song as a woman, there were no perceived issues.
Gallimard had more than likely come to terms with his sexuality but could only do so under the
illusion that Songs mask provided. Once it was revealed that Song was nothing more than a
homosexual man pretending to be a woman, Gallimard could no longer live that life that he so
desired.
Because of the pressure that is exerted on an individual to fit in with their peers,
sometimes people have trouble accepting their sexuality. People who cannot conform with the
ways of society are forced to endure the inevitable defeat both of their gender and of their desire
for love (Martin). Some refuse to acknowledge it and suffer psychological and sometimes even
physical traumas. Death with honor is better than life... life with dishonor. (Hwang Act 3,
Scene 3). Nearing the end of the play, Gallimard can no longer live with the events that have
taken place and decides to die an honorable death rather than live a dishonorable life. After
learning of his true nature and discovering who he really is, he can neither accept himself nor
continue living because of it. When he can finally come to terms and accept his homosexuality,
he realizes that things would no longer be the same; his reputation had already been hindered and
he would no longer be respected by his peers. The social construction of gender can have an
indirect impact on individuals who do not fall under the category of heterosexual. Gallimard had
always struggled to conform with the social norms and tried to appear more confident and
Other interpretation may make it harder to analyze the controversies that come with the
socially constructed ideas of gender that are present within the play. What was originally
intended to be nothing more than just classification as biological gender got turned into a role
that people began to follow. This had a negative impact on many people and forced some
individuals to hide their true sexuality, being left with nothing but a feeling of suppression.
Although Hwangs play M. Butterfly did not directly state that Gallimard was a homosexual,
there was plenty reason to believe he was hiding his true nature and just avoiding reality. He fell
victim to the socially constricted idea of masculinity and femininity. The play outlines the flaws
in society and allows for people to have room for their opinions on the matter. It openly
expresses not only Hwangs opinion on the controversial topic of sexuality, but also of those
whos voices have been silenced and cannot seem to find an outlet for what society seems to be
unfit.
Works Cited
Literary Criticism, edited by Jeffrey W. Hunter, vol. 196, Gale, 2005. Literature
www.academia.edu/3018348/Oriental_Stereotypes_in_David_Henry_Hwangs_M._Butte
rfly.
Hwang, David Henry. M. Butterfly. New York: Dramatists Play Service, 2008. Print.
Martin, Robert K. "Gender, Race, and the Colonial Body: Carson McCullers's Filipino Boy, and
Jeffrey W. Hunter, vol. 196, Gale, 2005. Literature Resource Center, library.lavc.edu