Feminism in M. Butterfly Essay -- David Henry Hwang

Feminism in M. Butterfly In the 1989 drama M. Butterfly, the masterwork of contemporary American playwright David Henry Hwang, the topic of sexual politics underlies all other themes, and creates a tension between the genders that pervades throughout the text; moreover, Hwang subverts traditional thematic aspects of sexual politics by questioning the most fundamental unit of sex by considering the very nature of gender and what defines a male or a female. These elements unite and develop a penetrating examination of feminism, and an inspection of the role of females in both Western and Eastern societies as they relate to males, and an exposà © of the inequalities of gender which are present, perhaps fundamental, in both cultures. The tug-of-war for control, both sexual and intellectual, between male and female characters, especially Rene Gallimard and Song Liling, is ubiquitous throughout the text, and culminates in the final scene where Rene commits seppuku, or Japanese ritual suicide. In M. Butterfly, Hwang views feminism from a variety of unusual lenses by looking at both genders, and serving to draw attention to the traits and qualities of both using dialogue, character study, and clever dramatic techniques. Any discussion of feminism in M. Butterfly must be chronological, and show the development of the characters over time; this allows the reader and audience to mark the character study of the selves over duration of the drama. In the opening act the reader is introduced to a very feminine Song Liling, the character who first assumes the function of the female. Hwang acquaints the reader with Song dancing, and in female garb, in the stage directions of the first act; yet the audience can guess as early as two page... ...ruitless and impossible way to establish a productive, working relationship between men and women. From the three gossipers to Gallimard and Marc, from Gallimard and Renee to Gallimard and Song, Hwang inspects feminism using a new and unusual viewpoint throughout the play, which he asserts in various ways. Hwang states that only as equals can male and female coexist in harmony; revealing underlying sexism in both the cultures of East and West, Hwang shows there is much room for improvement, and that education of gender would be a valuable thing. M. Butterfly is a strong and creative drama driven by strong and creative ideas, but none are as clear or as forceful as the inequalities between men (the errant need to control) and women (submitting to these controls) and their sources (male insecurities, fear of vulnerability), which he discloses, and ultimately, condemns.