This estimate of Foscolo’s character was founded entirely on reading and reports, and seeing that the two famous refugees had no personal knowledge of each other—indeed had never met—must be taken as an eulogium rather of the genius than the moral worth of the great writer.
Though doubtless much might be said on this topic, our space and the purpose of this memoir forbid our dwelling at any length on the subject. For Foscolo’s genius as writer and poet, Panizzi—as who would not, even without his shrewd discernment?—ever entertained the profoundest respect; but in a somewhat important qualification, strict adherence to truth, he detected a slight deficiency. However, he made every allowance for this failing in a man of superior endowments, and felt the deepest sympathy with one of so great attainments reduced to such ignoble shifts. It is but too true that Foscolo wrote his famous book, “Discorso sul Testo, etc.,” and other of his last works under the pressure of extreme poverty and in continual dread of his creditors, which rendered his bodily sufferings the more intolerable, and caused him alarm lest want of bread should put a stop to his literary labours.
It is unnecessary to give further details of Foscolo’s life. They were better known to Panizzi than to any one else, and he alone could have narrated the true story of the experiences of his illustrious friend. The biographers of the former have unaccountably and unpardonably neglected to take due cognizance of the intimacy which subsisted between the two.
The first letter, written by Panizzi to Foscolo from Liverpool, and dated 25th February, 1826, is long and most interesting. Herein he recalls to his friend’s memory that it was just thirty months since he laid the foundation of all that the writer possessed, and proceeds in the following grateful strain: “Were it possible for me to forget my own country, I could not certainly forget Liverpool. If the misery of selling articles and verbs were not such as to freeze one’s blood, I might say that I live, yet I only vegetate; even this is due to you.”
Of Foscolo’s “Discorso sul Testo” of Dante, Panizzi always expressed the highest admiration. “It[admiration. “It] would be impossible,” he writes of his friend’s magnum opus, “to describe how much superior your work seems to me, compared with those hitherto made known, not only in Italy, but by any critic elsewhere. Being a great admirer of Dante, in whom I find the greatest comfort of my exile, I paid last month a visit to the Bodleian, where I saw thirteen manuscripts of the ‘Divina Commedia.’ I have ready a minute description of each, which I have written in the shape of a letter, with the intention of sending it to the ‘Antologia,’ a paper more Italian in feeling, and less slavish than the others; but if you would like to see it, I shall most willingly send it to you. I may add that not far from here there is another manuscript of Dante, which, according to Mr. Roscoe, is well worth consulting; I propose seeing it next Easter. Mr. Coke, of Holkham, also possesses other MSS. and has kindly offered to send them to my house, that I may have an opportunity of studying them at leisure.”
The splendid library at Holkham had been, in 1812, carefully examined and catalogued by Mr. Roscoe, who was immensely impressed with its value and importance.
“Such MSS. of Dante,” he writes to a friend, “drawings of the old masters, treasures of European history—you have no idea ... besides beautifully illuminated MSS. on vellum of many of the Latin classics, a most exquisite Boccaccio, a very fine old Dante.”
In the catalogue the following note is written by Roscoe: “For a transcript of this very difficult MS. of Boccaccio, by Signor Antonio Panizzi, see the illustrations in Vol. VIII. of this catalogue.”
Next, if not equal in value to the “Discorso sul Testo,” in Panizzi’s estimation, was another work of Foscolo’s. This was “La Commedia di Dante Alighieri illustrata da Ugo Foscolo.” (London: 8vo., 1825). It may be mentioned that the preface to the first vol. of a later edition (1842) of this book, signed “un Italiano,” was written by Mazzini. Panizzi reviewed “La Commedia” (it was his first attempt at criticism in the English language) in the Westminster Review (vol. 7, p. 153).
This will amply repay perusal. The sincerity of the writer’s patriotism, and the manner in which it serves to enhance his interest in the great poet of his native country, will probably attract the reader’s attention at the outset. The philological contest in which Dante was engaged—his conclusions (set forth in his “De Vulgari Eloquio”), on the true origin of the Italian language, by which he so much disgusted his Florentine compatriots,—his own life and greater works,—the relations of the different powers by whose influence Italy was chiefly affected,—the spiritual in jeopardy of its existence in its own home, and externally the temporal, on which it mainly relied for support,—are all brought under notice, and skilfully treated.