Madame Butterfly

In Puccini’s 1904 libretto, the male lead, a tenor, is named F. B. (Francis Blummy) Pinkerton. In the 1906 version, he is named B. F. (Benjamin Franklin) Pinkerton. He is a US Navy lieutenant who serves on the “gunboat Abra’m Lincoln” (85). Butterfly considers him “so / Strong / So handsome!” (94). Some of her friends also consider Pinkerton handsome: “He is handsome, he seems a king to me!” (80). However, other characters do not share this opinion of Pinkerton’s looks. Everyone agrees that he is financially successful, though, and Pinkerton’s monetary power is seen in his purchase of the Nagasaki house and the money he has Sharpless give to Butterfly at the end of the opera.

In stark contrast to Butterfly’s fidelity, Pinkerton travels extensively and idealizes being a “Yankee” (72) with wives in multiple countries. He and Sharpless toast whiskey drinks after Pinkerton shares his plan to eventually “marry a real wife from America” (74). Unlike Sharpless, who—after meeting Butterfly—questions this plan, Pinkerton never second guesses his desires. Sharpless condemns Pinkerton’s stubbornness and infidelity, calling him “That devil of a Pinkerton” (106). However, once Pinkerton fulfills his plan and marries the American woman Kate, he does express some guilt. He says, “I see my heartless action, / And feel that I shall never free myself / From remorse” (118). Pinkerton tries to assuage his guilt from marrying another woman and demanding Butterfly give him their son by giving Butterfly money, which she refuses. This act, and her death, cements Pinkerton’s characterization as the opera’s antagonist and as someone who hopes for redemption through money.

Pinkerton has the final lines of the opera. He calls Butterfly’s name, not knowing she has mortally wounded herself. When he sees how Butterfly has harmed herself, Pinkerton “falls on his knees” (125). He remains here as the final curtain falls. His grief, as well as the grief of the other characters, illustrate how he mistreated and betrayed Butterfly, though the opera is ambiguous on what, if any, effect her death will have on his values and actions in the future. 

Sharpless, a baritone and supporting character, is the US Consul in Nagasaki. His stage directions frequently characterize him as “serious” (105), cautious (99), and emotional. He can be contrasted with Pinkerton in that Sharpless argues for fidelity to Butterfly. He advises Pinkerton to see how “lucky” he is to be marrying Butterfly, and to “Be careful!” (87) with her feelings. However, Sharpless does not go so far as to share Pinkerton’s real intentions with Butterfly. He keeps Pinkerton’s plans to marry an American a secret, honoring the bonds between men from the same country over any ethical concern about the effect on Butterfly. Sharpless often acts as an emotional guide for the reader (or audience). He is “deeply moved” (106 and 122) and “deeply touched” (107) by Butterfly’s plight. After Pinkerton betrays her, Sharpless considers Butterfly a “(Poor little creature!)” (103). He also considers Butterfly’s son a “(Poor little thing!)” (108).

Despite his seeming sympathy for Butterfly, Sharpless argues that she should give up her son to be raised by Pinkerton and his new American wife. Sharpless says to Suzuki, “[T]he child’s future welfare, / You see, must be protected” (117). Sharpless believes Pinkerton’s money will ensure a better life for his son than living with the poor Butterfly. Sharpless even asks Butterfly to “Make this sacrifice for his welfare” (121) or, in other words, to give up her child. His character develops the theme of Cultural Conflict and Exotification by arguing that living with a rich American is better than living with a former geisha in Japan. At the same time, he expresses the pathos (emotional resonance) of the situation: “Oh, the pity of it all!” (122). At the end of the opera, Sharpless “takes the child and kisses him, sobbing” (125), which Pinkerton never does. In other words, Sharpless is still characterized as the more moral person between the two men.

Suzuki, a supporting character and a mezzo-soprano, works as Butterfly’s servant. Her onstage actions include doing Butterfly’s makeup and hair, as well as helping her dress. She is also called “Miss Gentle Breeze of Morning” (70) by Goro when he first introduces her to Pinkerton. When she talks to Pinkerton, he is “bored by Suzuki’s loquacity” (70), even as this quality marks her as intelligent and clever in her use of figurative language, such as similes. Suzuki’s character is also very physically active, and she engages in several activities with Butterfly. They “embrace with emotion” (99) before Pinkerton returns. Then, they “scatter flowers everywhere” (112) and “sway their bodies lightly to and fro to the rhythm in a dance” (112) when they see his ship in the harbor. These activities show the bond between the two women.

As a foil to Butterfly, Suzuki keeps her family’s faith. While Butterfly converts to Pinkerton’s religion (Christianity), Suzuki does not. She is shown “praying” at the beginning of Act 2. Butterfly notes that “You, Suzuki, you’re always / So faithful” (120). However, Suzuki’s faith does not include believing Pinkerton is true to his word. Her doubt that Pinkerton will return to Japan causes Butterfly to say, “Have you no faith, Suzuki?” (98). This is ironic because Suzuki consistently demonstrates her faith. For instance, when she sees Kate (Pinkerton’s new American wife), Suzuki “falls to her knees” and says, “Hallowed the souls of our fathers!” (117). Another example of Suzuki’s intelligence is how she uses Butterfly’s knowledge of her faith. When she initially learns that Pinkerton wants to take his son to America, she does not reveal that information to Butterfly. Rather, she claims that she was “praying” (119) rather than talking to Kate.

At the end of Act 2, like Sharpless, Suzuki pities Butterfly, and expresses “Poor Madam Butterfly” (115). Pinkerton’s mistreatment of Butterfly deeply upsets Suzuki. This mirrors how Sharpless conveys emotion to the reader (or audience). Suzuki and Sharpless are both deeply moved by Butterfly’s plight. When Suzuki tries to remain with Butterfly, Butterfly “pushes her through the door” (124). This is a physical demonstration of how Suzuki is unwilling to leave Butterfly alone when Butterfly is thinking of suicide. Suzuki’s final act in the play is to, from offstage, push Butterfly’s son on stage through the door she was pushed out of. This temporarily halts Butterfly’s suicide attempt but, in the end, does not prevent it.

Goro, a tenor, is a minor, static character who works as a marriage broker. He arranges the marriage between Pinkerton and Butterfly for “one hundred yen” (73). Puccini’s stage directions for Goro describe him as acting “obsequiously” (69) or “with obsequious presumption” (71). In many cases, Goro does not speak but uses gestures to communicate. For instance, he mimes the action of Butterfly’s father’s suicide to Pinkerton, and Goro “signs to the servants to take away the tables” (89). While the men in the play like Goro, the women do not. Suzuki calls him a “Scoundrel! Rascal! Wretched viper! [...] Evil reptile” (109) for gossiping about Butterfly’s son. When Goro tries to get Butterfly to marry Yamadori, Butterfly calls him a “wicked fellow” (101). When Goro tells Butterfly that her son would be “treated as an outcast” (109) in America, she threatens him with her dagger. Goro “makes his escape” (110) before Pinkerton’s ship is seen.

Prince Yamadori, a baritone and divorcee, only appears briefly in Act 2. He wants Butterfly to divorce Pinkerton and marry him. He is arguably richer than Pinkerton, with “Houses, servants, treasures, at Omara / A truly regal palace” (103). Before Pinkerton’s ship is seen, he visits Butterfly with Sharpless and Goro. After Butterfly’s rejection of his marriage proposal (which is not his first attempt), Yamadori leaves.

Kate Pinkerton, a mezzo-soprano, also only appears briefly in Act 2. She is Pinkerton’s American wife who tells Suzuki that she intends to raise Butterfly’s baby “as if he were my own son” (119). In the 1904 version, she had more dialogue with Butterfly about raising the child, but in 1906, those lines were given to Sharpless. Her character is also very minor and static.