Undergraduate Review
Volume 10 | Issue 1
Article 9
1997
Stereotypes as Reinforced Structure in M. Butterfly
Hope Hoffman '98
Illinois Wesleyan University
Recommended Citation
Hoffman '98, Hope (1997) "Stereotypes as Reinforced Structure in M. Butterfly," Undergraduate Review: Vol. 10: Iss. 1,
Article 9.
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Hoffman '98: Stereotypes as Reinforced Structure in M. Butterfly
:HE UNDERGRADUATE
REVIEW
WORKS CITED
I Why the Caged Bird Sings. New York:
69.
me Moore. The Feminist Reader: Essays in
'itics of Literary Criticism. London: Macmillan
9.
m by Herself, vol. II. New York: Vintage
19 the Story. Bloomington, Ind.: Indiana
}91.
minist Aesthetics. Cambridge: Harvard
)89.
isms: A Reader. London: Harvester
Stereotypes as Reinforced Structure
in M. Butterfly
Hope Hoffman
uin Book of Women's Lives. New York: W. W.
:. 1993.
intage Book of Feminism. New York: Vintage
n ofOne's Own. New York: Harcourt Brace
"And what was waiting for me back-in Paris?" Gallimard asks
himself, "[B]eUer Chinese food than I'd eaten in China" (Hwang 2859).
Gallimard's mind constantly fulfills his expectations about the East
rather than recognizing the region's reality. As French diplomat who is
married to a Chinese actress for twenty years before discovering that
she is a man, Gallimard depends heavily on the power of stereotypes in
order to keep his wife, Butterfly, as "Oriental" and female as he believes
she should be. Despite living in the physical reality of the East, he
never seems to leave his European home-he remains burrowed into his
safe space, the fantasy realm in which his Western perceptions and
stereotypes are the only reality. As Gallimard desperately preserves this
fantasy, Song's calculated role-playing keeps the stereotypes "real."
Song not only reinforces Gallimard's fantasy, but also caters to a broad­
er sense of imperialist nostalgia. Song knows that Gallimard "looks
back with nostalgic fondness to a time when measured space was possi­
ble" (Shimakawa 349), and exploits Gallimard's romance with stereo­
types.
Though M. Butterfly has been examined as a deconstructivist
work which disassembles stereotypes, it actually affirms their construc­
tion. At the core of M. Butterfly are the character's efforts to preserve a
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Undergraduate Review, Vol. 10, Iss. 1 [1997], Art. 9
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STEREOfYPES AS REINFORCED STRUcru
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sense of stable boundaries and safe, measured space. Boundaries are
blurred and roles often reversed, but the stereotypes remain intact
throughout the play. In fact, the more these spaces are confused, the
more Gallimard and Song rely on their sense of defined space in the
form of clear, stereotypical roles, and they ultimately retreat into these
rigid spaces. Stereotypes provide structure, orientation, and an ultimate
"truth" safe from the clutches of a more chaotic reality.
On the surface, it appears that roles and boundaries would be
obscured or destroyed by so much reversal and blurring. But, just as
"sometimes a counterrevolutionary act is necessary to counter a counter­
revolutionary act" (Hwang 2854), so sometimes role-playing is neces­
sary to reify a fantasy role. M. Butteifly is riddled with role reversals
which often do not question the premise of the roles, but only play with
who fills them. For example, Song plays a submissive role for his
Communist boss and for Gallimard, and simultaneously assumes the
role of Gallimard's dominator by taking advantage of him. Thus, Song
plays three roles at once: two submissive, one dominant. Whether or
not he succeeds in actually dominating is not the question. These rever­
sals do not confuse the meanings of the roles; they only question who
plays what.
Since Song uses Western male tactics to control and exploit
Gallimard, the audience isn't invited to re-evaluate how power is wield­
ed. Watching such a simple transfer of set modes of power, we merely
wonder, "Who's got it now?"1 For instance, by deciding which parts of
the story are told at what point in the play, Song steals Gallimard's
inherent power as a Western colonizer to "tell the story" of the peoples
the West dominates-he mimics the process of a dominant people tak­
ing the power to represent the colonized with stereotypes. And, though
non-Western peoples are traditionally exoticized and made a spectacle
or art object in Western displays of dominance,2 it is not Song, the actor
(inherently the center of attention on stage) who is the spectacle-it is
Gallimard, who becomes the butt of a rash of jokes at parties all over
the West. Song also takes a discourse traditionally used by the Western
male to assert power over females-"Your mouth says no, but your eyes
http://digitalcommons.iwu.edu/rev/vol10/iss1/9
say yes" (Hwang 2866)-and uses it against
matic switch in positions of power occurs at
Gallimard becomes his own "Perfect WomaJ
to be all along, and Song plays the part of th
deserts that woman (Gallimard). It doesn't]
actually a woman and Song never was-this
paradigm of male dominance just as it did \\
reversed, because the roles remain the same.
As a colonized subject, Song seems to
sciousness" (qtd. in Shimakawa) which enat
[Western] subjectivities in a process which a
de-colonizes ... relations to [his] real condi
Shimakawa): he acts out the stereotype and
using this advantageous position to take poVl
Song's reveling in the power of stereotypes:
take the words [of stereotypes] from your m
come and retrieve them," he says (Hwang 22
space of the stereotype as a trap; he tells Ga
wants to hear, then expects him to take the t
fantasy. Song depends on the accuracy of h­
order to capture Gallimard's devotion. He u
culate his seduction. For example, because
always believe what they want to hear. So a
obnoxious lies and the guys will believe the
2863), he proceeds to tell Gallimard exactly
about Eastern women, and is convinced of t:
the entire success of his espionage mission I
Recognition of the power of role-playi
ters' actions in general. Gallimard also dept;
safe, fantasy spaces as guidelines dictating b
Basing his perception of Song on stereotype
treats Song as a submissive female because
Oriental in her" (Hwang 2837) guarantees tJ
teristics. Gallimard also expects Song to su
2
i
Hoffman '98: Stereotypes as Reinforced Structure in M. Butterfly
'HE UNDERGRADUATE REVIEW
es and safe, measured space. Boundaries are
eversed, but the stereotypes remain intact
fact, the more these spaces are confused, the
19 rely on their sense of defined space in the
cal roles, and they ultimately retreat into these
s provide structure, orientation, and an ultimate
tches of a more chaotic reality.
tppears that roles and boundaries would be
V so much reversal and blurring. But, just as
rolutionary act is necessary to counter a counter­
ng 2854), so sometimes role-playing is neces­
>Ie. M. Butterfly is riddled with role reversals
lion the premise of the roles, but only play with
nple, Song plays a submissive role for his
. Gallimard, and simultaneously assumes the
inator by taking advantage of him. Thus, Song
: two submissive, one dominant. Whether or
By dominating is not the question. These rever­
neanings of the roles; they only question who
'estern male tactics to control and exploit
isn't invited to re-evaluate how power is wield­
pIe transfer of set modes of power, we merely
DW?"l For instance, by deciding which parts of
t point in the play, Song steals Gallimard's
tern colonizer to "tell the story" of the peoples
mimics the process of a dominant people tak­
nt the colonized with stereotypes. And, though
:traditionally exoticized and made a spectacle
jisplays of dominance,2 it is not Song, the actor
attention on stage) who is the spectacle-it is
, the butt of a rash of jokes at parties all over
~s a discourse traditionally used by the Western
:r females-"Your mouth says no, but your eyes
STEREOfYPES AS REINFORCED STRUCTURE IN M. BUTTERFLY
55
say yes" (Hwang 2866)-and uses it against Gallimard. The most dra­
matic switch in positions of power occurs at the close of the play.
Gallimard becomes his own "Perfect Woman," the one he wanted Song
to be all along, and Song plays the part of the man who exploits and
deserts that woman (Gallimard). It doesn't matter that Gallimard is not
actually a woman and Song never was-this role-playing reinforces the
paradigm of male dominance just as it did when the actors were
reversed, because the roles remain the same.
As a colonized subject, Song seems to have a "mobility of con­
sciousness" (qtd. in Shimakawa) which enables him to "occupy ...
[Western] subjectivities in a process which at once both enacts and yet
de-colonizes ... relations to [his] real conditions of existence" (qtd. in
Shimakawa): he acts out the stereotype and occupies the fantasy space,
using this advantageous position to take power from his colonizer.
Song's reveling in the power of stereotypes is key to his behavior. "I
take the words [of stereotypes] from your mouth. Then I wait for you to
come and retrieve them," he says (Hwang 2865). Song sets the safe
space of the stereotype as a trap; he tells Gallimard what Gallimard
wants to hear, then expects him to take the bait, and fall into his own
fantasy. Song depends on the accuracy of his assumptions about men in
order to capture Gallimard's devotion. He uses them as formulas to cal­
culate his seduction. For example, because he is confident that "Men
always believe what they want to hear. So a girl can tell the most
obnoxious lies and the guys will believe them every time" (Hwang
2863), he proceeds to tell Gallimard exactly what he wants to hear
about Eastern women, and is convinced of this "truth" enough to hang
the entire success of his espionage mission on this assumption.
Recognition of the power of role-playing is crucial to the charac­
ters' actions in general. Gallimard also depends on the boundaries of
safe, fantasy spaces as guidelines dictating how he interacts with Song.
Basing his perception of Song on stereotypes of "Oriental" peoples, he
treats Song as a submissive female because he assumes that "the
Oriental in her" (Hwang 2837) guarantees that Song has these charac­
teristics. Gallimard also expects Song to submit to his Western/male
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Undergraduate Review, Vol. 10, Iss. 1 [1997], Art. 9
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II~ I
STEREOTYPES AS REINFORCED STRUCTU
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SONG: Rene, I've never done what yo
Song then defies Gallimard's orders and phy
real, male Song, while the obedient Butterfl;
Gallimard's mind. All the apparent contradi,
not alter his image of her; at the conclusion.
retreat into a fully intact fantasy.
Gallimard succeeds in finally living sa:
world where he knows who is boss. The onl
Butterfly's arms is to retreat as far as possibl
types ("the world of fantasy where [he] first
and into the absolute heart of his perception~
her at last" only when he becomes his fantas.
"Madame Butterfly" (Hwang 2869).
"No matter what your eyes tell you, y()l
(Hwang 2862), Song tells Gallimard. He is r:
Gallimard sees (even Song's penis), the fact~
"truth" of the stereotype. Song expects to di
proving that he is a man (saying, "Look at m
2866]), but he learns that it is impossible to ,
Gallimard has constructed as the ultimate tru
fool; he realizes that his deception has more
tion than with Song's disguise. He can still.
after her physical representation is destroyed
beyond the boundary of his fantasy world-"li
"a date with my Butterfly" (Hwang 2867).
The stereotypes and predictions presen­
because they are supported rather than disprc
Song falls back on his stereotypes about mer
ized: men see what they want to see. UnfOrtl
Gallimard doesn't see Song-he only sees B
of expectations leaves Song not in a safe spa·
of invisibility; by acknowledging Song only
image, Gallimard disembodies the "real" Sor
stereotypes. Gallimard's stereotypes serve hi
power because "Orientals will always submit to a greater force" (Hwang
2846). Song, in tum, uses this essentializing statement to his own
advantage. For example, in order to avoid exposing himself to
Gallimard he submits to Gallimard's request to strip, because he knows
the submission itself will satisfy Gallimard and eliminate the need to
actually strip.
Roles and boundaries not only determine how Gallimard and Song
interact, but also shape the characters' identities in relation to one anoth­
er. Song's identity as a weak Eastern woman depends on Gallimard's
expectation that his fantasy would be fulfilled. In tum, "Gallimard's
identity as Western male ... derived its contours in relief to Song's
identity as Eastern female" (Shimakawa 349). Gallimard develops his
identity as a dominant Western man by juxtaposing it against a submis­
sive Eastern female, thus defining himself largely in relation to his fan­
tasy.
Though Gallimard accuses Song of having an identity problem
(Hwang 2866), Song's problem is minor compared to Gallimard's reali­
ty problem. It doesn't matter what Song's identity is-Gallimard will
perceive it as whatever he wants. Gallimard wants to separate himself
from any reality which might undermine his fantasy of Western male
dominance; this impulse is illustrated by his desire to divorce his wife
when she reveals to him what he thinks are "ridiculous ideas, that the
West is falling apart, that China was spitting in our faces" (Hwang
2860). Gallimard refuses outright to acknowledge reality; even "know­
ing the difference [between fantasy and reality]," he says, "I choose fan­
tasy" (Hwang 2867). When Song no longer sustains the fantasy of
Butterfly, Gallimard dismisses him and maintains the fantasy without
him. To Gallimard, the fantasy is real, and Song is "without substance
... so little like my Butterfly" (Hwang 2864). In reality, Song is "real
as hamburger" (Hwang 2867), so Gallimard doesn't want him-he
wants only his image of Butterfly. Song (reality) and Butterfly (fantasy)
are split into distinct entities in this exchange:
GALLIMARD: You have to do what I say! I'm
conjuring you up in my mind!
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I·
fHE UNDERGRADUATE REVIEW
Js will always submit to a greater force" (Hwang
,es this essentializing statement to his own
, in order to avoid exposing himself to
I Gallimard's request to strip, because he knows
11 satisfy Gallimard and eliminate the need to
ries not only determine how Gallimard and Song
the characters' identities in relation to one anoth­
weak Eastern woman depends on Gallimard's
:asy would be fulfilled. In tum, "Gallimard's
~ ... derived its contours in relief to Song's
LIe" (Shimakawa 349). Gallimard develops his
¥estern man by juxtaposing it against a submis­
lS defining himself largely in relation to his fan­
1accuses Song of having an identity problem
)foblem is minor compared to Gallimard's reali­
latter what Song's identity is-Gallimard will
he wants. Gallimard wants to separate himself
might undermine his fantasy of Western male
~ is illustrated by his desire to divorce his wife
Lwhat he thinks are "ridiculous ideas, that the
it China was spitting in our faces" (Hwang
es outright to acknowledge reality; even "know­
'een fantasy and reality]," he says, "I choose fan­
ben Song no longer sustains the fantasy of
misses him and maintains the fantasy without
fantasy is real, and Song is "without substance
tterfly" (Hwang 2864). In reality, Song is "real
2867), so Gallimard doesn't want him-he
, Butterfly. Song (reality) and Butterfly (fantasy)
tities in this exchange:
)u have to do what I say! I'm
lp in my mind!
Hoffman '98: Stereotypes as Reinforced Structure in M. Butterfly
STEREOTYPES AS REINFORCED STRUCTURE IN M. BU1TERFLY
57
SONG: Rene, I've never done what you said.
Song then defies Gallimard's orders and physically transforms into the
real, male Song, while the obedient Butterfly remains intact in
Gallimard's mind. All the apparent contradiction and confusion does
not alter his image of her; at the conclusion of the play, he is able to
retreat into a fully intact fantasy.
Gallimard succeeds in finally living safely with Butterfly in a
world where he knows who is boss. The only way he can return to
Butterfly's arms is to retreat as far as possible into the realm of stereo­
types ("the world of fantasy where [he] first met her" [Hwang 2868]),
and into the absolute heart of his perceptions: himself. He has "found
her at last" only when he becomes his fantasy, describing himself as
"Madame Butterfly" (Hwang 2869).
"No matter what your eyes tell you, you can't ignore the truth"
(Hwang 2862), Song tells Gallimard. He is right. No matter what
Gallimard sees (even Song's penis), the facts don't change the ultimate
"truth" of the stereotype. Song expects to disillusion Gallimard by
proving that he is a man (saying, "Look at me, you fool" [Hwang
2866]), but he learns that it is impossible to destroy the image
Gallimard has constructed as the ultimate truth. Gallimard really is no
fool; he realizes that his deception has more to do with his own percep­
tion than with Song's disguise. He can still believe in his Butterfly even
after her physical representation is destroyed in the "unsafe" space
beyond the boundary of his fantasy world-while safe inside it, he has
"a date with my Butterfly" (Hwang 2867).
The stereotypes and predictions presented tum out to be "true"
because they are supported rather than disproved. For example, when
Song falls back on his stereotypes about men, his expectations are real­
ized: men see what they want to see. Unfortunately, this means that
Gallimard doesn't see Song-he only sees Butterfly. This conflrmation
of expectations leaves Song not in a safe space, but in a no-man's land
of invisibility; by acknowledging Song only as an embodiment of an
image, Gallimard disembodies the "real" Song and replaces him with
stereotypes. Gallimard's stereotypes serve him just as tragically, direct­
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Undergraduate Review, Vol. 10, Iss. 1 [1997], Art. 9
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STEREOTYPES AS REINFORCED STRUCTURE
ing him to symbolically commit suicide.
Gallimard's ultimate triumph is that he preserves his fantasy space
despite all Song's tricks which might sabotage it. In a post-modem
world riddled with paradox, role reversals, and broken boundaries,
Hwang's characters prove how stereotypes can be not only saved from
destruction, but in fact are further reified. Ultimately, Gallimard is not
fooled by any of Song's guises-they never enter his true conscious­
ness. "I am pure imagination," he says. "And in imagination I will
remain" (Hwang 2868).
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1.
2.
6
~
.
NOTES
Theodore Roosevelt advised those wishir
power, "Speak softly and carry a big stick
could be compared to a relay race in whie
stick."
Fusco and her partner Guillermo toured
an interactive performance art exhibit: ins
the stereotypical roles of "undiscovered" f
island off the coast of Mexico. They cater
expectations of what "primitive" (non-wi:
performing "traditional tasks" such as se\\
conforming to the idea that foreign Native
rather than telling their own story (at pres
did not speak, they made unintelligible so
to meet the public's expectations of non-v,
By letting the audience speak for and rep
focused their work on the audiences' inter
outside the cage interpreted their perform:
ethnography" held a mirror up to the audi
thought of "Native" and "undiscovered" p
ily assumed roles of power and of the colt
the Amerindians sexually, some dehuman:
them as if they really were zoo specimens
gized for taking away their land. I don't tt
view has changed much since people wen
The same basic reactions and perceptions
we are more conscious of and less comfOl
before.
M. Butterfly illustrates how, just as in Fu
tudes and expectations remain intact even
social circumstances change.
fIlE
Hoffman '98: Stereotypes as Reinforced Structure in M. Butterfly
STEREOTYPES AS REINFORCED STRUCTURE IN
UNDERGRADUATE REVIEW
commit suicide.
ate triumph is that he preserves his fantasy space
which might sabotage it. In a post-modem
dox, role reversals, and broken boundaries,
ve how stereotypes can be not only saved from
Ire further reified. Ultimately, Gallimard is not
,guises-they never enter his true conscious­
ation," he says. "And in imagination I will
1.
2.
M. BUITERFLY
59
NOTES
Theodore Roosevelt advised those wishing to become a world
power, "Speak softly and carry a big stick." This transfer of power
could be compared to a relay race in which the baton is the "big
stick."
Fusco and her partner Guillermo toured America and Europe with
an interactive performance art exhibit: inside a cage, they played
the stereotypical roles of "undiscovered" Amerindians from an
island off the coast of Mexico. They catered to the audiences'
expectations of what "primitive" (non-white) natives were like,
performing "traditional tasks" such as sewing voodoo dolls, and
conforming to the idea that foreign Natives should be spoken for
rather than telling their own story (at press conferences, the artists
did not speak, they made unintelligible sounds and gestures meant
to meet the public's expectations of non-white natives).
By letting the audience speak for and represent them, the artists
focused their work on the audiences' interactions and how those
outside the cage interpreted their performance. This "reverse
ethnography" held a mirror up to the audience to see what they
thought of "Native" and "undiscovered" people. The audience read­
ily assumed roles of power and of the colonizer. Some objectified
the Amerindians sexually, some dehumanized them by treating
them as if they really were zoo specimens, and one woman apolo­
gized for taking away their land. I don't think the "white" world
view has changed much since people were displayed in the 1800s.
The same basic reactions and perceptions are still in play, though
we are more conscious of and less comfortable with them than ever
before.
M. Butteljly illustrates how, just as in Fusco's experiment, atti­
tudes and expectations remain intact even as "real" political and
social circumstances change.
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Undergraduate Review, Vol. 10, Iss. 1 [1997], Art. 9
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THE UNDERGRADUATE REvIEW
WORKS CITED
Fusco, Coco. "The Other History of Intercultural Performance." The
Drama Review. Spring (1994): 143-167.
Hwang, David Henry. M. Butterfly. The Heath Anthology ofAmerican
Literature. Ed. Paul Lauter. Lexington: D.C. Heath and Co.,
1994.2822-2872.
Shimakawa, Karen. '''Who's to Say?' or, Making Space for Gender and
Ethnicity in 'M. Butterfly.'" Theatre Journal Oct. (1993): 349.
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