What Is The Debt We Pay To Human Guile?

The short answer is that paying our due to human deception entails “paying” for the mask’s “service” of concealing our true identities. Who do we owe something to, exactly? It’s not so much a who as it is a what: we owe something to human cunning,…

What is the debt in the poem We Wear the Mask?

We wear the mask that grins and lies, that covers our faces and veils our eyes, this is the due we owe to human deception; we smile with ripped and bleeding hearts, and speak in a variety of ways.

What is the meaning of the poem We Wear the Mask?

Popularity: Dunbar’s poem “We Wear the Mask” is a lyrical poem on life after the Civil War for African Americans. The poet describes how the people were forced to act as though everything was OK, as well as the mental anguish they endured. Lyrics of Lowly Life published it first in 1896. The poem’s appeal stems from the fact that it depicts the tragic condition of African Americans who are compelled to hide their harsh reality and frustrations behind a façade of cheerfulness and joy. Dunbar received national acclaim for this poem, which established him as the first African American poet.
The poet expresses his feelings regarding the inequality that African Americans suffer through the art of masking as a survival tool. They shared an environment with unemotional and frigid people during the Civil War. They had to bury their hardships, misery, and pain at the depths of their hearts in order to survive. They were never able to reveal their hearts without experiencing misery and distress because of the poisoned and shared environment. The speaker argues that we should keep our sufferings hidden from others. Instead, we should allow them to believe in our disguised identities. African Americans, he claimed, were paying a high price for this tactic. Despite the fact that they are heartbroken, they show joy. Their plea to Christ is hidden under the mask’s flawed smiles. They sing their song to Christ because they are aware that God is aware of their existence.
Racism, appearance vs reality, lying, and deception are among the poem’s key topics. The poet depicts the impact of black people’s suffering as a result of their color. They are driven to master the art of pretending to be happy. Not only did this art protect them from racial discrimination, but it also allowed them to hide their true anguish from the rest of the world. The global theme can readily capture the reader’s interest, encouraging African Americans as well as people of other races.

What does torn and bleeding hearts mean?

The speaker begins with the poem’s title, so we already know that the topic of wearing masks is essential because we’ve heard it twice (once in the title and now in line 1).
We notice that he jumps directly to the point rather than building up to it, so there’s no mistaking what this poem is about: we wear masks that appear lovely (“grins”) but are nothing more than lies.
Also note the use of the word “we,” which enables the reader to envision himself as a participant in the poem’s subject, broadening the meaning.
But, since we don’t know who “we” refers to, we can conclude it’s referring to black Americans at the time, since Dunbar was a forerunner of the Harlem Renaissance, which occurred later in the 1920s.
So, Shmoopers, you know what that means: it’s a metered poem. We’re looking at iambic tetrameter in this situation, which implies unstressed and stressed syllables appear four times in each line. (Don’t get too worked up over the strange poetry terminology.) Check see “Form and Meter” for more information.)
Warning: This article contains spoilers (only because we just have to point a few things out). The poem is also written as a rondeau, which means it has 15 lines and just two repeating rhymes, as well as a refrain (a repeated line or lines of verse, similar to a chorus). Our first rhyme comes from this couplet: “falsehoods” and “eyes.” Check out “Form and Meter” for further information on this.
Let’s look at some of the symbolism and figurative language in these lines now that we’ve got the technical stuff out of the way.
We all know that masks are frequently employed as symbols for deception and disguise. We hide behind them for a variety of reasons, but it’s worth noting that these masks aren’t simply for show. What else could they possibly stand for? For some inspiration, look through our “Symbols, Imagery, and Wordplay” area.
In line 2, the people wearing them are referred to as “shadeyes” (figurative language), implying that they are unable to “see” clearly and, as a result, cannot be seen by others.
In line 2, there’s some symbolism that speaks to the core of our humanity and how we express (or don’t express) our genuine feelings. “Cheeks” are supposed to be the windows to our souls, while “eyes” are thought to convey how we’re feeling (think of blushing).
So, if both of these are “hidden,” we know we’re not expressing our true feelings.

Lines 3-4

The people who wear these masks owe it all to “human guile,” according to line 3. A fancy word check reveals that “guile” merely refers to a deception or a lack of truthfulness.
However, observe how the speaker adds “human guile,” implying that the poetry may be applied to any battle, not just the African American struggle. After all, lying and pretending to be someone we’re not is a part of everyday life.
These lines, like lines 1 and 2, contain a lot of metaphorical language that expands on the wider metaphor of masks signifying human deception: “broken and bleeding hearts we smile.”
Line 4 starts to reveal the secrets hidden beneath those masks, and we get the impression that there’s a lot of suffering involved.
Those hearts are not only “torn,” but also “bleeding,” emphasizing the battle and duality that the speaker is addressing (duality is similar to the Force in Star Wars; the Jedis protect the “Dark side” and the “Good side,” so we’re talking about opposites).
When someone is “torn,” it usually signifies that two opposing forces are tugging on them at the same moment. And if someone is “bleeding,” we can conclude they are hurtfiguratively speaking, of course.
When we contemplate the images of a mask, we comprehend the metaphor even better. There’s the deception on one side, and the truth on the other.
That “smile” adds to the mask’s original depiction of it giggling and lying. It also emphasizes the contrast in line 4, which begins with ripped hearts and finishes with a smile.
But here’s a question: by the conclusion of line 4, do we know who the “we” is referring to? We know the poem’s and poet’s historical contexts, but the speaker doesn’t go into detail. What effect does that have? Is there anything else going on here other the fact that it’s more universal?
If you said yesor simply “I believe so,” then look through our “Symbols, Imagery, Wordplay” section for further inspiration.
Lines 3 and 4 are a flawlessly rhymed couplet, once again in iambic tetrameter, much like the opening two lines. “Guilt” and “smiling” rhyme in this couplet, which is the poem’s second rhyming. So far, we’ve got our two rhymes for this rondeau. For further information, see “Form and Meter.”

Line 5

More fancy words: “myriad” refers to having a large number of something, almost too many to count. Subtleties, on the other hand, refer to things that appear to be subtle, mild, or less noticeable.
The word “mouth” isn’t what you use to eat with; rather, it’s a verb that means “to communicate.”
But, in the end, what does it all mean? The speaker appears to be addressing all of the courteous niceties that were customary among black Americans in the nineteenth century, particularly those used to approach white persons in conversation.
Remember that this poem was written before the Civil Rights movement in the 1960s, so things were quite racist back then, and black Americans were in danger if they didn’t apply these “subtleties.”
Also, by using the word “mouth” instead of “speaking,” the speaker generates the impression that these “subtleties” are mechanical, perhaps even less than human.
What’s the feeling behind line 5? Is there a void, a dullness, perhaps a lifelessness to it? If that’s the case, how does this line in particular relate to the poem’s overall mood and themes? For some inspiration, look through our “Themes” area.
On a technical level, the meter in line 5 is still in iambic tetrameter, despite the fact that the word “myriad” is pronounced in two rather than three syllables. Even though “subtleties” sounds slightly different, the rhyme agrees with lines 1 and 2. (a long E sound as opposed to the long I of “lies” or “eyes”).
There’s also some alliteration here. Both “mouth” and “myriad” begin with the same M sound, which helps to accentuate and preserve that distinctive swinging iambic pattern. (See “Sound Check” for more information.)

Which idea does the irony emphasize we wear the mask?

When something unexpected, frequently the polar opposite of what is expected, occurs, it is referred to as irony. The poem has the following lines: “In “We Wear the Mask,” Paul Laurence Dunbar used sarcasm to convey the idea that African-Americans present a false face to the rest of the world (the “mask”). The irony is in the fact that, thanks to the mask, they look to be happy, yet they are not.

The reader is left with the question, “Why the Mask?” as a result of this irony. Dunbar’s claim that black Americans hide their genuine feelings is puzzling. The poem’s middle verse expresses it most succinctly:

Dunbar claims that African-Americans do not want to display their skin for an unspecified reason “There are tears and sighs.” Perhaps their grief is too personal, or perhaps they believe that seeming joyful helps them get along in the world.

Even under the yoke of slavery, there was once (and possibly still is) a conviction that African-Americans were a strangely joyful people in some locations, among some people. Perhaps Dunbar is alluding to this assumption and demonstrating that it isn’t an accurate reflection of how African-Americans felt.

The fact that Dunbar establishes the irony and then leaves it to us to contemplate gives the poem a different viewpoint than if he just said why this is the case. Perhaps he is unsure himself.

What does we sing but oh the clay is vile mean?

Line 10 begins with a recurrence of the “smile” that hides everything, reminding us that the real problem is those bogus masks.
The speaker then appears to be seeking spiritual counsel (“O glorious Christ”) as well as the possibility of salvation (“souls arise”).
The speaker’s need for support that the world will not supply is emphasized by the connection to Christ.
Furthermore, “O wonderful Christ” is an apostrophe (a phrase that addresses someone who isn’t actually present), heightening the speaker’s emotional struggle.
In line 10, which begins with “smiling” and finishes with “cries,” we see even more dualism. With all of these competing forces, the speaker appears to be reinforcing the “torn” metaphor from lines 3 and 4.
As a result, by the third stanza, we are beginning to see more of the truth beneath the masks. As we become more aware of the reality, we observe that the speaker’s vocabulary becomes more emotional and distraught: “O glorious Christ,” “cries,” “tortured.”
And the simple truth is that these are “tortured souls” who are pleading for rescue, even though they pretend to “smile.”
There’s also more enjambment here, which keeps the ideas in lines 10 and 11 connected without breaking the flow. So, without any punctuation, we get the impression that the speaker is pondering on his people’s situation and need for spiritual instruction.
This couplet (“cries” and “arise”) corresponds with the first end rhyme we’ve already seen: “lying” and “eyes,” “wisdom” and “sighs.”

Lines 12-13

So these people are not only smiling despite their pain, but they’re also singing. This is another example of something that appears to be content but isn’t. Take, for example, blues music. Even if it sounds great, what musicians sing about is incredibly sad.
All of the “singing” could possibly be a reference to the myth that black Americans all love to sing and entertain, despite the fact that we all know this isn’t true.
Line 12’s second half expands on some of the biblical allusions from the previous lines. The “clay” here refers to the ground, but it could also refer to man’s origins: “Remember that you fashioned me like clay” (Job 10:8-12).
So the speaker is stating that they’re singing through their sorrow while standing over a “vile” (wicked) earth that only brings misery and suffering to these people. Even though, that horrible earth is still their home/origins, which only adds to the misery.
Also notice how the language has the same emotional anguish (“oh the clay is horrible”) as the language in lines 10 and 11. (“O great Christ”). So, at this point, we’re getting a clearer picture of what’s going on behind the mask, and it’s a really sad place.
Those “feet” and the picture of walking that long mile, however, suggest that there is hope. Perhaps that’s all part of the journey, no matter how painful it is.
However, because that mile is “far,” we see that there is still a long way to go before any atonement or redemption is possible.
Finally, we see another example of the poem’s second rhyme: “vile” and “mile” correspond to “guile/smile/while.” All of this is, once again, a part of the rondeau form. Do you want to know more about it? Take a look at “Form and Meter.”

Lines 14-15

Dunbar closes his poem in the traditional rondeau fashion, with a line (“else”) that matches the opening rhyme scheme of “lies/eyes/sighs,” etc. (We guarantee it all makes sense in “Form and Meter.”)
We also get the refrain one last time, in keeping with the rondeau structure, to bring the poem to a lovely close.
But let us return to the words themselves. We see that the speaker is reminding us of that unacknowledged worldly responsibility: “let the world dream otherwise.”
It’s safe to infer that if the world is dreaming, people aren’t aware of what’s truly going on, primarily because the world prefers not to be. Perhaps it’s just easier to accept the mask and ignore the truth.
And we hear the word “let” again, as though the world is being spared the unpleasant reality, much like a toddler might. We “allow” children to participate in activities. Meanwhile, we’re dealing with adults, therefore the tone is deliberately patronizing.
Also keep in mind that the world’s dream is more of a nightmare for the speaker and those he represents than anything else.
So, by the end, we see the mask in the same way it appeared in the first verse, but with an extra exclamation point to bring it all together. And by now, we’ve figured out what’s actually behind the mask: falsehoods, sobs, and anguish that no one is willing to admit.
We also recognize that people’s “masks,” regardless of their appearance, cannot be entirely trusted. Honest dialogue and people’s efforts to repair the hurting and damaging things they see around them can be trusted.

Who wrote the poem masks?

Sheldon Allan “Shel” Silverstein was an American poet, cartoonist, and children’s book author who lived from 1930 until 1999. “Masks” is a poem from Silverstein’s book Everything On It, a collection of poems.

Why does the speaker feel the need to wear a mask?

The speaker is attempting to remind us that those who wear the mask must also strive to be more honest and truthful. Comes to thee from tormented spirits. We put on the mask! The reference to Christ implies that individuals require assistance that the world cannot offer.

What does the line and mouth with myriad subtleties mean?

The trials and suffering of slaves are highlighted in this poem. Despite being subjected to such adversity, they showed no signs of distress. They didn’t show their feelings on their sleeve. They put forth every effort to appear joyful and content, despite the fact that they were emotionally torn up and beaten down beneath the surface. These lines underline the poem’s central idea.

“We grin with ripped and bleeding hearts,” as the phrase goes.

Despite the fact that they are hurting on the inside due to the unfairness of slavery and their circumstances, they continue to smile.

This demonstrates their strength and endurance.

“And a mouth of many subtleties” means their grins have a variety of fine distinctions.

In other words, their smiles conveyed a wide range of emotions beyond simply delight.

Behind “their masks,” there were a slew of other emotions at work.

Why does the mask hide cheeks and shade eyes?

The mask represents how black people must disguise their true selves in order to function in white culture. Blacks must pretend to be what white people want them to be because they are stereotyped. A mask conceals a person’s true identity.

“We wear the mask that grins and lies, it hides our cheeks and veils our eyes,” says the first line, implying that they must “mask” their true feelings about their treatment in white society.

Someone can see how another person feels through their eyes and expressions, yet with a mask or the capacity to skillfully disguise one’s sentiments, a person can survive.

W. E. B. Dubois coined the term “double consciousness” to describe how black people must play a part assigned to them by white culture in order to exist.

This is a role of submission and subservience.

According to Dubois and Dunbar, black people have two lives: one in their own communities and another in the white community. This dual position forces black people to hide their true feelings, act differently than they are, and succumb to oppressive ideologies.

The poem implies that black people pay a price or “due” for the color of their skin, and that they live a life “with torn and bleeding hearts” that ignores their worth as human beings.

What does counting all our tears and sighs mean?

The second stanza begins with a rhetorical inquiry (a query to which no genuine answer is expected, such as Who does that?). And, because rhetorical questions are typically used to prove a point, we know the speaker is attempting to stress what we’ve already seen in terms of masks, pain, hypocrisies, and so on.
This inquiry has a slightly sarcastic tone to it, as though the speaker is implying that understanding the reality that’s easy to see, with or without the masks, isn’t “over-wise.” In other words, if something is practically staring you in the face (segregation, lack of civil rights, violence), it doesn’t take much “knowledge” to recognize it.
Line 7 contains further figurative language (“collecting all our tears and sighs”), emphasizing the gravity of the truth hidden beneath those masks. The phrase “all our” indicate that there are a lot of tears and sighs to “count,” and they aren’t just the speaker’s.
So, by the second stanza, we’ve figured out that the speaker is speaking for a far wider group than himself, even if he doesn’t say so.
What about the word “counting” and its connotations? Is it just me, or does this term make you feel as if there are too many to count?
Perhaps it’s even statistical, as if those tears and sighs are just numbers rather than genuine evidence of human pain.
Regardless of how we interpret lines 6 and 7, we recognize that many individuals are suffering and that the world has a responsibility to acknowledge it. Perhaps the people who wear the masks owe it to themselves and each other to be honest about their pain.
It’s also worth noting that this couplet corresponds to the poem’s initial rhyme: “smart” and “sighs.” As a result, Dunbar will continue to use the rondeau form. For further information, see “Form and Meter.”

Lines 8-9

The rhetorical question in lines 6 and 7 emphasizes the truth behind the masks, whereas lines 8 and 9 show only the mask and the persons wearing it.
So, instead of perceiving the truth, the speaker is implying that the public sees just masks and lies.
And the tone in “let them” suggests that the world is being spared the truth, perhaps because the reality is more difficult to accept than the mask.
However, the speaker reminds us that those who wear masks must also be more honest about their condition. As a result, all of the sarcasm we hear emphasizes the problem that exists on both sides: the world that ignores the problem and the people who are hurting who aren’t being truthful.
We also get our first example of enjambment, which moves us from one line to the next without any punctuation stops. As a result, we’re ushered immediately into the refrain “we wear the mask,” which stands out against the remainder of the poem.
And, because line 9 is the poem’s refrain, we know it’s meant to stand out and is crucial to the rondeau structure. After all, it is the point of the poem, and the speaker is reminding us of it now. Check out “Form and Meter” for further information.