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"We wear the mask" by Paul Laurence Dunbar analysis
We Wear the Mask essay introduction
Paul laurence dunbar We Wear The Mask Introduction
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Analysis of We Wear the Mask by Paul Laurence Dunbar
“We Wear the Mask” by Paul Laurence Dunbar is a renowned piece of
literature that has been the subject of various literary criticisms
over the years. Because of the poem’s indirectness and generalized
ambiguity, the interpretation of the “we” that wears the “mask” and
why they do so is left unanimously undisclosed. It is up to the
interpreter and the support given by the interpreter to produce a
valid representation of the meaning that lies beneath the mask. One
such analysis of “We Wear the Mask” is presented by Peter Revell on
page 71 of his book Paul Laurence Dunbar, which was published in 1979
by G. K. Hall & Co. Unfortunately, the given argument nearly shames
the profoundness of Paul Laurence Dunbar’s poem with its brevity and
lack of sufficient support.
In Revell’s short and weak interpretation of Dunbar’s “We Wear the
Mask,” he suggests that it is impossible for the non-black reader to
draw inspiration or admonition from the subject matter, and that it
was written from within a black experience and exclusively for a black
audience. However, this analysis can be viewed as primarily invalid
because as Revell makes this claim, he fails to provide solid evidence
from the text that would fully booster his assumption. He merely
pulls an entire stanza from the poem to illustrate his point, without
referencing specific words or phrases that would elucidate his
argument.
If Revell were to have supplied more fully the evidence of Dunbar’s
other poetry of the time, showing how it objectively displayed a black
theme and straightforwardly addressed the injustices of slavery, then
a parallel of similarity could have been drawn between the two and his...
... middle of paper ...
...s one such “mask” that profoundly affected
Dunbar personally.
Revell failed to see the possibility that “We Wear the Mask” could
represent anything but the turmoil the black slaves endured because of
Dunbar’s disposition as a descendent of slaves. However, the
interpretation that this poem speaks to all people is supported more
fully through the text as a result of Dunbar’s use of the universal
“we” in coercion with religious reference. All people wear this
“mask” and until one figures out the most appropriate way to take it
off, “the world dream otherwise” and all will continue to fool and be
fooled by the world’s countless masks.
Works Cited
Revell, Peter. Paul Luarence Dunbar. United States of America: G.K.
Hall & Co., 1979
Brawly, Benjamin. Paul Laurence Dunbar Poet of his People. New York:
The University of
North Carolina Press, 1936.
African-Americans’/ Affrilachians’ Suffering Mirrored: How do Nikky Finney’s “Red Velvet” and “Left” Capture events from the Past in order to Reshape the Present? Abstract Nikky Finney (1957- ) has always been involved in the struggle of southern black people interweaving the personal and the public in her depiction of social issues such as family, birth, death, sex, violence and relationships. Her poems cover a wide range of examples: a terrified woman on a roof, Rosa Parks, a Civil Rights symbol, and Condoleezza Rice, former Secretary of State, to name just a few. The dialogue is basic to this volume, where historical allusions to prominent figures touch upon important sociopolitical issues. I argue that “Red Velvet” and “Left”, from Head off & Split, crystallize African-Americans’ /African-Americans’ suffering and struggle against slavery, by capturing events and recalling historical figures from the past.
The theme of the past is a key aspect of 'Beloved' and the 'Selected Poems of Paul Laurence Dunbar' as the narrators, in both texts, have a nostalgic perception of the many years that have passed, whether the memories are pleasant or grim they are reflected upon with – at the very least – a hint of admiration alongside a deep longing to return to the past. Similarly, in Arthur Miller's 'Death of a Salesman', the tragic hero, Willy Loman, is also constantly drifting back into the past to when his sons were ambitious young men and he was a successful businessman. 'Beloved' was set after the American Civil War in 1873, where many black people were heavily mistreated and suffered long and gruelling years of slavery. The novel was written in 1987, but the author was able to capture the hopes and dreams of most Black Americans whilst simultaneously criticising the treatment they received at the hands of a racist society. Paul Laurence Dunbar also uses the same context in his work, again depicting the longing to be freed from a past life of slavery, which is particularly conveyed in his 'Invitation to Love'. Contrastingly, in 'Death of a Salesman' Willy also yearns for the people of his past, such as Ben Loman, his older brother, who was his role model of success for himself and his sons. In 1945, World War 2 had ended and left American citizens financially very well off and by 1949, agriculture became a difficult job as the Government was more interested in co-operate farms, thus providing a new American Dream; working in high-end businesses to gain a large salary and a respected status. This was Willy Loman's dream, however Arthur Miller used his protagonist to portray how competitive and cut-throat the business world was and how emplo...
Behind a Mask is a book that demonstrates the power a woman possesses. During a time in which those who are not rich are considered mere human beings, Louisa May Alcott creates a character by the name of Jean Muir who surpasses the society she lives in. Muir is a woman who seeks to have a prestigious title that will give her the recognition she desires. As governess to the Coventry family Muir puts in play a plan to marry Sir John, the old uncle in the family, whose title she wants. In the process of getting sir John’s tittle Jean causes controversy in between the family which results as a positive thing for the family as a whole. While stepping over the boundaries set by her society, Muir takes a journey which she must face with intelligence and courage.
"Paul Laurence Dunbar." Contemporary Authors Online. Detroit; Gale, 2002. Literature Resource Center. Bowie High School, Arlington TX. 19 Nov. 2009.
The work, the Souls of Black Folk explains the problem of color-line in the twentieth century. Examining the time following the civil war the author, W.E.B. Dubois, explains the African American experience of living behind the “veil”. To fully explain the experience of living behind the veil, he provides the reader with situations that a black race experiences in reconstruction. This allowed the readers to metaphorically step into the veil with him. He accomplishes this with the use of “songs of sorrow” with were at the beginning of each chapter, and with the use of anecdotes.
The inconsistent American view of integrity exposed in “We Wear the Mask” Paul Laurence Dunbar and “Theme for English B” Langston Hughes acknowledges the struggle between how society views African Americans and how the community views itself. Circumstances were difficult in America amongst the end of the 19th and beginning of 20th century. An immense amount of changes were happening, and numerous people had a troublesome time dealing with them. African Americans specifically got in a culture that showed up to more superior to anything it had been before and surrounded by the Civil War. The truth was, things simply weren 't so divine. African-American of this time period are prime cases
While exploring an unknown island and struggling to survive, a group of schoolboys reveal their primitive, barbarous identities in William Golding’s work, Lord of the Flies. Similarly, Paul Laurence Dunbar, an African American poet, describes the hidden nature of individuals in order to protect themselves and conceal their pain. Golding’s novel and Dunbar’s poem, “We Wear the Mask,” both express masks as means of escaping reality and a source of strength; however, the pressures of society suppress the characters in Dunbar’s poem while the boys in Lord of the Flies unleash true feelings through their innate savageness.
Du Bois' metaphor of double consciousness and his theory of the Veil are the most inclusive explanation of the ever-present plight of modern African Americans ever produced. In his nineteenth century work, The Souls of Black Folks, Du Bois describes double consciousness as a "peculiar sensation. . . the sense of always looking at one's self through the eyes of others, of measuring one's soul by the tape of a world that looks on in amused contempt and pity" (Du Bois, 3). According to Du Bois assertions, the Black American exists in a consistent "twoness, - an American, a Negro"(3). Further, he theorizes, the African American lives shut behind a veil, viewing from within and without it. He is privy to white America's perspective of him, yet he cannot reveal his true self. He is, in fact, protected and harmed by The Veil.
"For now we see through a glass, darkly" --Isiah 25:7 W.E.B. Du Bois's Souls of Black Folk, a collection of autobiographical and historical essays contains many themes. There is the theme of souls and their attainment of consciousness, the theme of double consciousness and the duality and bifurcation of black life and culture; but one of the most striking themes is that of "the veil. " The veil provides a link between the 14 seemingly unconnected essays that make up The Souls of Black Folk. Mentioned at least once in most of the 14 essays it means that, "the Negro is a sort of seventh son, born with a veil, and gifted with second sight in this American world, -a world with yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double consciousness, this sense of always looking at one's self through the eyes of others.
... collective consciousness of the Black community in the nineteen hundreds were seen throughout the veil a physical and psychological and division of race. The veil is not seen as a simple cloth to Du Bois but instead a prison which prevents the blacks from improving, or gain equality or education and makes them see themselves as the negative biases through the eyes of the whites which helps us see the sacred as evil. The veil is also seen as a blindfold and a trap on the many thousands which live with the veil hiding their true identity, segregated from the whites and confused themselves in biases of themselves. Du Bois’s Souls of Black Folks had helped to life off the veil and show the true paid and sorry which the people of the South had witnessed. Du Bois inclines the people not to live behind the veil but to live above it to better themselves as well as others.
Laurence Dunbar's "Ship That Pass In The Night" is a cry for opportunity for all men, regardless of race. Dunbar's poem directly parallels a passage from Frederick Douglass' autobiography that gives an account of his life as a slave. Both Douglass and Dunbar look out at the ships that sail by and see hopes for societal changes. Although they both sought change, their aspirations were quite different. Frederick Douglass watched the ships from ashore, wishing for freedom and for slavery to be abolished. Paul Laurence Dunbar on the other hand was already a free man. He was on a ship, still more of an opportunity than Douglass had, yet he was still in search for new opportunities for African Americans. The new opportunities that he seeks are upon a ship somewhere sailing in the dark night and keep passing him by.
It is Du Bois awareness of the veil that gives him the opportunity to step in and out it. He is not imprisoned and blinded by the veil, and writes not just to make black Americans aware of it, but also to give whites the opportunity to look at what they had created in erecting it, and how both races could play part in taking down the veil. The use of spirituals enforces the black Americans journey of striving for better in times of war, or the failed Reconstruction, and in the experience of living on the other side of the color-line, while trying push through it towards better times. The stories within the chapters are punctuated with beautiful and spiritual hymns, personal disclosures, facts, and psychological impacts that racism has imparted on the relationship between black and white Americans. The metaphor of the veil is impressive, and understood as a construct born of the color-line, which in turn created within the black American a double-consciousness. This condition would not allow them to see, or be themselves wholly, as the stereotypical images and beliefs of whites overshadowed them, made them invisible behind the veil. Du Bois real hope in constructing Souls of Black Folks was to give blacks a better understanding of their own nature and psychology as a result of others lack of regard for their blackness, while
Paul Laurence Dunbar’s “We Wear the Mask” is a lyric poem in which the point of attraction, the mask, represents the oppression and sadness held by African Americans in the late 19th century, around the time of slavery. As the poem progresses, Dunbar reveals the façade of the mask, portrayed in the third stanza where the speaker states, “But let the dream otherwise” (13). The unreal character of the mask has played a significant role over the life of African Americans, whom pretend to put on a smile when they feel sad internally. This ocassion, according to Dunbar, is the “debt we pay to human guile," meaning that their sadness is related to them deceiving others. Unlike his other poems, with its prevalent use of black dialect, Dunbar’s “We Wear the Mask” acts as “an apologia (or justification) for the minstrel quality of some of his dialect poems” (Desmet, Hart and Miller 466). Through the utilization of iambic tetrameter, end rhyme, sound devices and figurative language, the speaker expresses the hidden pain and suffering African Americans possessed, as they were “tortured souls” behind their masks (10).
George Orwell once said, “In a time of universal deceit - telling the truth is a revolutionary act. War is peace. Freedom is slavery. Ignorance is strength. Big Brother is watching you”. This quote by Orwell describes his novel 1984 and conspiracies that question the government today. Orwell talks about a “Big Brother” in his novel, a higher power that manipulates the government and society into believing what they want the people to think. Does this higher power exist in society today? This question haunts many people in society today, others have never questioned or thought about how the government operates. Believing that everything that happens in the world whether its war, terrorism, struggles in the economy, and many
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.