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Chinua Achebe's works reveal the sustaining relevance of "the holy" to his viewers and encourage his readers to consider the metamorphosis of sacred tropes from conventional to colonial times. The mask in Achebe's novels Things Fall Apart and No Longer at ease is just one of a number of tropes which signify the shifting of their locus of "the sacred" from neighborhood to person. This trope, and others like it, reflects upon the way in which European influence has led the social significance of spirituality through the process of colonization. Throughout the examination of those tropes, one should create a vital awareness of the connection between the sacred and the profane in today's context of No Longer At Ease, observing the once-sacred symbols that come into being as metaphors for the displacement of traditional Igbo eschatology and the modern existence of a widening gulf between the individual "the sacred." The conflict between "the sacred" as traditionally defined by the Igbo and which was imposed by European colonial rule can best be exemplified by MirceaEliade's suggestion that "the sacred is equal to a power"; and, ultimately, it is the possessor of this power who is afforded the luxury of constructing truth (12). When read seriously, one notes Eliade prompts the reader to make narrow conclusions concerning what he refers to as the "primitive," "primitive" guy who, much like the community represented in Things Fall Apart, is surrounded by the essence of spirituality in every aspect of everyday life. More fully, Eliade states, The guy of the primitive societies tends to reside as much as you can in the sacred or in close proxim...