M. Butterfly Identity
Ali Appelbaum WGST 199-01 Professor Uman March 16, 2008 Society puts a strong focus on individuals who experience the act of cross-dressing to create an identity for themselves. The act of cross-dressing helps a person to feel comfortable with themselves because they are able to gain a sense of independence, confidence, and individuality. In the play M. Butterfly, by David Henry Hwang, constructing an identity is made through the character Song. By looking at Song’s appearance in M. Butterfly, we can see that clothing and disguise constructs an identity. The play, M. Butterfly uses the character Song to show the audience how cross-dressing is common, and can make one’s personality. Song cross-dresses from an Asian male, to an Asian female. Throughout the play Song plays the role of a female but expresses herself in a more confident, and independent way as an Asian female. This is because Song has had a gender cross
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Song also makes sure notice is taken of her delicate and pretty appearance. Song remarks back to Gallimard, “Your history serves you poorly, Monsieur Gallimard. True, there were signs reading “No dogs and Chinamen.” But a woman, especially a delicate Oriental woman—we always go where we please. Could you imagine it otherwise? Clubs in China filled with pasty, big-thighed white women, while thousands of slender lotus blossoms wait just outside the door? The clubs would be empty. We have always held a certain fascination for you Caucasian men, have we not? (2. 4 Hwang). Song has shown to her audience that she has a strong confidence about the female body and face. She explains to Gallimard that her new identity, a delicate Oriental woman, is always welcomed in society. Song also feels a sense of power because although she is a man working for the Chinese government, she feels comfortable in her feminine
Song also makes sure notice is taken of her delicate and pretty appearance. Song remarks back to Gallimard, “Your history serves you poorly, Monsieur Gallimard. True, there were signs reading “No dogs and Chinamen.” But a woman, especially a delicate Oriental woman—we always go where we please. Could you imagine it otherwise? Clubs in China filled with pasty, big-thighed white women, while thousands of slender lotus blossoms wait just outside the door? The clubs would be empty. We have always held a certain fascination for you Caucasian men, have we not? (2. 4 Hwang). Song has shown to her audience that she has a strong confidence about the female body and face. She explains to Gallimard that her new identity, a delicate Oriental woman, is always welcomed in society. Song also feels a sense of power because although she is a man working for the Chinese government, she feels comfortable in her feminine