Classic and Contemporary Poetry: Explained

In "Flatted Fifths," Langston Hughes captures the essence of a cultural and musical transformation experienced by young African American men during a time of significant social and political upheaval. The poem reflects on how these "little cullud boys," caught between the pressures of military service and the allure of jazz culture, navigate their identities and aspirations through the improvisational, complex rhythms of bebop music.

The poem opens with the image of "little cullud boys with beards," immediately placing the focus on young African American men who are in a state of transition—both in terms of maturity and identity. The phrase "re-bop be-bop mop and stop" introduces a rhythm that mimics the sounds and movements of bebop music, a genre known for its fast tempo and intricate improvisation. The use of playful, onomatopoeic language here mirrors the spontaneity and innovation that bebop brought to the jazz scene, suggesting that these young men are deeply immersed in this vibrant cultural expression.

As the poem progresses, Hughes shifts to a more somber tone: "Little cullud boys with fears / frantic, kick their draftee years / into flatted fifths and flatter beers." This passage addresses the harsh reality of military conscription—likely during World War II or the Korean War—when many young African American men were drafted into service. The "fears" they experience are tied to the uncertainties and dangers of war, and their "frantic" response is to channel these anxieties into their music, specifically into "flatted fifths," a musical interval associated with tension and dissonance in jazz. The "flatter beers" could symbolize the attempts to dull their fears and cope with the pressures of their situation through alcohol, a common escape for those facing the stress of conscription.

Hughes then introduces a sudden shift in imagery: "that at a sudden change become / sparkling Oriental wines / rich and strange." This transformation from "flatter beers" to "sparkling Oriental wines" suggests a surreal escape or a leap into fantasy, where the mundane and the oppressive give way to something exotic, luxurious, and otherworldly. The reference to "Oriental wines" evokes a sense of the East as a place of mystery and allure, often romanticized in Western imagination. This shift could also represent the desire for a life far removed from the harsh realities of war and discrimination—a life where these young men can indulge in fantasies of wealth and sophistication.

The imagery becomes even more opulent with "silken bathrobes with gold twines / and Heilbroner, Crawford, / Nat-undreamed-of Lewis combines / in silver thread and diamond notes." Here, Hughes paints a picture of luxury brands and high fashion, with "Heilbroner" likely referring to a well-known men's clothing store, and "Crawford" possibly referencing a figure associated with high style or fame. The "Nat-undreamed-of Lewis combines" may allude to Nat King Cole and another figure (perhaps Joe Louis or John Lewis, both iconic figures in their respective fields), creating a sense of dreamlike collaboration or fusion of influences. These elements are stitched together "in silver thread and diamond notes," indicating a world where these young men’s aspirations are adorned with the finest materials and the most elegant expressions of artistry.

However, Hughes does not let this fantasy dominate the entire poem. The final stanza brings the focus back to the present reality: "Little cullud boys in berets / oop pop-a-da / horse a fantasy of days / ool va koo / and dig all plays." The berets are a nod to the bebop musicians who often wore them as a symbol of their cool, intellectual approach to jazz. The phrases "oop pop-a-da" and "ool va koo" are scat syllables, mimicking the sound of jazz improvisation, and they underscore the boys' immersion in this cultural movement. "Horse a fantasy of days" suggests that these young men ride out their days in a mix of reality and fantasy, using music and culture as a means to navigate the complexities of their lives. The final line, "and dig all plays," emphasizes their ability to appreciate and engage with the full spectrum of life’s experiences, both the highs and lows, the real and the imagined.

"Flatted Fifths" is a rich exploration of how young African American men use music, particularly bebop jazz, as both a means of expression and a coping mechanism. Hughes captures the tension between their harsh realities—marked by conscription, fear, and societal pressures—and the escape offered by the imaginative, improvisational world of jazz. The poem reflects the duality of their existence: grounded in the struggles of their time, yet elevated by the transformative power of their cultural expressions. Through vivid imagery and rhythmic language, Hughes celebrates the resilience and creativity of these "little cullud boys," who, despite their fears and challenges, find a way to create beauty and meaning in their lives.

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