Title – “prayers” appeal to higher power / ancestors – positive connotation.
“masks” – traditional masks as worn in African culture / to hide real emotions /
hide true intentions. A ‘thank you’ to those wearing the masks and to the masks PRAYER TO MASKS
themselves for being able to hide true feelings. Carved masks collectively Leopold Sedar Sengor
represent the culture of the Fathers. Living is connected to past by the masks.
SUMMARY
The speaker addresses this poem to African masks – this affirms the element of African culture. The poem
celebrates the role of African people and outlines the speaker’s belief that is it Africans who will ‘return the
memory of life to men with a torn hope”. The speaker prays for a saviour in the community to help them face
their struggles. The poem describes the relationship between Africa and Europe – it states that Africa does
not need to conform to European ideals. He contemplates the consequences of colonialism. However, he
ends the poem with an optimistic message: despite hardships and prejudice, the African people are strong
and capable. They will be able to create new beauty and prosperity.
1Apostrophe – an address to an object or spirit. African art and as more
general spirits of African culture, society, and history. 2Honour spirits for
1 Masks! Oh masks! eternal greatness. Acknowledges each colour, pays respect. Hides true self.
Symbol of cultural identity. Racial connotation – oppression/ slave trade.
2 Black mask, red mask, you black and white masks, 3”Spirit”,
communicate with ancestors.
“breathes”, alive in spiritual world. Wearer of
3 Rectangular masks through whom the spirit breathes, mask communicates with being.
4
First person. Personal, intimate and sincere. No need to use words, a gesture will
4 I greet you in silence! suffice. Punctuation (!) emphasises absolute silence.
5Symbol of strength, boldness and bravery. Senegalese national
5 And you too, my lionheaded ancestor
anthem titled “The Red Lion”. Poet’s family’s guardian animal.
Father’s name is Diogoye, means lion.
6 You guard this place, that is closed to any feminine laughter, to any mortal smile.
6“this place” – after life. “feminine laughter” women are not allowed there. 6“mortal”,
living can’t enter ancestral world. Patriarchal power emphasises values customs.
Maintain aura of peace.
7 You purify the air of eternity, here where I breathe the air of my fathers.
7“Fathers” – ancestors. Poet acknowledged the impact of the ancestors of the
Senegalese people, and how their hardships and oppression have affected current day
culture and life.
8 Masks of maskless faces, free from dimples and wrinkles.
8
Free from impurities, free of worries and troubles. “maskless faces” – representations
of previously living faces. The masks eliminate signs of age in the faces of ancestors,
but in doing so outlive their death.
9 You have composed this image, this my face that bends over the altar of white paper.
9“altar”– church; a place of worship. Something is being revered or worshipped. “white
paper” – Figuratively, laws made by government. Paperwork creates laws or alliances.
10Pleading tone conveys desperation. Appeals to them to
10 In the name of your image, listen to me! listen to him. He’s the living image of the masks to whom he
is writing a prayer
11 Now while the Africa of despotism is dying – it is the agony of a pitiable princess,
11“despotism is dying” – colonial rule is ending. Some countries gained freedom. “pitiable princess” –
spoilt. Gain independence. Nobility of traditional Africa. Her death represents suffering and decline of
traditional African culture and the loss of political power. Contrast to glorious past of Africa
12 Like that of Europe to whom she is connected through the navel –
12Connection between Africa to Europe. Baby connected to mother via the umbilical cord. Colonial powers
in Europe referred to as ‘mother country’. Did not act like a mother should. Exploited people, resources,
land. Greed/corruption by the colonisers left Africa damaged. Cutting connection is necessary but difficult.
13 Now fix your immobile eyes upon your children who have been called
13Next generation must fight for their freedom. The fight for their freedom has been a very long one.
Traditional customs and values haven’t been able to respond to the great changes that history has brought.
Masks relic of past who don’t care about present suffering or long view that extends to present.
14 And who sacrifice their lives like the poor man his last garment
14
Simile compares those who fought for freedom to a poor person who gives up his
last garment. Implies they gave everything that they had in order to gain their freedom.
15 So that hereafter we may cry “here” at the rebirth of the world being the leaven that the
15Personification
white flour needs. –colonisers left. No power over the country. Has chance to start
afresh. Can now create its own government, rules and direction for its future.
“leaven” – yeast necessary for bread to rise. Symbolically make this new country
‘rise’ up and be strong.
16 For who else would teach rhythm to the worlds that has dies of machines and cannons?
16End of colonialism; the old reality is now dead. “machines and cannons” – industry and warfare. Over-
reliance on technology/machinery caused spiritual soul to wither and die. World lost ability to feel deeply,
give expression to joy. Warfare destroyed world.
17 For who else should ejaculate the cry of joy, that arouses the dead and the wise in a new
17Ejaculate – cry out/shout. New dawn – new day, new phase in their lives. Reborn Africa
dawn? lends its energy to Europe, bringing joy/ hope where there has been isolation, despair, and
death. Rhetorical question conveys doubt. Come forward and to co-operate in new phase.
18 Say, who else could return the memory of life to men with a torn hope?
18“who else” – referring to the youth; hope lies with them. There is still hope. “torn hope” suggests that
there has been damage, destruction, violence but there’s still some element of optimism
19 They call us cotton heads, and coffee men, oily men.
19“they” – the colonists. Theme of oppression is supported referencing stereotypical, prejudice and racist
comments and terms black people are often labelled with, such as “cotton heads” and “coffee men”,
according to their physical trades. Lack of identity creates an impersonal tone.
20 They call us men of death.
20Europeans, view the black African as a fearful image of death.
21 But we are the men of the dance whose feet only gain power when they beat the hard soil.
21strongly connected to the earth. The people are involved in a traditional dance and they appear strong
and resilient. This dance symbolises their new-found freedom and how they will regain their identity and
take pride in their culture. They will share this culture and pride with the rest of the world.
Theme – oppression and discrimination of black people. • Role of the Ancestors • Honouring ancestors •
The desire for freedom • New beginnings • how Africans can adapt to the westernized world after the Post
Colonialism of France while trying to understand and continue their African traditions.
Tone - hope for a brighter future in which black people, the Senegalese in particular, can be recognise for
their beauty and value as human beings. Oppression • Suffering • hope
