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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
Someone 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!
The poem tells the story of a brigade consisting of 600 soldiers who rode on horseback into the “valley of death” for half a league (about one and a half miles). They were obeying a command to charge the enemy forces that had been seizing their guns.
Not a single soldier was discouraged or distressed by the command to charge forward, even though all the soldiers realized that their commander had made a terrible mistake: “Someone had blundered.” The role of the soldier is to obey and “not to make reply...not to reason why,” so they followed orders and rode into the “valley of death.”
The 600 soldiers were assaulted by the shots of shells of canons in front and on both sides of them. Still, they rode courageously forward toward their own deaths: “Into the jaws of Death / Into the mouth of hell / Rode the six hundred.”
The soldiers struck the enemy gunners with their unsheathed swords (“sabres bare”) and charged at the enemy army while the rest of the world looked on in wonder. They rode into the artillery smoke and broke through the enemy line, destroying their Cossack and Russian opponents. Then they rode back from the offensive, but they had lost many men so they were “not the six hundred” any more.
Canons behind and on both sides of the soldiers now assaulted them with shots and shells. As the brigade rode “back from the mouth of hell,” soldiers and horses collapsed; few remained to make the journey back.
The world marvelled at the courage of the soldiers; indeed, their glory is undying: the poem states these noble 600 men remain worthy of honor and tribute today.
This poem is comprised of six numbered stanzas varying in length from six to twelve lines. Each line is in dimeter, which means it has two stressed syllables; moreover, each stressed syllable is followed by two unstressed syllables, making the rhythm dactylic. The use of “falling” rhythm, in which the stress is on the first beat of each metrical unit, and then “falls off” for the rest of the length of the meter, is appropriate in a poem about the devastating fall of the British brigade.
The rhyme scheme varies with each stanza. Often, Tennyson uses the same rhyme (and occasionally even the same final word) for several consecutive lines: “Flashed all their sabres bare / Flashed as they turned in air / Sab’ring the gunners there.” The poem also makes use of anaphora, in which the same word is repeated at the beginning of several consecutive lines: “Cannon to right of them / Cannon to left of them / Cannon in front of them.” Here the method creates a sense of unrelenting assault; at each line our eyes meet the word “cannon,” just as the soldiers meet their flying shells at each turn.
“The Charge of the Light Brigade” recalls a disastrous historical military engagement that took place during the initial phase of the Crimean War fought between Turkey and Russia (1854-56). Under the command of Lord Raglan, British forces entered the war in September 1854 to prevent the Russians from obtaining control of the important sea routes through the Dardanelles. From the beginning, the war was plagued by a series of misunderstandings and tactical blunders, one of which serves as the subject of this poem: on October 25, 1854, as the Russians were seizing guns from British soldiers, Lord Raglan sent desperate orders to his Light Cavalry Brigade to fend off the Russians. Finally, one of his orders was acted upon, and the brigade began charging—but in the wrong direction! Over 650 men rushed forward, and well over 100 died within the next few minutes. As a result of the battle, Britain lost possession of the majority of its forward defenses and the only metaled road in the area.
In the 21st century, the British involvement in the Crimean War is dismissed as an instance of military incompetence; we remember it only for the heroism displayed in it by Florence Nightingale, the famous nurse. However, for Tennyson and most of his contemporaries, the war seemed necessary and just. He wrote this poem as a celebration of the heroic soldiers in the Light Brigade who fell in service to their commander and their cause. The poem glorifies war and courage, even in cases of complete inefficiency and waste.
Unlike the medieval and mythical subject of
This poem is effective largely because of the way it conveys the movement and sound of the charge via a strong, repetitive falling meter: “Half a league, half a league / Half a league onward.” The plodding pace of the repetitions seems to subsume all individual impulsiveness in ponderous collective action. The poem does not speak of individual troops but rather of “the six hundred” and then “all that was left of them.” Even Lord Raglan, who played such an important role in the battle, is only vaguely referred to in the line “someone had blundered.” Interestingly, Tennyson omitted this critical and somewhat subversive line in the 1855 version of this poem, but the writer John Ruskin later convinced him to restore it for the sake of the poem’s artistry. Although it underwent several revisions following its initial publication in 1854, the poem as it stands today is a moving tribute to courage and heroism in the face of devastating defeat.
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