Masculinity of M Butterfly

1557 Words7 Pages
Metamorphosis of Gallimard’s Masculinity Power and confidence are two elements that define the west, which David Henry Hwang uses to introduce the gender roles of masculinity and femininity in M. Butterfly. Prior to the revelation of Song’s true identity, Gallimard holds the stereotype of the dominant and masculine nature of the west, whereas Song portrays the submissive and feministic nature of the east. However, these gender roles swap after Song reveals his true identity, completely destroying Gallimard’s sense of masculinity. Hwang illustrates Gallimard’s metamorphosis from masculine to feminine through Gallimard’s taste of power and confidence, Gallimard’s eventual submission to the greater power and Gallimard’s concluding exchange of power and gender roles in his and Song’s relationship. Gallimard continues to feel empowered and undergoes a sense of masculinity when he has control over Song, specifically, control over her actions and emotions. Gallimard thinks he can be a “…Western man who catches a butterfly, pierce its heart with a needle, then leave it to perish. [He] began to wonder: had I too caught a butterfly who would writhe on a needle?” (28) Gallimard’s thoughts of cruel action towards Song - his desire to “pierce” and “writhe” her, gives him a sense of liberation as he knows that she will still return to him. Even by using the word “caught”, he treats Song as an object, indicating that she is his property and only he can control and harm her. Furthermore, Gallimard knows that “this little flower was waiting for [him] to call, and, as [he] wickedly refused to do so, [he] felt for the first time that rush of power – the absolute power of a man” (28). He once again intentionally acts “wicked” towards Song to demonstrate that he has the freedom to purposefully act cruel towards her. Also, Gallimard seems to be stoic towards Song’s emotions and
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