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Essay on double consciousness
Essay on double consciousness
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William Shakespeare once proclaimed that “the past is prologue.” Are we really bound by history? Is our present a mere continuation, a monomorphic continuation if you will, of the novel that is our existence, or can it be developed in a bifurcated fashion? Paul Lawrence Dunbar, prominently noted as the "Poet Laureate of the Negro Race" (p 905) is a prime example of how the past can be depicted in a multifold manner. His two works " We Wear the Mask" and "An Ante-Bellum Sermon" illustrate the double-consciousness that Dunbar was most notorious for. It must be noted, however, that these two works, despite differing in forms of dialect, are conflations of one source, through an intrinsic connection. One will evidently see both the apparent polarity …show more content…
As one maneuvers through the poem, he/she will notice a transition of thought, not necessarily of time. In other words, the time frame does not shift throughout the poem. The past is not a date or a mark on a timeline, it is the previously held belief of the speaker. What shifts is the speaker's perspective of the mask. He transitions from mourning the conditions of those wearing it(past view), to perhaps noting its benefits( present view). Written in iambic tetrameter and in the plain English verse, the writer continually bombards the reader, through continuous repetition, the idea that the Negro hid his emotions behind "The Mask." This is done to emphasize a sense of deception and belief that the average negro is a happy soul, rather than a "tortured [one]" (p 918,11) as Dunbar implies. The first stanza in itself is a lament of the "Negro's" conditions as perceived by the world. It is a representation of the past, in that the past is the speaker's past lament of the mask, not a past event in history/time. The first two lines of the poem, "We wear the mask that grins and lies, It hides our cheeks and shades our eyes,-" (p 918,2) are incorporated to introduce the image White Americans see when visualizing the slave. The Negro creates a "smile" despite possessing a "... torn and bleeding …show more content…
The two contradicting emotions create a juxtaposition, similar to that of the former work. However, what may be less evident is that unlike in the former work, We Wear the Mask, makes reference to the past by actually shedding light on a past time period. The Biblical references ensued hope in the lives of slaves who were enslaved in the present moment. In the former, the speaker lamented the utilization of the mask by slaves and expressed optimism of the future use of the mask. This was the manner in which the past was incorporated into the poem; we did not maneuver through history but simply through thought. The present(first and second stanza) is gateway to the future, creating the duality of emotions. Conversely, within the latter poem, the speaker acknowledges the tension of the present(Pre-Antebellum) and uses the Biblical stories of a past time period to form a gateway to the future, in which "Moses"(pp 912-914) relinquishes them from the bondage of
In dire situations, it is common for people to seek moral guidance. William Wordsworth and Paul Laurence Dunbar did this through poetry. The two poems, “London, 1802” and “Douglass,” share a similar underlying cause, sentence formation, and the conditions of their particular country, but differ drastically in tone, use of comparisons, structure, and the author’s goals.
The veil mentioned in the book serves as a dark shadow which represents being shut out of the world, it also serves as a mask concealing contempt. It was within this veil that Blacks experienced oppression “Then it dawned upon me with a certain sadness that I was different from the others; …shut out from the world by a vast veil. I had no desire to tear down that veil, to creep through; I held all beyond it” (2) In the first essay Dubois describes his realization of the veil, in this he realized the troubles he would face because of his skin color. He noticed that those who were unveiled lived lives with “dazzling opportunities” which he longed to have.
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.
...one existing trapped within the view of hegemonic society; angry, but powerless so long as he remains in this state. Yet Sanchez provides a succinct plan for Black Americans in their quest to ascend the Veil: to exist as both African and American while feeding white America a pacifying view of a half truth-destruction fueled by deadly ignorance. The speakers of the poems are merely victims of the same system, seeking the same freedom. While the works of these authors differ greatly, one characteristic is common in both works: The desire for power to ascend the Veil that hangs heavily upon them like a cloak that prevents their ascension. The desire to live beyond the Veil.
Even if these poems had the same theme of the delayment of a dream, each poet’s vision towards this dream is explored differently, where readers are able to grasp both the effects and potentials of a dream deferred, through the use of imagery. Nonetheless, both poems had fulfilled the role of many distinguished poems during the period; to communicate African-Americans’ desires to live a life of equality and free from prejudice.
The Concept of the veil has been a significant symbol of clearly differentiating from the whites, in aspects of political, economical and social prospects. Durkheim explained symbol as “something that stands for something else”(pg. 135). It is a symbol that calls up shared notions and values. In the example of the Blacks in the south, the veil symbolized an “iron curtain” separating the two races, separation and invisibility, of the black and white. The veil had previously been worn because of previous traditions demanding a clear separation of the sexes. The veil is seen as a social barrier to prevent the “others”, black African Americans, from surpassing into the clean and pure white world. Nonetheless Du bois also states, that its possible for one to, lift up the veil when one wishes, and he can also exist in a region on neither side, white nor black, which shows Du bois’ many different meaning and function with the symbol of the veil.
One pattern that is easily identified is that of religiosity. The mission of this poem was to reminds the slaves that God would free them one day, just like he did the Israelites. However, in order for a slave to believe that, he or she needed to have a belief in something greater than his or her current situation. Yet, they could not be impatient with this belief and think that it was coming soon. In “An Ante-bellum Sermon,” Dunbar tells his audience “Don’t you git to brigity;/An’ don’t you git to braggin’/Bout dese things, you wait an’ see.” If a poem was spoken like this during slavery, it would be sure to prompt the slaves not take their freedom into their own hands. Therefore, throughout the poem Dunbar is consistently reminding them that they will have to suffer first in order to one day gain their humanity and freedom. With an understanding of these Black Arts patterns, the mission of the poem is
I have written many poems in my life, but I have never written a poem by embodying another person. I tried to think about Douglass’s emotions and feeling and write from that position, rather than just by presenting a historical overview of what slavery was. I wanted to connect with Douglass and use his narrative to write my poem. I know that I will never be able to feel exactly wha...
“We Wear the Mask” by Paul Laurence Dunbar and “Richard Cory” by Edwin Arlington Robinson are two poems that depict how many people hide their feelings from others. The two poems are similar in theme, but are told from different points of view and differ in plot.
This chapter attempts to focus upon the problem of identity that confronted the African-Americans in America. Thus it investigates the African-American’s identity dilemma as shown in the poetry of Claude McKay and Langston Hughes. At the same time, it provides a solution for the African-American’s problem of estrangement and identity crisis. But while McKay’s self-rejection of his blackness urges him to trace the quest for identity in exile, Hughes’ self acceptance of his blackness enables him to reconcile with the white oppressors who stripped the black race from its identity. Moreover, it sheds light upon the psychological consequences that resulted from the violation of the African-American’s identity. Furthermore, this chapter shows the African-American’s self debasement, helplessness, and double consciousness that emanate from the sense of uprootedness.
These constant feelings of discontent, and annoyance were seen frequently by African Americans who suffered from injustice acts from the white majority during these times. Many of the poems written during this time showed some sort of historical reference of maltreatment, or inequality. For years, African Americans were not allowed to have a voice, and if they did they wen’t unheard. However, when poems got published, the deep emotion, and rage that African Americans lived through for many years was released to the public, and shocked a majority of people when they quickly became influential to society.
The contradiction of being both black and American was a great one for Hughes. Although this disparity was troublesome, his situation as such granted him an almost begged status; due to his place as a “black American” poet, his work was all the more accessible. Hughes’ black experience was sensationalized. Using his “black experience” as a façade, however, Hughes was able to obscure his own torments and insecurities regarding his ambiguous sexuality, his parents and their relationship, and his status as a public figure.
To analyze Hughes’s poem thoroughly, by using Eliot’s argumentative essay, we must first identify the poem’s speaker and what is symbolic about the speaker? The title (“The Negro Speaks Of Rivers”) of the poem would hint off the speaker’s racial identity, as the word Negro represents the African-American race not only in a universal manner, but in it’s own individual sphere. T.S. Eliot’s essay, mentions that “every nation, every race, has not its own creative, but its own critical turn of mind”(549). In another sense, different societies have their own characteristics, however, with a racial mixture, shadowed elements can be formed. If one were to analyze in between the lines of Eliot’s essay and Hughes’s poem, he...
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 be otherwise” (13). The unreal character of the mask has played a significant role in the lives of African Americans, who pretend to put on a smile when they feel sad internally. This occasion, 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).
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.