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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.
Literature of the Americas has many stories and they all have comparisons, but they also have many differences. “Day of the Butterfly” by Alice Monro and “Crossroads: A Sad Vaudeville” by Carlos Solórzano have characters that share some traits and ways, but like all characters they have things that are different. The old woman from “A Sad Vaudeville” is a dynamic protagonist who finds herself meeting the perfect man for her, but has a dilemma when he is in denial because she is not the ideal girl of his dreams; she’s old. Myra from “Day of the Butterfly” is a static antagonist who does not have the same care free attitude as most of the children her own age. She is rather shy and does not fit in or socialize much with people her own age. She does not derive from a very wealthy family. She is responsible for her brother Jimmy which holds her back from having more age appropriate experiences.
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.
Effiong, Philip U. In Search of a Model for African-American Drama: a Study of Selected Plays
Williams, Tennessee. The Glass Menagerie. 1945. The Bedford Introduction to Drama. 5th ed. Lee A. Jacobus, ed. Boston: Bedford/St. Martin’s, 2005.
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
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.
The issue of cultural stereotypes and misconceptions thematically runs throughout David Henry Hwang’s play M. Butterfly. The play is inspired by a 1986 newspaper story about a former French diplomat and a Chinese opera singer, who turns out to be a spy and a man. Hwang used the newspaper story and deconstructed it into Madame Butterfly to help breakdown the stereotypes that are present between the East and the West. Hwang’s play overall breaks down the sexist and racist clichés that the East-West have against each other that reaffirm the Western male culture ideas. The stereotypes presented in the play revolve around the two main characters, Gallimard and Song. The play itself begins in the present with Gallimard, a French diplomat who has been incarcerated in a Beijing prison. He relives his fantasies for the past with his perfect woman and shares his experience with the readers throughout the remainder of the play. Upon Gallimard’s arrival in China, he attends the opera and meets Song, and Gallimard immediately describes Song as his “butterfly”. Gallimard falls in love with the “delicate Oriental woman” that Song portrays (22). He then buys into the Western male stereotype that Eastern women need protection by strong, masculine Western men. Gallimard ends up falling in love with Song and has an affair with her to fulfill the stereotypical idea of a dominant Western male controlling an Eastern woman. Throughout Gallimard’s relationship with Song, the readers discover that Song is in reality a male spy for the Chinese government. Song had manipulated his looks and actions to mirror those of the ideal Chinese woman in order to earn Gallimard’s affection. M. Butterfly’s main issue arises from the cultural stereotypes of the masculin...
Initially, the play “M. Butterfly”, asserts its position on masculinity in Act 1, Scene III, when Gallimard declares, “And I imagine you—my ideal
Hirsch, Foster. A Portrait of the Artist-The Plays of Tennessee Williams. London: Kennikat Press, 1979.
Drama, and Writing. Ed. X.J. Kennedy and Dana Gioia. 6th ed. New York: Pearson-Prentice, 2010. 40-49. Print.
The novel; “Lord of the Flies” is a highly renowned novel written by William Golding and published in 1954. The novel embodies many themes and events that are mysterious and unanticipated for the reader. During the course of the essay I will explain how the conch shell that is found at the foundation of the first chapter plays a significant role throughout the novel and how diverse themes are brought on from this influential shell. This essay will express an opinion on the conch shell, in the end has more power and order than the actual ‘beast’ that is signified on the island. I will also explore the social leadership of the conch throughout the novel which will also touch on a few themes that the conch shell plays a role in. The conch shell is one of the first real theme/symbol that readers are introduced too and stands its power for most of the novel which is why it should be explored in further detail in this essay.
However, as the novel progresses, the soundness of his fantasy begins to unwind and undergo pressure. As seen in Scene Two of Act One, the party notes to be in present time, however it is still a projection of Gallimard’s imagination. It can be considered present time because he situates the scene in present time, but the conversations and proceedings are still a projection of Gallimard’s imagination and are therefore fictitious. Merely by reading the dialogue of the party members, it is evident how extensive Gallimard resides in his denial. The party goers mock his ridiculous status and position, and even question how Gallimard has not come to believe the truth, stating his fault is due to “simple ignorance” (page three). By addressing Gallimard’s
When tragedy strikes, it is normal for individuals to go through stages of grief. In some situations, people become cemented in one stage of emotional instability. They focus so much on their anger over the inevitability of the unfairness of life, that it eventually makes them go mad. This theme composes the synopsis of Joyce Carol Oates’ book We Were the Mulvaneys. The rape of Marianne Mulvaney catalyzed the disembowelment of the Mulvaney family due to their inability to move on from their grief; each family member coped in unique manners.
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).