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Ariana Azoulai

Professor Batty

English 102 #25031

8 December 2017

Being True to Yourself: a Psychoanalytic Reading of M. Butterfly

It's important to be true to who you are, yet, controversy and even death can follow 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 its tragic 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

play is supportive of traditional binaries but I argue that such binaries are purposely brought to

the audiences attention for them to then oppose. Its clear that Hwang accomplishes this

conviction by applying Gender/Queer Theory to his work, interpreting identity issues within the

characters, and viewing cultural differences between the East and the West.

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
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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 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). 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
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causes the audience to empathize with Song and forget, or dismiss, the 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 Hwang). 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
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interaction between Chin and Song, a pang of sadness is felt for Song. One wishes Chin (the

East) would change her (their) views.

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). 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.

While problems are more concentrated in the East, the West arent as accepting either.

Gallimard faces trouble when coming to terms with his identity as well. His masculinity is

constantly questioned by peers to make sure hes following societys rules. In the previous

paragraph on identity, Gallimards friend harasses him about being a man. Despite the East

being harsh in their views, the West arent any better.

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,
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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
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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,

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.