WE WEAR THE MASK

BY PAUL DUNBAR
POEM – WE WEAR THE MASK
 SUMMARY
• Paul Laurence Dunbar published "We Wear the Mask" in his collection Lyrics of
Lowly Life in 1896.
• We Wear the Mask’ by Paul Laurence Dunbar describes the way that “We” put on
and accept the presence of deceitful masks.
• The poem begins with the speaker stating that “We,” a reference to all of
humankind, but specifically black Americans, put on masks.
• We wear them, and others use them to ignore the problems that exist in modern
• society.
• They have a deep impact on our understanding of ourselves and others.
• Hearts are changed through tearing, and mouths contain endless expressions.
• The poem continues on to sarcastically ask why humankind should put out the
effort to see behind the masks.
• It is so clear that we should take the time, but the world does not seem willing to.
• In conclusion, the speaker describes the unsteady foundation on which “We” sing.
• Positivity and optimism can only last so long on a faulty foundation.
 VOCABULARY
• Guile: Guile refers to being sly or cunning. When one has
guile, this means they are being
• deceptive, but perhaps in a way that comes across as
charming.
• Myriad: a countless or extremely great number of people or
things
• Subtleties: the quality or state of being subtle.
• Over-wise: extreme ability to have or show good judgment
• Nay: denial, refusal
• Vile: morally despicable or abhorrent
 STANZA 1
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,-
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.

• Repetition of the title to emphasise that we wear masks.

• The use of “we” suggests that everyone ‘wears a mask’. It may be assumed that the poem more specifically refers to black
Americans of the time, since Dunbar was an early pioneer of the Harlem Renaissance that came later in the 1920s.
• Masks are often used as symbols for disguises and deception. We hide behind them for different reasons.
• In line 2 the people wear them because it “hides” their “cheeks” (expressions/emotions) “shades” their “eyes”
(thoughts/emotions). Note: The eyes are the window to the soul; they can show our emotions).
• In this case, we think of the slaves who worked under harsh conditions and were beaten (some to death). They would obviously
want to hide their expressions/thoughts, i.e. their emotions.
• Line 3 tells us that the people wearing these masks owe it all to "human guile." The word “guile” simply means a sort of
deceitfulness, not being real.
• The speaker says “human guile”; this suggests that the poem can be applied to not only the black American struggle, but also
the general human struggle. Telling lies and being someone we’re not is just a common part of daily life.
• The figurative language in stanza 1 is building upon the extended metaphor of masks representing human deception: “torn and
bleeding hearts we smile”.
• Line 4 begins to develop the truths behind those masks and we get the sense that there’s a lot of pain there.
 STANZA 1 CONTINUED
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,-
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.

• Those hearts are not just “torn”, but also “bleeding”; this emphasises the struggle and duality that the speaker is addressing. If
someone is “torn”, it usually means that there are two sides pulling at the same time. If someone is “bleeding”, we can assume
that that person is injured (figuratively).
• The metaphor becomes more evident when considering the imagery of a mask. On one side there’s the disguise, and on the
other there’s the truth.
• The “smile” also builds on the original description of the mask that “grins and lies”. It emphasises the duality in line 4 that starts
with torn hearts and ends with a smile. As a slave, for the sake of survival, it is easier to comply and “smile”.
• The word “mouth” here is used for talking (not eating). Line 5 refers to the many (“myriad”) polite formalities (“subtleties”) that
were common in the nineteenth century for black Americans, especially those used to address white people in conversation.
• This poem was written long before the Civil Rights movement in the 1960s; life was very racist and dangerous for black
Americans if they did not use these “subtleties”.
• By using the word “mouth” instead of “talk”, the speaker conveys the feeling that there is something mechanical about these
“subtleties”, maybe even less than human.
• Considering the slaves (his parents’ experiences), we can imagine that, again, for the sake of survival, the slaves would mumble
in compliance a “myriad subtleties” (polite words) in order not to make their masters/slave drivers aggressive.
• The mood: there is something vacant, dull, and even lifeless about line 5.
• People aren’t living; they are trying to survive their circumstances.
 STANZA 2
Why should the world be overwise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.

• The second stanza starts with a rhetorical question (a question in which we don’t expect someone to give us a real answer). The speaker is trying
to emphasise what we have seen so far in terms of masks, suffering, hypocrisies, etc.
• The question has a slightly sarcastic tone to it, as if the speaker is suggesting that there’s nothing “over-wise” about knowing the truth that’s
plain to see, with or without the masks. In other words: if something is staring you in the face (e.g. segregation, lack of civil rights, violence), then
taking notice of it doesn’t take all that much “wisdom”.
• By line 6, we also get more of the universal themes behind the poem when the speaker includes the word “world”. The problems he is referring
to involves everyone, even if some people choose to ignore them.
• We have more figurative language in line 7: “counting all our tears and sighs” emphasises the severity of the truth behind those masks. The
words “all our” tell us that there are many tears and many sighs to “count” and they don’t just belong to the speaker.
• The second stanza highlights that the speaker represents a much larger group beyond himself, even if he doesn’t provide specifics.
• Lines 6 and 7 show that people feel real pain; the world has a responsibility to recognize human suffering. Perhaps the people wearing the masks
also have a responsibility to themselves and each other to be honest about their suffering.
• In lines 6 and 7 we saw the rhetorical question that emphasised the truth behind the masks, while in lines 8 and 9 we see just the mask and the
people wearing them.
• The speaker is saying that, instead of the world seeing the truth, they see only the masks and the lies.
• The tone here in “let them” suggests that the world is being spared the truth, via ignorance, perhaps because the truth is harder to accept than
the mask.
• The speaker is reminding us that the people wearing the mask need to be more honest about their situation too.
• All the sarcasm that we hear is stressing the problem that exists on both sides: the world that ignores the problem and the people suffering who
aren’t being honest.
• Pertaining to the slaves and black Americans, the masks protected them from the perspectives and judgments that were cast upon them by
white people. Instead of showing the people what they felt, they pretended to be okay with their circumstances/conditions. They did not want to
worsen their suffering.
 STANZA 3
We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!

• Line 10 begins with the repetition of that “smile” that covers everything up, reminding us that the false
masks are the real problem.
• The speaker then addresses Christ; he is looking for spiritual guidance (“O great Christ”) and the chance for
salvation (“souls arise”).
• The allusion to Christ emphasizss the speaker's need forApostrophe
help that the world will not provide.
: The poet addresses an inanimate object,
Reference to a specific person, place, event or literary or an absent person
work in the course of a poem

• Additionally, "O great Christ" is an example of an apostrophe (addressing someone who's not really there),
which makes the speaker's emotional conflict feel all the more overwhelming. Also, we see more duality in
line 10 that begins with “smile” and ends with “cries”. The speaker seems to be emphasizing that "torn"
metaphor that we saw earlier in lines 3 and 4 with all of these opposing forces.
• By the third stanza, the speaker’s language is becoming more emotional and distraught: “O great Christ”,
“cries”, “tortured”.
• The message conveyed is that these are “tortured souls” (e.g. slaves) that are crying for help even if they
appear to “smile”.
 STANZA 3 CONTINUED
We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!

• Lines 12-13 speak of people smiling through their pain, but they are also singing. This is more of an
indication of someone that appears to be content but is not.
• “singing” might also be an allusion to the common stereotypes associated with black Americans
who all supposedly love to sing and entertain, or the slaves who sing to help them endure.
• The second half of line 12 works more with the Biblical allusion we saw in the previous lines. The
“clay” is the earth.
• So the speaker is saying that they're singing through the pain while standing above the earth that's
"vile" (wicked) because it provides only pain and suffering for these people. Yet that vile earth is
still their home/origins, which makes things even worse.
• The language has that same emotional distress (“oh the clay is vile”) that is seen in lines 10 and 11
(“O great Christ”).
• Yet, those “feet” and the imagery of walking that long mile indicate that there is still quite a way to
go before any salvation or redemption can be had.
 STANZA 3 CONTINUED
We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!

• The speaker is reminding the reader of that worldly responsibility that has yet to be
acknowledged: “let the world dream otherwise”.
• If the world is dreaming, it may be assumed that the world chooses not acknowledge their pain
and suffering. This suggest that it is easier to just accept the mask and avoid the truth.
• The word “let” suggests that the world is being spared the harsh reality. It is similar to the way a
child might experience things; we “let” children do things. Since the people who are wearing the
masks are adults, the tone is demeaning (belittling) on purpose.
• The speaker is suggesting that behind the mask: lies, cries, and pain that people are not being
honest about. (In the case of the slaves, as they had no choice; they wore masks to protect
themselves from being ill-treated beaten to death.)
• The message conveyed is that the “masks” people wear, no matter what they look like, are not to
be completely trusted.
• What can be trusted is honest discussion and the efforts people make to fix the hurtful and
destructive acts committed.
 FORM AND STRUCTURE
• We Wear the Mask’ by Paul Laurence Dunbar is a three-stanza poem that is separated into
one set of five
• lines, one of four, and one of six.
• The poem is structured in the form of a rondeau,
• A rondeau consists of three stanzas that incorporate a refrain and a specific rhyme scheme.
The rhyme scheme of this piece is repetitive, oriented around a refrain. In this case, the
pattern is AABBA AABC AABAC. The end sounds repeat throughout this piece, with the
refrain, “We wear the mask” appearing at the end of the second and third stanzas.
• The rondeau was originally paired with music and dancing, with the refrain being sung.
• This might be subtly alluded to by the singing mentioned in line 12.
• More broadly, given that singing and dancing are often seen as expressions of joy, the
poem's form itself can be thought of as a kind of "mask": even as the poem describes the
emotional pain and suffering, it has a pleasant rhythm and meter. If you were to hear this
poem without paying close attention to the words, you might even be temporarily
enchanted
• by the steady, bouncy pacing. Like the mask, then, the poem's form is somewhat deceiving.
 SYMBOLS
The Mask
• Masks are often used as a symbol for deception, hypocrisy, and lies.
• The speaker refers to them, directly and indirectly, as the reason why black Americans, slaves
and people in general are unable to speak honestly about their suffering.
• It is a symbolic mask that represents the things people say and do that are not honest.
• The poem suggest that masks are sometimes a crucial part of self-preservation, bearing in
mind the dangers that black Americans/slaves often faced if they chose the more honest
route.
• Line 1: The opening words are not only the poem’s refrain, but also get right to the point
about what the poem is about. Those masks may “grin”, but they also “lie”.
• Line 2: The mask hides everything, including “cheeks” (facial expressions/emotions) and
“eyes” (thoughts/emotions), which symbolize the truer essence of humanity since we often
express ourselves best using facial muscles (cheeks) and our eyes.
• Lines 9, 15: The refrain reminds us just how universal the mask is. It is not enough to just
mention it in the title. The speaker reminds us throughout the poem that this is no small
occurrence, and therefore needs to be emphasised.
 SYMBOLS CONTINUED
Smile
• The speaker refers to the kind of smile people have when they are upset, but do not want to upset others, therefore they
may just smile to hide their true feelings.
• The speaker suggests that doing so is not helpful as the smile is hides the full extent of the emotional conflict reffered to.
• Line 1: Although people may “grin”, they also “lie”. The use of the word “grin” instead of “smile”, hints at the sinister quality
of the smile, word “grin” has a negative connotation. One can only imagine the hate that black Americans/slaves had, and
their vengeful thoughts while “grinning”.
• Lines 4, 10: It’s also used to emphasise the contrasting conflict the speaker is addressing. Both lines have on one side: the
“smile”, and on the other: words like “cries” and “torn hearts”.
• Line 12: Although the speaker is talking about “singing”, we get the sense that he’s referring to the same sort of smiling
appearance. Singing and smiling are usually happy expressions, but here they are covering up the painful truth.
We
• The “we” is ambiguous, as it may refer specifically to African American people, people in general or the poem itself which
also wears a mask that hides its specific subject, perhaps to protect the poet.
• Line 1: It’s in the title and in the refrain. It also includes the reader in that “we” can apply the idea of wearing masks to
anyone.
• Lines 3 suggests that the speaker is speaking to a universal audience with the phrase “human guile”. The “we” shares this
experience of “human guile”, so it’s not limited to just the black American struggle or slavery.
• Line 4: The “we” is maybe getting a little more specific, since the speaker talks about “torn and bleeding hearts”, which
suggests that these wounds are fresh. Historically speaking, they were very fresh.
• Lines 9, 15: The phrase “we wear the mask” stands alone in these lines so the reader can draw as many connections as he chooses.
• Lines 10, 12: Just like that “smile”, the “we” in these lines functions in a similarly contrasting way. On one side the “we” is “smiling” and
“singing”, while on the other the “we” is “crying”. In the end, the “we” is torn and not being honest.
 SYMBOLS CONTINUED
The World
• The world also has a responsibility to recognise the suffering that occurs not just in a personal sense, but a
worldly one too.
• Unfortunately, the “world” often ignores the kind of suffering that does not immediately affect it (specific
people/places). By keeping things universal, the speaker is suggesting that we are all connected. so, ignoring
problems will not keep them away.
• Lines 6-7: The rhetorical question is directed at the “world”. The slightly sarcastic tone, suggests that the
world is acting ignorant and cold towards the suffering of black Americans/slaves.
• Line 14: The world is allowed to “dream otherwise”, which just like the previous lines suggests that the world
is behaving like a child. It is dreaming instead of dealing with the problem.

Speaker
• The speaker has an objective perspective.
• The speaker has a universal voice that is not exclusively limited to any one person or people.
• He takes a step back and gives us a fuller perspective of the real problem is.
• He seems to suggest that this is not the sort of problem that is limited to any one culture, or person, or time.
• This detached approach helps the reader to consider that sometimes masks are a matter of survival in
cultures which may react violently to people speaking honestly about social problems.
• Perhaps this is also why Dunbar’s poem is still widely read today. Thanks to our detached speaker, it can be
applied to all sorts of social circumstances and places.
 LITERARY DEVICES
• Repetition
• Line 1, 9, 15: “We wear the mask” – of the title to emphasize that we wear masks.
• Metaphor
• Line 1, 9, 15, title: “mask” – human deception
• Rhetorical question
• Line 6-7: “Why should the world be over-wise/ In counting all our tears and sighs?” – to emphasise the inhumane
acts of slavery; to emphasize the needlessness of masks, suffering, hypocrisies, etc.
• Apostrophe/Allusion
• Line 10: “O great Christ!” – the speaker is addressing Christ; he is looking for spiritual guidance (“O great Christ”)
and a chance for salvation (“souls arise”).
• The allusion to Christ emphasizes the speaker’s need for help that the world will not provide.
• Allusion
• Lines 12: “We sing” – singing is supposed to be a sign of happiness. All the “singing” may, thus, allude to the
common stereotypes associated with black Americans who all supposedly love to sing and entertain, or the slaves
who are content because they sing while they work. This is not true. The black Americans created Blues music,
which expresses their pain and suffering during turbulent racist times; the slaves only sang to create unity to
endure their pain and suffering.
• Lines 12: “… the clay is vile” – the “clay” is the earth, but it may also be a reference to the origins of man:
“Remember that you have made me like clay” (Job 10:8-12).
 LITERARY DEVICES CONTINUED
• Consonance
• Stanza 1 has a lot of repetition of consonant sounds: “grins”, “lies”, “cheeks”,
“shades”, “eyes”, “hearts”, “smile”, and “subtleties”. The repeated sound not
only helps to accent the first rhyme of the poem (“lies” and “eyes”), it also gives
us an underlying sense of multitudes (masses).
• Alliteration
• Line 5: “mouth” and “myriad”.
• Line 11: repetition of the T sound in “To thee” and “tortured” souls.
• Paradox: The poem conceals and reveals. The existence of opposite (opposing) concepts or
ideas in one place.

• Conceals: The poem does not mention black people or racial prejudice. In other
words, the poem itself wears a mask.
• Reveals: The poem openly parades Dunbar's feelings as a frustrated black
person. Thus, the poem takes off the mask and removes all pretence and
deception.