Department of English
Faculty of Arts,
Chulalongkorn University
M. Butterfly
(1986)
David
Henry
Hwang
(August 11, 1957 – )
Notes
Act 1
Scene 1
1
Peking Opera:
1
"Love Duet":the song is
"Vogliatemi bene" ["Love me a little"]
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- Lyrics
(dual language)
- Performances
- Victoria de los Angeles and Jussi Björling, "Viene la
sera" (1959; 15:00 min.)
- Renata Tebaldi and Carlo Bergonzi, "Vogliamtemi
bene" (1958; 8:07 min.)
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1
Puccini's Madame Butterfly:
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- Madama
Butterfly, New York City Opera Project
- Madama Butterfly Study
Guide, Pacific Opera Victoria (synopsis, Puccini primer,
genesis of Butterfly's story, music)
- Madame
Butterfly Teacher Guidebook, Nashville Opera
- Directors
Moshe Leiser and Patrice Caurier on Madama Butterfly, The
Royal Opera (2014; video clip, 2:27 min.)
- Paul Dorgan, "The Making of Madame Butterfly," Utah Opera
(2014; part 1:
story, 2:
play, 3:
libretto, 4:
music)
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Scene 2
3
ladies' men:
- ladies' man (n.)
- man who enjoys being with and giving attention to women; a man who
shows a marked fondness for the company of women or is especially
attentive to women (Merriam-Webster)
- synonyms and related words: sexually
attractive men: Adonis, babe magnet, beefcake... (Macmillan
Dictionary)
- (also lady's man) (Oxford
Dictionaries)
informal A man who
enjoys spending time and flirting with women:
EXAMPLE SENTENCES
he was a bit of a ladies' man
at an early age
When I was growing up, my father was the ultimate ladies'
man.
I've heard lots of stories about how he's such a ladies'
man and womanizer.
Being the suave ladies' man
that he is, Marty inflates the condom like a balloon, then lets go of
it, sending it flying over the shower wall.
4
Vive la différence!: French,
literally translated as "long live the difference"
- long live the difference (between the sexes) (Merriam-Webster)
- chiefly humorous An
expression of approval of difference, especially that between the sexes.
(Oxford
Dictionaries)
- Eric Partridge, A Dictionary of Catch Phrases from the
Sixteenth Century to the Present Day, ed. Paul Beale
(London: Routledge, 2005): 495.
'A catch phrase used when someone has just said that there is hardly any
difference between men and women' (Barry Prentice): since 1919 or 1920.
An adaptation rather than a simple adoption of the French male toast.)
To show how easy it is to err in
'coverage', another correspondent writes, 1974: 'Heard when somebody
mentions that women are [in temperament] different from men.'
[John T.] Fain, 1977, comments, 'This has
taken on a new life since the women's liberation movement became so
prominent.'
- Ed. Rosalind Fergusson, Shorter Dictionary of Catch Phrases
(London: Routledge, 1994)
usually refers to the difference between the sexes; as in 'Women
are far more emotional than men.' 'Vive
la difference!' From a French male toast, adopted in the UK
around 1920. It is also used in the context of racial or political
diversity.
Scene 3
4
patron saint:
- patron saint (Merriam-Webster)
1: a saint who is believed to
protect a particular place or type of person; a saint whose protection
and intercession a person, a society, a church, or a place is dedicated
2: a person who is known or
admired as a leader or example; an original leader or prime exemplar
Examples of PATRON SAINT
St. David is the patron saint
of Wales.
St. Christopher is the patron saint
of travelers.
The success of her books has made her the patron
saint of a new literary movement.
7
"The Whole World Over": the song
"Dovunque al mondo"
7
cad:
- 2: a man who acts with
deliberate disregard for another's feelings or right (Merriam-Webster)
Scene 4
9 Sotto voce: the literal meaning in
Italian is "under the voice"; in theater it is more like a stage whisper,
when you pretend to whisper but speak loudly enough for people to hear
- sotto voce (Merriam-Webster)
1: in a very quiet voice; under
the breath: in an undertone; also: in a private manner
2: very softly—used as a
direction in music
- stage whisper (The Language of Theatre)
A form of stage convention akin
to the aside: the actor
whispers loudly or speaks sotto voce
whilst the audience accepts the convention that this utterance goes
unheard by certain other onstage characters. A term with a wide general
usage, the main difference being that the real life stage whisper is
heard by all.
Scene 5
10
girlie magazines:
10
pinup girl:
12
Day-Glo:
13
The Flower Duet:
Scene 6
15
the death scene: the song is "Con
onor muore" ["Death with honor"]
17
medical experiments: during World
War II, a special division of the Japanese army based in Manchuria was
involved in developing germs for biological warfare and tested the diseases
on Chinese people
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- Anita McNaught, "Unit
731: Japan's Biological Force," Correspondent, BBC (2002)
- Kizu: The Untold Story Of Unit
731, dir. Serge Viallet (2004 documentary; video
clip, 51:00 min.)
- "Doctors
of Death," ZDF
(documentary; video clip, 50:03 min.; coverage of Unit 731 ends
at 21:30 min.)
- Nicholas D. Kristof, "Unmasking
Horror—A Special Report; Japan Confronting Gruesome War
Atrocity," The New York
Times (1995)
- Unit
731: One of the Most Terrifying Secrets of the 20th Century,
Mount Holyoke College
- Sheldon H. Harris, "Chapter
16: Japanese Biomedical Experimentation During the
World-War-II Era," Military
Medical Ethics, vol. 2
- Eun Park, "Theodicy—through
the Case of 'Unit 731,'" Theological Thinking for Everyday
Life and Ministry, Boston University (2003 student project)
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Scene 7
18
"East is east, west is west, and...":
Scene 8
22
"No dogs and Chinamen": This is a
reference to a sense of racial discrimination suggested by a regulation
sign at Shianghai's Public Garden, now Huangpu Park. Originally regulation
number 4 read "No Chinese shall be admitted to the ground except servants
of the various Clubs" and later item number 1 read "No dogs or bicycles
are admitted." The provocative combination of the two is immortalized in
the Bruce Lee film Fist of Fury,
also known as The Chinese Connection
and The Iron Hand.
Scene 9
23
Sophia Loren:
25
"One Fine Day": a popular soprano
aria; Butterfly sings "Un bel di," to Suzuki about not losing hope in
Pinkerton's promise to return though he has been absent for two years
Scene 10
27
Anna May Wong:
Scene 11
32
Renault:
Scene 12
37
jump the gun: act hastily or
prematurely without adequate consideration
- jump the gun (Merriam
Webster)
1: to start in a race before the
starting signal
2: to act, move, or begin
something before the proper time
- jump the gun (Cambridge
Dictionaries Online)
to do something too soon, especially without thinking carefully about
it:
Ex. They've only just met—isn't it jumping
the gun to be talking about marriage already?
- Meaning and origin at The
Phrase Finder
38
Solomon:
38
Jezebel:
Act 2
Scene 1
42
bounder:
Afterword
94
a certain stereotyped view of Asians:
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- Sheridean Prasso, The Asian
Mystique: Dragon Ladies, Geisha Girls, and Our Fantasies of
the Exotic Orient (2006)
- Raymond Fisman, et al., "Racial
Preferences in Dating," Review
of Economic Studies 75 (2007)
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Comprehension Check
Act 1 Scene 1
- Who is Puccini and what is his Madame Butterfly? (1)
Act
1 Scene 2
- What does "ladies' man" mean?
(3)
- What does "vive la différence"
mean? (4)
Act
1 Scene 3
- Who is Cio-Cio-San? (5)
- "Pinkerton purchased the rights
to Butterfly for" how much money? (5)
Act
1 Scene 6
- Who are the Kennedys in the
United States?
Act
2 Scene 6
- Song tells Gallimard: "I know
who is a man and who is not" (51). Why doesn't Song Liling
want Dr. Bolleart to examine Gallimard? (51)
- Gallimard wants to see Butterfly
naked. Does he succeed? (59)
Act
2 Scene 8
- What are fortune cookies? Where
are they served? Who do you think writes the fortunes in
them? (65)
Act
2 Scene 9
- What does ping pong mean? What
about long dong? Why does Gallimard even prefer the name
Adolph to "Song Peepee"?
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Study Questions
- The list
below includes students' brainstorm of prisons. Which of
these applies to Hwang's M.
Butterfly? How does he attempt to break out of any
of them?
- knowledge
- laws, mores
- values, convention
- language
- race, ethnicity
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- fear
- conscience
- faith
- education
- genre, form
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- past failure
- imagination
- economic system
- economic status
- social status
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- ego
- society
- government system
- experience
- medium
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- responsibilities
- physiology
- personality
- logic, rationality
- technology
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- “The French—we know how to run a
prison,” says Gallimard, introducing himself and his
countrymen (2). When you think of French people, what
associations come to mind? What about your associations for
prisons? Make a list of some of your impressions.
- How do views of the French as
expressed by the partygoers in Scene 2 compare to
Gallimard’s introduction earlier and to your list
above? What other groups or institutions are being
stereotyped here and in other scenes?
- What does Gallimard say are the
qualities of an ideal woman?
- Do you agree with Pinkerton’s
observation that “Oriental girls…want to be treated bad”
(6)? Why might this view come from Gallimard who
counts himself among men “who are not handsome, nor brave,
nor powerful” (10)? Why does Gallimard compare
Butterflies to the magazine women he first discovers at his
uncle’s?
- Familiarize yourself with the plot
of Puccini’s opera Madama
Butterfly. How does Hwang’s play make use of that
famous prior text? How is Gallimard’s “my version of Madame
Butterfly” different from Puccini’s (9)? What is the effect
of Gallimard’s retelling of that story from Scene 3 to the
beginning of Scene 6? What changes occur in the translated
“The Whole World Over”?
- “Pinkerton, in an act of great
courage, stays home and sends his American wife to pick up
Butterfly’s child” (15). Why is this statement ironic?
- How is Rene Gallimard
characterized by Marc? What is Pinkerton like? What
does Gallimard mean when he says “our positions were
usually—no, always—reversed” (7)?
- While Hwang’s text reproduces
several cultural fantasies, it also provides many of the
opposite, like “The Japanese used hundreds of our people for
medical experiments during the war, you know” (17). What
effect might Hwang hope to create with such an injection?
- Gallimard claims to have come to
the Chinese opera for the first time to “further [his]
education” (21). What does he learn, if anything, from Song
Liling in Scene 8? Compare their conversation to that in
Scene 10. How do the characters speak or behave differently
between the two scenes? Song asks Gallimard toward the end
of their first “educational” session, “Do you believe
everything I tell you?” and follows it with the invitation:
“Come another time and we will further expand your mind”
(22). Is there a lesson in the question? How well is the
intention in the invite fulfilled in Scene 10?
- In Scene 9 is it surprising that
Gallimard dreams about having Marc’s approval and blessing,
and not the “typical” dreams that “other people” have “where
angels appear. Or dragons, or Sophia Loren in a towel” (23)?
- Review your Eastern and Western
Civ notes and scroll through this Vietnam
War Timeline to get a sense of what France-Vietnam
relations was like during the early 1960s, and also why
China, through Comrade Chin in Act 2 Scene 4, might want to
know "when the Americans plan to start bombing Vietnam"
(47). What is at stake in the Indochina war that gives
incentive for spying on the French? What is the Domino
Theory and why is it a compelling backdrop for the
international intrigue, which is in turn the backdrop for
the personal drama of our characters?
- Dramatic
irony, you may recall from your literary dictionary,
is that situation where you know more than the character
about how things are. Analyze this frequent contrast between
what the character knows and what we know, for example, “a
woman who passionately listens” (49), “I think it’ll [the
Chinese language] be important someday” (52), “No one has
loved me like you” (65), “I want a scandal to cover the
papers” (67).
- “Why did you bring a doctor into
this?” is Gallimard’s reaction to Helga’s fertility testing
(49). It is almost an echo of his response in an
earlier scene—“Why does she have to come in?”—when Comrade
Chin enters just as he is about to approach Song (47).
Why does Gallimard have such a problem with their entrances?
- Follow the metaphors and similes
for a character from the beginning to the end of the play.
How does the figurative language reflect the transformations
we witness onstage? What is the significance of Song being
called butterfly from the opening but by the end is compared
to "hamburger" (90)?
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Review Sheet
Characters
Rene Gallimard –
"65, in a prison cell. He wears a comfortable bathrobe, and looks old
and tired" (1); "I married a woman older than myself—Helga" (14); "I
married late, at age thirty-one. I was faithful to my marriage for
eight years" (14); Toulon wants him "to replace LeBon as vice-consul"
(37); "At age thirty-nine, I was suddenly initiated into the way of
the world" (38)
[Benjamin Franklin] Pinkerton –
Marc –
Sharpless –
Comrade Chin –
Suzuki –
Shu Fang –
Song Liling, Butterfly –
Comrade Kang – (61)
Toulon
–
"Manuel Toulon. French ambassador to China. He likes to think of us
all as his children. Rather like God" (36)
Judge –
Renee –
has an affair with Gallimard; "I'm a student. My father exports a lot
of useless stuff to the Third World...I'm here for two years to study
Chinese" (52); "Renee was picture perfect. With a body like those
girls in the magazines...wasn't afraid to be seen naked" (54)
Helga –
Gallimard's wife; "My father was ambassador to Australia. I grew up
among criminals and kangaroos" (14); "in China, I was happy...going on
your arm to the embassy ball, visiting your office and the guards
saying, 'Good morning, good morning, Madame Gallimard"—the
pretense...was very good indeed" (75)
Time
1960
1986
present
Places
Beijing
French Embassy –
Song's apartment –
Paris
Gallimard's prison cell –
courthouse –
Links
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Madame Butterfly
Reviews
Articles
- James Fenton, "Exotic
Fiction," The
Guardian (2007)
- Sandra Kumamoto Stanley, "Settling
Scores: The Metamorphosis of Madame
Butterfly and Her Transnational Legacy," Pacific Coast Philology
(2007)
- Mari Yoshihara, "The
Flight of the Japanese Butterfly: Orientalism,
Nationalism, and Performances of Japanese Womanhood,"
American Quarterly
56.4 (2004)
- Karen Shimakawa, "'Who's
to Say?' or, Making Space for Gender and Ethnicity in M. Butterfly,"
Theatre Journal
45.3 (1993)
- Dorinne K. Kondo, "M. Butterfly:
Orientalism, Gender, and a Critique of Essentialist
Identity," Cultural
Critique 16 (1990)
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Media
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- Madame
Butterfly, by Giacomo Puccini, dir. Frédéric
Mitterrand, perf. Ying Huang and Richard Troxell,
Orchestre de Paris, cond. James Conlon, 1995, Sony
Pictures, 2002, DVD.
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- David
Henry Hwang, The Graham Show (2013 interview)
- Part
1: Personal Expression, M.
Butterfly's Journey (13:52 min.)
- Part
2: Beginnings, Mentors and the New York Debut
(9:12 min.)
- Part
3: Fan Questions (8:56 min.)
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- M.
Butterfly, by David Henry Hwang, perf. John
Lithgow and B. D. Wong, Tony Awards (1988)
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- M. Butterfly, by
David Henry Hwang, dir. Cronenberg, perf. Jeremy Irons and
John Lone, 1993, Warner, 2009, DVD.
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David Henry Hwang
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Interviews
Articles
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Reference
Hwang,
David
Henry. M. Butterfly. New York: Plume, 1989. Print.
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March 4, 2015