The Concept of the Perfect Lady Created by Gallimard in Butterfly - Essay Example

There are many that believe the perfect woman is one to be idolized because of the attributes which the perfect woman has. This is defined by social constructions that relate to gender and ethnicity. In the play “M. Butterfly” by David Henry Hwang, Gallmiard creates an ideology of the perfect woman. However, his definition is immediately broken down by definitions of gender and ethnicity which don’t become true. The stereotypes which Gallmiard associates with the perfect woman through Song Liling are unrealistic and fictitious, specifically because it is based on a false image of gender and ethnicity. Gallmiard believes that the perfect woman is submissive, feels grateful to a husband for taking care of her and does everything possible to sacrifice for her husband. These stereotypes and perspectives relate to ethnicity and gender stereotypes, despite the realities and characteristics that are known throughout the play. Breaking down the illusions and stereotypes of the perfect woman become the main ideology while Gallmiard displays what the perfect woman is supposed to be. The first way that Gallmiard creates the idea of the “Perfect Woman” is by creating the stereotypes between East and West, all which are based on assumptions and fantasy type ideologies. He builds the belief that Asian women are better than American women, specifically because they are more submissive to a man and are grateful only to be with a man. This is linked to the Western women, which Gallmiard defines as not being devoted and of remaining independent of men. The problem then relates to the continuous contrast between Asian Americans and Euro-American perceptions of both sides. From the viewpoint of Gallmiard, the perception is based on the Eastern superiority of women because they are not as dominant. For instance, Gallmiard states “The Oriental woman: when she’s good, she’s very, very, very good. But when she’s bad, she’s Christian!” (III, i). This shows how Gallmiard has divided East from West with his thoughts of the perfect woman. However, the Eastern perspective is one which disassociates the European – American ideologies because of the belief in divisions between gender and the misunderstandings of perspective that this takes between both races. The controversy which arises with the stereotypes are based on the beliefs of Gallmiard with the Asian characteristics, as well as the Asian beliefs of what Euro-Americans see in Asians as being submissive. Both of these create fantasy like ideas of each culture that are then broken at the end of the play (Pao, pg 1). The conflicts which arise occur from both sides and show the East vs. West ideologies. This not only involves the main identity but also relates to the politics and the historical moments that take place in the play. For instance, when Gallmiard decides that he loves Song, it comes from the idea that she is Asian and will remain subservient. This leads to him believing they should get married. “Song: Do I sound silly, a slave, if I say I’m not worthy? Gallimard: Yes. In fact you do. No one has loved me like you…. Song: Rene, we Chinese are realists. We understand rice, gold, and guns. You are a diplomat. Your career is skyrocketing. Now, what would happen if you divorced your wife to marry a Communist Chinese actress?” (Hwang, II, viii). This example shows the several layers of Eastern and Western stereotypes as well as the difference between stereotypes and realism. Gallimard believes that Song loves him because it is stated that he is not worthy and is like a slave. This relates to the Eastern concepts of women and the thinking among several. However, Gallimard believes that this is part of the perfect woman. When this is followed by the Chinese realist ideology and the Communist statement, Gallimard further supports the idea. At the same time, the Chinese outlook is one which believes in the decision to divorce for someone new and to take risks without looking at reality. These conflicts continue to present themselves in forms of stereotypes throughout the play. This shows that the conflict of stereotypes is also one which is divided by reality and illusion of the stereotype. Another aspect which is created with the stereotypes and which creates an illusion come from the gender differences which are created. This not only occurs with the main stereotype of the subservient woman and the dominant man. There are also implications that relate to homosexuality, subservient men and dominant women. The division which is created is based on culture. For instance, the subservient woman is also one which takes an Asian identity while subservient men are seen as feminine, specifically with Song posing as a woman the entire time. The dominance then comes from both the men and women in the play and the types of relationships which they create from this. Sexual differences don’t become the main stereotype created, but instead gender identity relates to the culture and the exploitation of men and women of both genders, both through homosexuality as illegal and the expectation that subservience creates the perfect woman. The stereotypes which are created from several viewpoints show how gender stereotypes are based on assumptions and illusions about culture and misunderstandings of sexual differences and perceptions (Haedicke, pg. 32). There are several points which show the same ideology of gender identity and the breaking of barriers. Song is the character that is able to question the identity, specifically because of the subservient attitude which is carried. When it is revealed that the relationship is based on homosexuality, then the attitude changes to show the stereotype of gender identity and how it forms the relationship of the perfect woman. The perfect woman is an act that is played by a man and which separates the identity from gender. At the same time, gender identity with lust is displayed with the American woman and the picture perfect figures they have, as described by Gallimard with his past relationships and from the magazines he looks at (II, vii). These stereotypes are followed by the expectations of men to remain dominant and to decide to show their ability to conquer. Gallimard keeps his identity with the belief that others should knock at his door and learn his secrets of having been loved by the perfect woman (I, iii). These attributes show the stereotypes that move outside of gender and into attitudes that can easily be altered or changed depending on the ideology of dominance or submission in a given situation. The concept of gender and ethnicity, as well as the relationship to identity, becomes one which is associated with power relationships. The main way in which Hwang approaches this is by creating an essentialist identity. This means that if one is American, Asian, female or male, they must carry specific attributes and identities. These stereotypes are deeply engrained into a sense of delusions which are carried by various individuals and which create the stereotypes. The power relationships which are created take place because of these stereotypes. The power is one which Gallimard defines with his dominance and ability to win the love of the perfect woman. However, the power of Song comes from the secret and the ability to make him fall for his love. For instance, Song states “Comrade, in order to better serve the Great Proletarian State, I practice my deception as often as possible. I despise this costume, yet for the sake of our Great Helmsman, I will endure it, along with all the other bourgeois perversions” (III, vi). This example shows the power relationships with the perfect woman accepting the bourgeois perversions and working for the state, while the male identity holds a sense of dominance, even if it is based on deception. The power relationship is based on the stereotypes, expectations and the essentialist identity that is created between the different figures. The difference between powers comes as an illusion which verses the reality of the situation (Kondo, pg. 5). The power relationships which are held by Gallimard and Song show the distinct divisions that are created and which lead to the stereotypes of gender. Song shows this with statements such as “being an Oriental, I could never be completely a man” (III, i). This immediately allows Gallimard to take a dominant position and creates a sense of power over Song. However, it also shows how the divisions between West and East with gender and ethnicity create the main sense of power. It is the domination that Gallimard has over Song that creates the concept of the Perfect Woman as well as the power play which takes place. While Song accepts this because of ethnicity and perceived gender, there is also the understanding that the end power is one which comes from the submission and the decisions created that move outside of the stereotypes of sboth. The reality is what creates the end power, while the illusion of Gallimard creates the perception of power throughout the play. The concept of the “Perfect Woman,” created by Gallimard in “M. Butterfly,” is one which consists of identity as the main ideology. This relates to ethnicity, gender and the ability to have a sense of power and domination over another. While this particular viewpoint is seen with Gallimard’s several assumptions and stereotypes, there is also a contrasting and realistic ideal that breaks this stereotype. This comes from the realistic gender identity, attitudes and perceptions created from the different cultures and sudden shifts in the story that change the Perfect Woman into one which doesn’t fit the reality of the situation. Each of the stereotypes are broken to show how Gallimard’s understanding of the Perfect Woman is an illusion and stereotype that eventually leads to his losses in life and identity. Works Cited Haedicke, Janet. “David Henry Hwang’s M. Butterfly: The Eye on the Wing.” Journal of Dramatic Theory and Criticism 7 (1), 1992. [periodical]. Hwang, David Henry. M. Butterfly. New York: Plume Publishing, 1993. [book]. Kondo, Dorinne. “M. Butterfly: Orientalism, Gender, and a Critique of Essentialist Identity.” Cultural Critique (16), 1990. [periodical]. Pao, Angela. “The Critic and the Butterfly: Sociocultural Contexts and the Reception of David Henry Hwang’s M. Butterfly.” Amerasia Journal 18 (3), 1992. [periodical]. Read More