Contrast the play against the real-life scandal between Bernard Boursicot and Shi Pei Pu. What authorial liberties does Hwang take in adapting this story to the stage? What might this suggest about the aesthetics and/or ethics of adaptation?

Song’s narration comes only at end of the play to correct the way Gallimard has been telling the story. If Song had come in at an earlier point, how would it alter the play? Which aspects of Song’s character do you want to learn more about? Conversely, which aspects are you content not knowing?

While the play implies that love is inherently selfish, which elements portray examples of selfless love? To what effect?