Famous poet /1809-1892  •  Ranked #11 in the top 500 poets

Alfred Lord Tennyson

English author often regarded as the chief representative of the Victorian age in poetry. Tennyson succeeded Wordsworth as Poet Laureate in 1850; he was appointed by Queen Victoria and served 42 years. Tennyson's works were melancholic, and reflected the moral and intellectual values of his time, which made them especially vulnerable for later critic.

Alfred Lord Tennyson was born in Somersby, Lincolnshire. His father, George Clayton Tennyson, a clergyman and rector, suffered from depression and was notoriously absent-minded. Alfred began to write poetry at an early age in the style of Lord Byron. After spending four unhappy years in school, he was tutored at home. Tennyson then studied at Trinity College, Cambridge, where he joined the literary club 'The Apostles' and met Arthur Hallam, who became his closest friend. The undergraduate society discussed contemporary social, religious, scientific, and literary issues. Encouraged by 'The Apostles', Tennyson published Poems, Chiefly Lyrical in 1830, which included the popular Mariana. He travelled with Hallam on the Continent. By 1830, Hallam had become engaged to Tennyson's sister, Emily. After his father's death in 1831, Tennyson returned to Somersby without a degree.

His next book, Poems(1833), received unfavourable reviews, and Tennyson ceased to publish for nearly ten years. Hallam died suddenly on the same year in Vienna. It was a heavy blow to Tennyson. He began to write, In Memoriam, for his lost friend - the work took seventeen years. A revised volume of Poems, included, The Lady of Shalott and The Lotus-eaters. Morte d'Arthur and Ulysses appeared in 1842 in the two-volume Poems, and established his reputation as a writer. In Ulysses. Tennyson portrayed the Greek after his travels, longing past days: "How dull it is to pause, to make an end, To rust unburnished, not to shine in use!"

Among Tennyson's major poetic achievements is the elegy mourning the death of his friend Arthur Hallam, In Memoriam (1850). He was born in the same year as Darwin, but his view about natural history, however, was based on catastrophe theory, not evolution. The patriotic poem Charge of the Light Brigade, published in Maud (1855), is one of Tennyson's best known works, although at first Maud was found obscure or morbid by critics ranging from George Eliot to Gladstone. Later the poem about the Light Brigade inspired Michael Curtiz's film from 1936, starring Errol Flynn. Historically the fight during the Crimean war brought to light the incompetent organization of the English army. However, the stupid mistake described in the poem honoured the soldier's courage and heroic action.

In the 1870s Tennyson wrote several plays, among them poetic dramas Queen Mary (1875) and Harold (1876). In 1884 he was created a baron. Tennyson died at Aldwort on October 6, 1892 and was buried in the Poets' Corner in Westminster Abbey. Soon he became the favourite target of attacks of many English and American poets who saw him as a representative of narrow patriotism and sentimentality. Later critics have praised Tennyson. T.S. Eliot has called him 'the great master of metric as well as of melancholia' and that he possessed the finest ear of any English poet since Milton.

(bibliography: The Literature Network)

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The bar referred to is a sandspit or similar promontory at the mouth of a river or harbour where tides have deposited sand over time. To hear the wind and waves moaning off the bar usually means that there is insufficient water to sail over the bar without grounding. Hence the second verse and its reference to a "full tide" or "high water"

Crossing the Bar

Sunset and evening star,
  And one clear call for me!
And may there be no moaning of the bar,
  When I put out to sea,

But such a tide as moving seems asleep,
    Too full for sound and foam,
When that which drew from out the boundless deep
    Turns again home.

Twilight and evening bell,
And after that the dark!
And may there be no sadness of farewell,
    When I embark;

For tho' from out our bourne of Time and Place
    The flood may bear me far,
I hope to see my Pilot face to face
    When I have crost the bar.
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Analysis (ai): "Crossing the Bar" by Alfred Lord Tennyson grapples with mortality and the speaker's impending journey to the afterlife. The poem compares death to a ship crossing an unseen boundary, evoking both anticipation and resignation. This meditative tone sets it apart from Tennyson's other works, which often explore romantic and epic themes.

The poem's language is simple yet resonant, using imagery of sunset, evening star, and tides to symbolize the transition from life to death. The speaker's hope to encounter their "Pilot" suggests a belief in divine guidance, contrasting with the agnostic sentiments of many Victorian poets.

The poem reflects the late Victorian era's preoccupation with death and the unknown. It offers a quiet and reflective perspective on the inevitable, embracing the idea of a peaceful passage into the next realm. (hide)
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At the Battle of Balaclava in 1854 during the Crimean War, the ‘Light Brigade’, consisting of British cavalry regiments, charged down a narrow valley against Russian Troops who had captured British guns. The Russians were at the end of the valley as well as on each side of it. The attack should never have been made, for it had no chance of success: It was due to a blunder brought on by misunderstanding an order sent by the commander-in-chief. The obedience and courage of the soldiers, of whom less than a third survived won great fame for the Light Brigade. This poem first appeared on December 9, 1854 in The Examiner.

The Charge Of The Light Brigade

Half a league, half a league,
      Half a league onward,
All in the valley of Death
      Rode the six hundred.
'Forward, the Light Brigade!
Charge for the guns!' he said:
Into the valley of Death
      Rode the six hundred.

'Forward, the Light Brigade!'
Was there a man dismay'd ?
Not tho' the soldier knew
      Some one had blunder'd:
Their's not to make reply,
Their's not to reason why, 
Their's but to do and die: 
Into the valley of Death
      Rode the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon in front of them
      Volley'd and thunder'd;
Storm'd at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
      Rode the six hundred.

Flash'd all their sabres bare,
Flash'd as they turn'd in air
Sabring the gunners there,
Charging an army, while
      All the world wonder'd:
Plunged in the battery-smoke
Right thro' the line they broke;
Cossack and Russian
Reel'd from the sabre-stroke
      Shatter'd and sunder'd.
Then they rode back, but not
      Not the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon behind them
      Volley'd and thunder'd;
Storm'd at with shot and shell,
While horse and hero fell,
They that had fought so well
Came thro' the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
      Left of six hundred.

When can their glory fade ?
O the wild charge they made!
      All the world wonder'd.
Honour the charge they made!
Honour the Light Brigade,
      Noble six hundred!
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Analysis (ai): "The Charge of the Light Brigade" captures the bravery and tragedy of the Crimean War's catastrophic blunder. Its simplicity and raw emotion evoke the soldiers' determination and the horrors they faced. The repetition of "into the valley of Death" emphasizes the relentless march toward danger. The soldiers' loyalty and unwavering commitment are highlighted by the refrain "Their's not to make reply, Their's not to reason why." The poem contrasts the glory of the charge with the soldiers' ultimate fate, as only a fraction of the "six hundred" survive. This poignant juxtaposition conveys the futility of war and the senseless loss of life. Compared to Tennyson's other works, it is more straightforward and less focused on nature. It reflects the political and military turmoil of its time, capturing the public's fascination with war and its devastating consequences. (hide)
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Boadicea

While about the shore of Mona those Neronian legionaries
Burnt and broke the grove and altar of the Druid and Druidess,
Far in the East Boadicea, standing loftily charioted,
Mad and maddening all that heard her in her fierce volubility,
Girt by half the tribes of Britain, near the colony Camulodune,
Yell'd and shriek'd between her daughters o'er a wild confederacy.

 `They that scorn the tribes and call us Britain's barbarous populaces,
Did they hear me, would they listen, did they pity me supplicating?
Shall I heed them in their anguish? shall I brook to be supplicated?
Hear Icenian, Catieuchlanian, hear Coritanian, Trinobant!
Must their ever-ravening eagle's beak and talon annihilate us?
Tear the noble hear of Britain, leave it gorily quivering?
Bark an answer, Britain's raven! bark and blacken innumerable,
Blacken round the Roman carrion, make the carcase a skeleton,
Kite and kestrel, wolf and wolfkin, from the wilderness, wallow in it,
Till the face of Bel be brighten'd, Taranis be propitiated.
Lo their colony half-defended! lo their colony, Camulodune!
There the horde of Roman robbers mock at a barbarous adversary.
There the hive of Roman liars worship a gluttonous emperor-idiot.
Such is Rome, and this her deity: hear it, Spirit of Cassivelaun!

 `Hear it, Gods! the Gods have heard it, O Icenian, O Coritanian!
Doubt not ye the Gods have answer'd, Catieuchlanian, Trinobant.
These have told us all their anger in miraculous utterances,
Thunder, a flying fire in heaven, a murmur heard aerially,
Phantom sound of blows descending, moan of an enemy massacred,
Phantom wail of women and children, multitudinous agonies.
Bloodily flow'd the Tamesa rolling phantom bodies of horses and men;
Then a phantom colony smoulder'd on the refluent estuary;
Lastly yonder yester-even, suddenly giddily tottering—
There was one who watch'd and told me—down their statue of Victory fell.
Lo their precious Roman bantling, lo the colony Camulodune,
Shall we teach it a Roman lesson? shall we care to be pitiful?
Shall we deal with it as an infant? shall we dandle it amorously?

 `Hear Icenian, Catieuchlanian, hear Coritanian, Trinobant!
While I roved about the forest, long and bitterly meditating,
There I heard them in the darkness, at the mystical ceremony,
Loosely robed in flying raiment, sang the terrible prophetesses.
"Fear not, isle of blowing woodland, isle of silvery parapets!
Tho' the Roman eagle shadow thee, tho' the gathering enemy narrow thee,
Thou shalt wax and he shall dwindle, thou shalt be the mighty one yet!
Thine the liberty, thine the glory, thine the deeds to be celebrated,
Thine the myriad-rolling ocean, light and shadow illimitable,
Thine the lands of lasting summer, many-blossoming Paradises,
Thine the North and thine the South and thine the battle-thunder of God."
So they chanted: how shall Britain light upon auguries happier?
So they chanted in the darkness, and there cometh a victory now.

 Hear Icenian, Catieuchlanian, hear Coritanian, Trinobant!
Me the wife of rich Prasutagus, me the lover of liberty,
Me they seized and me they tortured, me they lash'd and humiliated,
Me the sport of ribald Veterans, mine of ruffian violators!
See they sit, they hide their faces, miserable in ignominy!
Wherefore in me burns an anger, not by blood to be satiated.
Lo the palaces and the temple, lo the colony Camulodune!
There they ruled, and thence they wasted all the flourishing territory,
Thither at their will they haled the yellow-ringleted Britoness—
Bloodily, bloodily fall the battle-axe, unexhausted, inexorable.
Shout Icenian, Catieuchlanian, shout Coritanian, Trinobant,
Till the victim hear within and yearn to hurry precipitously
Like the leaf in a roaring whirlwind, like the smoke in a hurricane whirl'd.
Lo the colony, there they rioted in the city of Cunobeline!
There they drank in cups of emerald, there at tables of ebony lay,
Rolling on their purple couches in their tender effeminacy.
There they dwelt and there they rioted; there—there—they dwell no more.
Burst the gates, and burn the palaces, break the works of the statuary,
Take the hoary Roman head and shatter it, hold it abominable,
Cut the Roman boy to pieces in his lust and voluptuousness,
Lash the maiden into swooning, me they lash'd and humiliated,
Chop the breasts from off the mother, dash the brains of the little one out,
Up my Britons, on my chariot, on my chargers, trample them under us.'

 So the Queen Boadicea, standing loftily charioted,
Brandishing in her hand a dart and rolling glances lioness-like,
Yell'd and shriek'd between her daughters in her fierce volubility.
Till her people all around the royal chariot agitated,
Madly dash'd the darts together, writhing barbarous lineaments,
Made the noise of frosty woodlands, when they shiver in January,
Roar'd as when the rolling breakers boom and blanch on the precipices,
Yell'd as when the winds of winter tear an oak on a promontory.
So the silent colony hearing her tumultuous adversaries
Clash the darts and on the buckler beat with rapid unanimous hand,
Thought on all her evil tyrannies, all her pitiless avarice,
Till she felt the heart within her fall and flutter tremulously,
Then her pulses at the clamoring of her enemy fainted away.
Out of evil evil flourishes, out of tyranny tyranny buds.
Ran the land with Roman slaughter, multitudinous agonies.
Perish'd many a maid and matron, many a valorous legionary.
Fell the colony, city, and citadel, London, Verulam, Camulodune.
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Analysis (ai): This poem depicts the rage and determination of Boadicea, a Celtic queen who led a revolt against Roman occupation in Britain. It evokes a sense of national pride and defiance. Tennyson's vivid descriptions and passionate language create a visceral impact, immersing the reader in the turmoil of the time.

The poem captures Boadicea's fiery speech, rallying her people to fight for their freedom. Her words resonate with anger, scorn, and a fierce determination to stand against oppression. Tennyson's use of alliteration and repetition emphasizes the force of Boadicea's rhetoric.

The poem also incorporates elements of the supernatural, with Boadicea invoking the spirits of the gods and receiving omens of victory. These elements add an otherworldly dimension to the poem, reinforcing the sense of destiny and divine favor on Boadicea's side.

Compared to Tennyson's other works, this poem shares his preoccupation with historical themes and his use of vivid imagery. However, it differs in its focus on a female protagonist and its exploration of national identity and resistance.

In its historical context, the poem reflects the Victorian era's fascination with British history and the glorification of military prowess. It aligns with the nationalistic sentiments of the time, celebrating the resistance of Britain against foreign invasion. (hide)
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