“I remember,” wrote Fitz in 1843, “the days of the summer when you and I were together quarrelling and laughing.... Our trip to Gravesend has left a perfume with me. I can get up with you on that everlastingly stopping coach on which we tried to travel from Gravesend to Maidstone that Sunday morning: worn out with it we got down at an Inn and then got up on another coach, and an old smiling fellow passed us holding out his hat—and you said, “That old fellow must go about as Homer did,” and numberless other turns of road and humour, which sometimes pass before me as I lie in bed.”
And in the next year he writes:
How we pulled against each other at Gravesend! You would stay—I wouldn’t—then I would—then we did. Do you remember that girl at the bazaar ... then the gentleman who sang at Ivy Green?
And seven years later Gravesend and its ἀνήριθμοι shrimps are still in his memory.
Very soon, however, after leaving Cambridge, Frederick, who had inherited a comfortable property at Grimsby, set out for Italy, and in Italy and near the Mediterranean he remained, with the exception of an occasional visit to England, until 1859.
He was passionately fond of travel, which, as he used to say, “makes pleasure solemn and pain sweet,” and even his marriage in 1839 to Maria Giuliotti, daughter of the chief magistrate of Siena, could not induce him to make a settled home. In 1841 we hear of him (through “Fitz”) in Sicily, playing a cricket match against the crew of the Bellerophon on the Parthenopaean Hills, and “sacking the sailors by ninety runs.” “I like that such men as Frederick should be abroad,” adds the writer, “so strong, haughty, and passionate,” and in 1842 “Fitz” pictures him “laughing and singing, and riding into Naples with huge self-supplying beakers full of the warm South.” All the while he continued to write to FitzGerald “accounts of Italy, finer” (says the latter) “than any I ever heard.”
Once he describes himself coming suddenly upon Cicero’s Formian villa, with its mosaic pavement leading through lemon gardens down to the sea, and a little fountain bubbling up “as fresh as when its silver sounds mixed with the deep voice of the orator sitting there in the stillness of the noonday, devoting the siesta hours to study.” FitzGerald replies with letters full of affection; he sighs for Frederick’s “Englishman’s humours”—for their old quarrels: “I mean quarrel in the sense of a good, strenuous difference of opinion, supported on either side by occasional outbursts of spleen. Come and let us try,” he adds, “you used to irritate my vegetable blood.” “I constantly think of you,” he writes, “and as I have often sincerely told you, with a kind of love I feel towards but two or three friends ... you, Spedding, Thackeray, and only one or two more.” And again: “It is because there are so few F. Tennysons in the world that I do not like to be wholly out of hearing of the one I know.... I see so many little natures that I must draw to the large.”
All this time Frederick was writing verse and Fitz constantly urges him to publish. “You are now the only man I expect verse from,” he writes in 1850, after he had given Alfred up as almost wholly fallen from grace. “Such gloomy, grand stuff as you write.” Again: “We want some bits of strong, genuine imagination.... There are heaps of single lines, couplets, and stanzas that would consume the ——s and ——s like stubble.”
Much of their correspondence is taken up with the discussion of music. They both agree in placing Mozart above all other composers. Beethoven they find too analytical and erudite. Original, majestic, and profound, they acknowledge him, but at times bizarre and morbid.
“We all raved about Byron, Shelley, and Keats,” wrote Frederick long after, in 1885, “but none of them have retained their hold on me with the same power as that little tone poet with the long nose, knee-breeches, and pigtail.” Indeed he was at different times told by two mediums that the spirit of Mozart in these same knee-breeches and pigtail accompanied him, invisibly to the eye of sense, as a familiar. Music was the passion of Frederick Tennyson’s life. It was said among his friends that when he settled in Florence (as he did soon after 1850), he lived in a vast Hall designed by Michael Angelo, surrounded by forty fiddlers, and he used to improvise on a small organ until he was over eighty years of age.