Department of English

Faculty of Arts, Chulalongkorn University


 

M. Butterfly

(1986)

 

David Henry Hwang

(August 11, 1957 – )

 

Notes


Act 1

Scene 1

Peking Opera:

 

"Love Duet":the song is "Vogliatemi bene" ["Love me a little"]


  • 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.)

 


Puccini's Madame Butterfly:




 

Scene 2

ladies' men:

Vive la différence!: French, literally translated as "long live the difference"

 

Scene 3

patron saint:


"The Whole World Over": the song "Dovunque al mondo"


 

 

cad:


Scene 4

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

 

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


 


 


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.

No dogs and Chinese sign

 


 

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

 

38  Solomon:


38  Jezebel:

 

Act 2

Scene 1

 

42  bounder:


Afterword

94  a certain stereotyped view of Asians:



  • 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)




 




 


 

 

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"?

           



 

 

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
    • fear
    • conscience
    • faith
    • education
    • genre, form
    • past failure
    • imagination
    • economic system
    • economic status
    • social status
    • ego
    • society
    • government system
    • experience
    • medium
    • responsibilities
    • physiology
    • personality
    • logic, rationality
    • technology
  • “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)?

           

 


 

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
Madame Butterfly
Reviews Articles

 


Media


  • 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.

  • 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.)


  • M. Butterfly, by David Henry Hwang, perf. John Lithgow and B. D. Wong, Tony Awards (1988)

  • M. Butterfly, by David Henry Hwang, dir. Cronenberg, perf. Jeremy Irons and John Lone, 1993, Warner, 2009, DVD.

 


David Henry Hwang
Interviews
Articles

 



 

 

Reference

Hwang, David Henry. M. Butterfly. New York: Plume, 1989. Print.


 


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Last updated March 4, 2015