Analyzing Gwendolyn Brooks’ Poem First Fight. Then Fiddle.

Gwendolyn Brooks’ poem First Fight. Then Fiddle. is a wonderful example of a sonnet that follows the traditional rules, while adding a bit of a modern twist. The sonnet itself was developed hundreds of years ago, but intrepid writers such as Brooks always find a way to spice it up. The poem itself follows the Petrarchan-sonnet form, which is by definition a very structured way to write a poem. This allows the reader to receive more enjoyment by being surprised by Brooks innovation while using such an old form. Originality seems to be a term that many poets strive for and Brooks clearly demonstrates that just because a poem has structure, it can also be original.

The Petrarchan sonnet employs a general scheme of breaking the poem into two different “sections” of an octave and a sextet. Brooks’ poem uses this exact scheme, fitting the mold perfectly. She changes the tone of the poem between the eighth and ninth line. The first eight lines speak of fiddling. “…Ply the slipping string/ With feathery sorcery; muzzle the note/ With hurting love; the music that they wrote…” (lines 1-3) These lines demonstrate the idea of fiddling, while still fitting in with the rhyming patterns of the rest of the poem. The poem’s tone takes a sharp turn at the line “A while from malice and from murdering.” Before this line, no mention of anything violent or ultimately harsh. She even goes so far as to use the imagery of sweet things such as honey to show the reader that these first eight lines do signify something good, and that the reader should pay attention.

Though the first eight lines are important, it might be the next six lines that are even more important. The sonnet must finish itself in the next six lines, and Brooks most definitely has something to tell us in these lines. She turns the focus from music onto something that is not music at all with the line “Be deaf to music and to beauty blind.” (line 11) It seems as though with these last lines, Brooks is trying to communicate the ugliness of war and fighting. She continues on to say “…Rise bloody, maybe not too late/ For having first to civilize a space/ Wherein to play your violin with grace.” (lines 12-14) With these lines, it seems as though she is speaking of not only the ugliness of war, but the ultimate requirement of violence, but only when it is absolutely necessary.

Using such a structured rhyme pattern to describe such a serious tone does something for the poem. Not only is this poem about violence spoken of by using beauty, it is also using a very interesting rhyme scheme as well. The interesting thing about the rhymes in this poem is that they are mostly masculine. Words like “string, sing, note, wrote, thing, murdering, hate, late, behind, blind, space and grace” all rhyme only using the last syllable, making them masculine. This device gives the poem a very punchy feeling, simulating violence. Also, the device lends itself to draw attention to the ends of the lines. The endings of the first four lines all end with words dealing in music and musical instruments, furthering the theme of the poem. Brooks does a great job of conveying her message while still being subtle through the use of these rhymes.

Finally, fitting this poem into a Petrarchan sonnet rhyme scheme is effective in that it lends the poem a somewhat lyrical quality. The poem itself is about a musical instrument, so it is only fair that this poem have a lyrical quality. This also works in Brooks’ favor when she changes the poem’s direction, because the use of rhyme begins to be ironic.

Brooks’ poem is very well written, and because of the complexities involved in explicating it, it becomes clear that she took her time writing it. Overall, the theme and tone of the poem joined together with the external form of the Petrarchan sonnet created an extremely effective poem. The closer this poem is analyzed, the more can be extrapolated out of it. It becomes full of symbolism and imagery and becomes quite a joy to read.