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M. Butterfly David Henry Hwang analysis
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Gallimard’s supposed ignorance of Song’s sex in M. Butterfly illustrates how an individual’s desire for something or someone can create a fantasy that masks the truth. Ignorance is bliss. Desire allows an individual to create their own truth which can, in turn, be damaging. The theme of desire in the play is seen through Song and Gallimard’s relationship. Gallimard longs to be desired. He associates being desired with power and masculinity, and this desire to be desired makes him ignorant of Song’s true identity. He experiments in testing Song’s desire for him throughout the play. Because Gallimard associated women desiring him as “power”, he did not see through Song’s feminine mask, or perhaps he did not want to. Desire allows Gallimard to believe he is the masculine form dominating a relationship when, in fact, he is being dominated by his own desire which Song is using against him. Gallimard is unaware, or chooses to remain unaware of Song’s masculinity, looking at the world through rose colored glasses of desire. In the final scene of M. Butterfly, we see Gallimard succumb to his own desire. He realizes what he desired was a lie and refuses to accept the truth.
Gallimard is presented to the reader as, for lack of a better term, kind of a “nerdy” and somewhat unattractive individual. He even described himself at the beginning of the play as being the person “least likely to be invited to a party” (Hwang 8) by his classmates. Later on in the play he also refers to himself as socially inept (Hwang 11). Gallimard desires to be what he considers masculine and powerful and tends to associate this masculinity with being desired by the opposite sex. We see this aspect of Gallimard’s desire in the scene where he is at a condo with ...
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Gallimard: Stop! I don’t want to. I don’t—
Song: Oh but you asked me to strip remember?
Gallimard: What? That was years ago! And I took it back!
Song: No. You postponed it. Postponed the inevitable. Today, the inevitable has come calling” (Hwang 64)
The inevitable being the reveal of Song’s true sex. Gallimard chose to remain ignorant to Song’s vices though he admits he knew all along. His desire to be accepted as masculine and not this weak, somewhat unattractive man caused him to pursue a relationship with Song. Desire can be dangerous if it is allowed to run your life. Gallimard desired to be masculine. He desired to be desired by women, or the perfect woman. He desired happiness. Desire masks truth. Ignorance is bliss.
Works Cited
Hwang, David Henry. M. Butterfly. New York, N.Y. (440 Park Ave. South, New York 10016): Dramatists Play Service, 1988. Print.
Pellegrini, Ann. “The Plays of Paula Vogel.” A Companion to Twentieth-Century American Drama. Ed. David Krasner. Malden, MA: Blackwell, 2005. 473-84.
Drama, and Writing. Ed. X.J. Kennedy and Dana Gioia. 6th ed. New York: Pearson-Prentice, 2010. 40-49. Print.
Kahn, Sy. Modern American Drama: Essays in Criticism. Edited by Willima E. Taylor. Deland, Florida. Everette/Edwards Inc., 1968. 71-88
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It has been said that one small moment can create large effects; the butterfly effect. For Betty Williams, her small moment occurred on August 10th, 1976 when she witnessed an innocent family get mauled by a runaway car driven by an IRA member in her hometown Belfast, Ireland. Three children were killed and their mother, Anne Maguire, was seriously injured and later committed suicide. Williams was greatly moved by this tragic event. Two days after witnessing the accident, she obtained six thousand signatures on a petition for peace. Later, Williams teamed up with Anne Maguire’s sister to form The Women For Peace, now known as the The Community For Peace. The organization was known for holding mass protests. William’s spearheaded a peaceful march of ten thousand Protestant and Catholic women. The march was diffused by the Irish Army, but it did not stop the movement. The next march was attended by 3,500 people, proving that nonviolent protesting was effective. The loss of three children eventually led one woman to
all, Song has deceived a somewhat intelligent individual for over twenty years. I saying , Song :"Rule One is " Men always believe what they want to hear." ( 82 ) I don't think that is entirely accurate,but Song has proven it to be throughout the play in dealing with Gallimard. So basically in that area Song's "rule" applies. Gillimard wanted to believe his "love" was indeed a young , Oriental woman. He refused to acknowlege otherwise because that was his " fantasy". However, I must disagree when "Rule One" also states, Song: " So a girl can tell the most obnoxious lies and the guys will believe them every time--" (82 ) Again, as far as Song's relationship with Gillimard is concerned, it is again truthful. However, I think that would be an extreme exaggeration in speaking of "men" in general, even in terms of "men" in this play. I don't think Song could have fooled Marc for very long. I think perhaps we see some of Hwang's own experiences in his life poking through into the play.
Importance of Leadership Leadership is something that stands out in people. In a group, people tend to look for the strongest person to follow. However, the strongest person may not be the best choice to follow. In Lord of the Flies by William Golding, Ralph and Jack each have leadership qualities. Jack is probably the stronger of the two; however, Ralph is a better leader.
Hirsch, Foster. A Portrait of the Artist-The Plays of Tennessee Williams. London: Kennikat Press, 1979.
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butterfly by Henry Hwang, the Protagonists Rene Gallimard falls in love with an opera performer by the name of Song Liling. Gallimard is a French diplomat who is telling his story from his prison cell to the audience. However, Gallimard lets us know that the women he loved all along, turned out to be a man. Similar to Viola who takes on the identity of Cesario, Song takes on the identity of a female opera singer who goes by the reference butterfly. Song is capable of luring the attention of Gallimard through his Butterfly performance on stage. Characteristics such as makeup and clothing are a part of why Gallimard falls in love with song. Hwang even writes in a part of his play “...Because only a man knows how a woman is supposed to act,” (Hwang 49). Songs ability to replicates the female persona gave him the capability to fool Gallimard for over 20 years into thinking he is a female. In fact Songs, performance was so believable that Gallimard refused to believe that Song was male. He only believed it after Song showcased his genital parts right before Gallimard's
Effiong, Philip U. In Search of a Model for African-American Drama: a Study of Selected Plays
In The Lais of Marie de France, the theme of love is conceivably of the utmost importance. Particularly in the story of Guigemar, the love between a knight and a queen brings them seemingly true happiness. The lovers commit to each other an endless devotion and timeless affection. They are tested by distance and are in turn utterly depressed set apart from their better halves. Prior to their coupling the knight established a belief to never have interest in romantic love while the queen was set in a marriage that left her trapped and unhappy. Guigemar is cursed to have a wound only cured by a woman’s love; he is then sent by an apparent fate to the queen of a city across the shores. The attraction between them sparks quickly and is purely based on desire, but desire within romantic love is the selfishness of it. True love rests on a foundation that is above mere desire for another person. In truth, the selfishness of desire is the
Williams, Tennessee. The Glass Menagerie. 1945. The Bedford Introduction to Drama. 5th ed. Lee A. Jacobus, ed. Boston: Bedford/St. Martin’s, 2005.
Mersault believes that life has no meaning other than existence itself; so what is the purpose of love? He does nothing more than think of Marie’s physical features, like her hair, smile, skin, and laughter. Mersault runs into Marie on his way to the beach for a swim and soon after he already describes her physical attributes, “I helped her onto a float as I did, I brushed against her breasts”(Camus 19).
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