Prayer to the 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.