Assignment task:
In 1-2 sentences restating the ideas of the quote (summarize the quote). Next, add 2-3 sentences explaining why this quote is important to my main idea of the paragraph (analysis).
Do you think the topic is fine for essay draft?
The Stereotypical Fantasy in the Play
In her capacity as a government spy, Song/Butterfly was dispatched on a mission to monitor French Ambassador Gallimard. Butterfly's classic "oriented" manner, acting out the submissive, quiet, and subordinate features, is one of many aspects of Butterfly that intrigue and captivate Gallimard. All the while in the play, Gallimard has a sense of proficiency since, after all, he is the French Ambassador. (Kondo et.al, Pg10). From the first scene, in which he claims to be famous, to the last, in which he dies, he asserts his superiority in every way possible. White male supremacy is shown in Gallimard's behavior of always being in control. Westerners tend to think they can justify every tenet of their faith and any action they take. Thus, by creating artificial distinctions between whites and non-whites, the white culture may continue to provide a rationale for its continued dominance over other cultures and the land. Butterfly does not deny any of the stereotypes that allow Gallimard to exploit him and his knowledge, so Gallimard remains in control, or at least believes he is; throughout the play, he reaffirms himself about this as he calls her "(his) poor little treasure," "(states) she feels inferior to them and me". Hence, Hwang displays sexual and racial prejudice in his play through Gallimard and Song.
Rene Gallimard and other Caucasian characters are powerful government officials who boast about their superiority to Asia. To Gallimard, men's sexuality is synonymous with dominance over women, while women's is synonymous with subservience to males. Song seems to acquiesce to Gallimard's every whim, and she regularly displays passive modest gender stereotypes. According to Hwang Gallimard with Song, there was a moment Gallimard recognized himself to be uncooperative and hesitant to show love. Still, he is blessed with the utter devotion of a gorgeous Eastern vocalist woman. Song does not want to reveal much about herself; therefore, she always stays clothed. When Song's true gender is exposed, it becomes clear that Gallimard's position of authority within the partnership was illusory from the start and that Song was, in fact, the dominant partner the whole time. When it is revealed that a female is actually a male and that the Asian male has utilized the Caucasian male, Hwang successfully subverts gender and cultural prejudices in M. Butterfly. By subverting these preconceptions, the characters force the viewers to examine their preconceived notions about gender and cultural norms.
After realizing that Song had lied to him, Gallimard takes his own life out of a desire to go out with honors rather than shame. Gallimard has been fooled, but he also must be told the truth-that he has no business imposing his prejudices on Asian women. Because he cannot rationalize his behavior, he takes his own life. Gallimard's desire for power and control in this scene clearly shows racial and sexual stereotyping.
Hwang displays power in many ways in his play; Song points out that the submissive Asian woman and the harsh white guy cherished Western fantasies when Gallimard praises her aria from Madame Butterfly. (Remen et.al, Pg 396) Toulon, Gallimard, and Marc's political views reveal that they associate male dominance over females with Western dominance over Eastern nations. The French have no preconceived notions about the cultural differences between Japanese, Chinese, and Vietnamese people. This play was interesting because Hwang uses artful and even humorous means to explore how Westerners view Asian women.