The Abt or Abbé George Joseph Vogler (born at Würzburg, Bavaria, in 1749, died at Darmstadt, 1824) was a composer, professor, kapelmeister and writer on music. Among his pupils were Weber and Meyerbeer. The "musical instrument of his invention" was called an orchestrion. "It was," says Sir G. Grove, "a very compact organ, in which four keyboards of five octaves each, and a pedal board of thirty-six keys, with swell complete, were packed into a cube of nine feet."—(See Miss Marx's "Account of Abbé Vogler," in the Browning Society's Papers, Part III., p. 339).
17. THE RING AND THE BOOK.
[Published, in 4 vols., in 1868-9: Vol. I., November, 1868; Vol. II., December, 1868; Vol. III., January, 1869; Vol. IV., February, 1869. In 12 Books: 1., The Ring and the Book; II., Half-Rome; III., The Other Half-Rome; IV., Tertium Quid; V., Count Guido Franceschini; VI., Giuseppe Caponsacchi; VII., Pompilia; VIII., Dominus Hyacinthus de Archangelis, Pauperum Procurator; IX., Juris Doctor Johannes-Baptista Bottinius, Fisci et Rev. Cam. Apostol. Advocatus; X., The Pope; XI., Guido; XII., The Book and the Ring. (Poetical Works, 1889; Vols. VIII.-X.)]
The Ring and the Book is at once the largest and the greatest of Browning's works, the culmination of his dramatic method, and the turning-point, more decisively than Dramatis Personæ, of his style. It consists of twelve books, the first and last being of the nature of Preface and Appendix. It embodies a single story, told ten times, each time from an individual standpoint, by nine different persons (one of them speaking twice), besides a summary of the story by the poet in the first book, and some additional particulars in the last. The method thus adopted is at once absolutely original and supremely difficult. To tell the same story, without mere repetition, no less than ten times over, to make each telling at once the same and new, a record of the same facts but of independent impressions, to convey by means of each monologue a sense of the speaker not less vivid and life-like than by the ordinary dramatic method, with a yet more profound measure of analytic and psychological truth, and finally to group all these figures with unerring effect of prominence and subordination, to fuse and mould all these parts into one living whole is, as a tour de force, unique, and it is not only a tour de force. The Ring and the Book, besides being the longest poetical work of the century, must be ranked among the greatest poems in our literature: it has a spiritual insight, human science, dramatic and intellectual and moral force, a strength and grip, a subtlety, a range and variety of genius and of knowledge, hardly to be paralleled outside Shakespeare.
It has sometimes been said that the style of Browning is essentially undramatic, that Pompilia, Guido, and the lawyers all talk in the same way, that is, like Browning. As a matter of fact nothing is more remarkable than the variety of style, the cunning adjustment of language and of rhythm to the requirements of every speaker. From the general construction of the rhythm to the mere similies and figures of speech employed in passing, each monologue is absolutely individual, and, though each monologue contains a highly finished portrait of the character whose name it bears, these portraits, so far from being disconnected or independent, are linked together in as close an interdependence as the personages of a regularly constructed drama. The effect of the reiterated story, told in some new fashion by each new teller of it, has been compared with that of a great fugue, blending, with the threads of its crossing and recrossing voices, a single web of harmony. The "theme" is Pompilia; around her the whole action circles. As, in Pippa Passes, the mere passing of an innocent child, her unconscious influence on those on whom her song breaks in at a moment of crisis, draws together the threads of many stories, so Pompilia, with hardly more consciousness of herself, makes and unmakes the lives and characters of those about her. The same sweet rectitude and purity of nature serve to call out the latent malignity of Guido and the slumbering chivalry of Caponsacchi. Without her, the one might have remained a "petit mâitre priestling;" the other merely a soured, cross-grained, impecunious country squire: Rome would have had no tragedy to talk about, nor we this book to read. It is in Pompilia that all the threads of action meet: she is the heroine, as neither Guido nor Caponsacchi can be called the hero.
The story of The Ring and the Book, like those of so many of the greatest works of Shakespeare and his contemporaries, comes to us from Italy. Unlike Shakespeare's, however, but like one at least of Webster's two masterpieces, it is no legend, but the true story of a Roman murder-case, found (in all its main facts and outlines) in a square old yellow book, small-quarto size, part print, part manuscript, which Browning picked up for eightpence on a second-hand stall in the Piazza San Lorenzo at Florence, one day in June, 1865. The book was entitled (in Latin which Browning thus translates):—
"A Roman murder-case: