Identity Changes in "M. Butterfly"

I am really enjoying David Henry Hwang's M. Butterfly. Perhaps the most interesting aspect of this play is the various identities the characters perform throughout its duration. Gallimard, for instance, is a French diplomat living in China for a number of years. Although he is French, his alliance lies with China in a sense, because that is where his mistress lives. Gallimard declares that he hates the French and wishes to divorce his wife, whom has had been cheating on for years while they lived in China.

However, the most perplexing character in this play is Song, Gallimard's Chinese mistress. In many ways, Song's identity is compromised of opposing traits. Though she constantly states how the Western world is corrupt, she wishes to marry Gallimard and produce a child for him, in hopes that he will stay with her forever. And although she tells Chin that she has shamed China by allowing herself to be corrupted by a foreigner, she still wishes to be with Gallimard.

Perhaps the peculiar aspect of Song's identity is her ambiguous gender/sexuality. Although she dresses as and acts like a woman, Chin declares that Song is a "homo" because she has sexual relations with Gallimard. This scene accuses Song of being a man, who is engaging in a relationship with another man. But Song acts the part of a woman, telling Gallimard that she is pregnant with his child and dressing in delicate costuming.