who was dead,
Who married, who was like to be, and how
The races went, and who would rent the hall.
This suited “Old Fitz’s” temper absolutely. The humorous pococurantism, for cynicism it hardly is, of the quatrains put into the mouth of the Poet’s friend, each ending “but let me live my life,” breathes the very spirit of his own indolent, kindly Epicureanism, and indeed the poem might almost be taken as a record of a dialogue between the two friends in their early days.
He loved, too, the “Lord of Burleigh,” “The Vision of Sin,” and “The Lady of Shalott.” The delicious idealism of these youthful pieces did not displease him. They had for him a “champagne flavour.” They were part of his own youth. For a brief hour of that fast-fleeting day, the wine of life had sparkled in his own glass, but then too soon turned flat and flavourless.
For two or three things every lover of Tennyson must thank FitzGerald. He it was who, about 1838, soon after their friendship began, got his friend, Samuel Laurence, to paint the earliest portrait of the Poet, “the only one of the old days and still the best of all to my thinking,” as he wrote in 1871. He, too, preserved and gave to Tennyson the drawing by Thackeray of the “Lord of Burleigh.” When the Poet was rather dilatory in calling at Spedding’s house to claim this portrait, FitzGerald wrote: “Tell him I don’t think Browning would have served me so, and I mean to prefer his poems for the future.” He also rescued from the flames some of the pages of the famous “Butcher’s Book,” the tall, ledger-like MS. volume, in which many of the early poems he so much loved were written, and gave them to the Library of Trinity College. About this he wrote:
Markethill, Woodbridge,
December 4th, 1864.
Dear Alfred—Now I should be almost ready to be “yours ever, etc.” if I didn’t remember to ask you if you have any objection to my giving two or three of the leaves of your old “Butcher’s Book” (do you remember?) to the Library at Trinity College? An admirer of your’s there told me they would be glad of some such thing—It was in 1842, when you were printing the two good old volumes:—in Spedding’s rooms—and the “Butcher’s Book,” after its margins serving for pipe-lights, went leaf by leaf into the fire: and I told you I would keep two or three leaves of it as a remembrance. So I took a bit of my old favourite “Audley Court”: and a bit of another, I forget which: for I can’t lay my hands on them just now. But when I do, I shall give them to Trinity College unless you are strongly opposed. I dare say, however, you would give them the whole MS. of one of your later poems: which probably they would value more.
Tennyson appreciated “Old Fitz’s” fine qualities as a critic, but he recognized their limitations, and in particular his “crotchets” and prejudices. He was himself, as is now generally recognized, a consummate critic, and withal a most kindly and catholic one. In my first conversation with him he said that he used to think Goethe a good critic. “He always discovered all the good he could in a man.” To his own contemporaries, especially towards Browning, for example, his attitude was very different, as FitzGerald acknowledged, from FitzGerald’s own. I did not like, I remember, to ask him what he thought of Browning, but his son encouraged me to do so. “You ask him,” he said. “He’ll tell you at once.” At last I did so. “A true genius, but wanting in art,” he said. And on another occasion he spoke rather more in detail to the same purpose.
A special friend of both Tennyson and FitzGerald was Thackeray. With him FitzGerald had been intimate even earlier than with Tennyson. They were friends at college, and had gone as young men together to Paris, Thackeray ostensibly to study art. FitzGerald knew Paris of old. His father had a home there when he was a child, and went there for a few months every year for some years.
When he was nearing seventy FitzGerald wrote the following delightful account of some of his recollections to Thackeray’s daughter:
Woodbridge, May 18th, 1875.