18 pages • 36-minute read
Prayer to the Masks
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Symbols & Motifs
Masks
Masks appear frequently in the first half of Senghor’s poem, becoming a physical representation of history, culture, and the dead. In the opening lines, Senghor establishes the masks as vessels spirits live through: “Masks! Oh Masks! / Black mask, red mask, you black and white masks, / Rectangular masks through whom the spirit breathes,” (Lines 1-3). The various colors suggest a multitude of masks used for various ceremonies, each one a unique identity. By addressing multiple types of masks, the narrator addresses a larger audience of spirits, showing Senghor is considering a wide scope of his people’s history as he writes. Using masks, Senghor quickly creates an image that represents an expansive history while still being concise.
After giving the spirits a physical form, Senghor allows the narrator to admire their characteristics, honoring history and the past. The masks are smooth, free of human imperfection, but the narrator is nevertheless blessed with some of the spirits’ traits: “Masks of maskless faces, free from dimples and wrinkles. / You have composed this image, this my face that bends / over the altar of white paper.” (Lines 10-12). The spirits might be embodied in masks, but they aren’t hiding faces behind their forms. Rather, they’re free of impurities, cleansed in eternity. With the smooth and ageless masks, Senghor represents the spirits of deceased Black people with grace and beauty.
Anatomy and Bodily Functions
Senghor uses human anatomy and bodily functions to create visceral and surreal moments throughout the poem. Like the spirits embodied in masks, other nonhuman entities are described in physical ways. For example, the decaying power structure in Africa is depicted in a bodily form: “Now while the Africa of despotism is dying—it is the agony of a / pitiable princess,” (Lines 14-15). The pitiable princess creates a distinct image, making the death of despotism (cruel and absolute rule) feel impactful and significant.
Later in the poem, Senghor utilizes bodily functions again to craft evocative lines. As the narrator continues to recognize the power of Black identity and culture, they portray their joy with sexual force: “For who else should ejaculate the cry of joy, that arouses the dead / and the wise in a new dawn?” (Lines 25-26). The image of ejaculating joy is evocative and distinct. Joy becomes physical, bodily, gaining tactile force. By imbuing nonhuman subjects with bodies and physical functions, Senghor gives his commentary on topics like power and joy more weight. The resulting images become strange and surreal, aesthetic decisions found throughout the Négritude movement.
Rhythm and Dance
When “Prayer to the Masks” turns its focus to the future, Senghor writes of the cultural power his people have, exemplified in their dance. Toward the end of the poem, the narrator sees that the rhythm of their culture can help heal a war-torn world: “For who else would teach rhythm to the world that has / died of machines and cannons?” (Lines 23-24). The call to teach rhythm to others suggests that African culture and practices should be shared with others, aligning with Senghor’s lifelong mission to promote and cherish Black identity. Rhythm, too, is represented as a healing agent for a dead world, making rhythm not only a symbol for Black culture, but also a positive practice that reaffirms the value and benefits of preserving and sharing Black culture. Senghor reinforces this sentiment at the end of the poem, concluding “Prayer to the Masks” with another powerful image of his people dancing: “But we are the men of the dance whose feet only gain / power when they beat the hard soil.” (Lines 31-32). Dance is associated with power, enhancing Senghor’s message that Black history and culture is resilient, joyous, and enduring.
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