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Analysis of M. Butterfly by David Hwaung

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Butterfly M. Butterfly by David Hwang is a play based on the true story of a French diplomat, Bernard Boursicot, who fell in love with and passed intelligence to a male Chinese spy Boursicot believed to be a woman. Hwang’s play is a response to the Western play which turns the subject matter on its head as Cecilia Hsueh Chen Liu points out in “Writing Back to the Empire: From M. Butterfly to Madame Butterfly”. Our hero, M. Gallimard, sees the performance of the famous play “Madame Butterfly” by a Chinese actor, Song Liling. He then envisions himself as the protagonist of that play, Pinkerton, and engages in a romantic affair with the actor, all the while oblivious that Song is a man. At the end of the play, Gallimard assumes completely the role of Cio-Cio San (from the opera “Madame Butterfly”), is disgraced for having passed intelligence to Song for 20 years, and kills himself because he cannot bear reality. This play is mostly about gender roles and Oriental-Occidental culture shock, as discussed by Ilka Saal in “Performance and Perception: Gender, Sexuality, and Culture in David Henry Hwang’s M. Butterfly”. Song’s ability to manipulate Gallimard stems from his understanding of what a woman “should” act like. Gallimard is so malleable because he fears he is not masculine enough. Gallimard’s inability to succeed sexually with Western women makes the prospect of a relationship with an “Oriental” all the more appealing because he is able to impose his imperialistic views

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