The Name of the Rose

by Umberto Eco

  “No.”

  “To mine, yes. ‘Secretum finis Africae’ . . . But if this were correct, then the last word should have the same first and sixth letter, and so it does, in fact: the symbol of the Earth is there twice. And the first letter of the first word, the S, should be the same as the last of the second: and, sure enough, the sign of the Virgin is repeated. Perhaps this is the right track. But it could also be just a series of coincidences. A rule of correspondence has to be found. . . .”

  “Found where?”

  “In our heads. Invent it. And then see whether it is the right one. But with one test and another, the game could cost me a whole day. No more than that because—remember this—there is no secret writing that cannot be deciphered with a bit of patience. But now we risk losing time, and we want to visit the library. Especially since, without lenses, I will never be able to read the second part of the message, and you cannot help me because these signs, to your eyes . . .”

  “Graecum est, non legitur,” I finished his sentence, humiliated. “It is Greek to me.”

  “Exactly; and you see that Bacon was right. Study! But we must not lose heart. We’ll put away the parchment and your notes, and we’ll go up to the library. Because tonight not even ten infernal legions will succeed in keeping us out.”

  I blessed myself. “But who can he have been, the man who was here ahead of us? Benno?”

  “Benno was burning with the desire to know what there was among Venantius’s papers, but I can’t see him as one with the courage to enter the Aedificium at night.”

  “Berengar, then? Or Malachi?”

  “Berengar seems to me to have the courage to do such things. And, after all, he shares responsibility for the library. He is consumed by remorse at having betrayed some secret of it; he thought Venantius had taken that book, and perhaps he wanted to return it to the place from which it comes. He wasn’t able to go upstairs, and now he is hiding the volume somewhere.”

  “But it could also be Malachi, for the same motives.”

  “I would say no. Malachi had all the time he wanted to search Venantius’s desk when he remained alone to shut up the Aedificium. I knew that very well, but there was no way to avoid it. Now we know he didn’t do it. And if you think carefully, we have no reason to think Malachi knows Venantius had entered the library and removed something. Berengar and Benno know this, and you and I know it. After Adelmo’s confession, Jorge may know it, but he was surely not the man who was rushing so furiously down the circular staircase. . . .”

  “Then either Berengar or Benno . . .”

  “And why not Pacificus of Tivoli or another of the monks we saw here today? Or Nicholas the glazier, who knows about my glasses? Or that odd character Salvatore, who they have told us roams around at night on God knows what errands? We must take care not to restrict the field of suspects just because Benno’s revelations have oriented us in a single direction; perhaps Benno wanted to mislead us.”

  “But he seemed sincere to you.”

  “Certainly. But remember that the first duty of a good inquisitor is to suspect especially those who seem sincere to him.”

  “A nasty job, being an inquisitor.”

  “That’s why I gave it up. And as you say, I am forced to resume it. But come now: to the library.”

  Night

  In which the labyrinth is finally broached, and the intruders have strange visions and, as happens in labyrinths, lose their way.

  We climbed back up to the scriptorium, this time by the east staircase, which rose also to the forbidden floor. Holding the light high before us, I thought of Alinardo’s words about the labyrinth, and I expected frightful things.

  I was surprised, as we emerged into the place we should not have entered, at finding myself in a not very large room with seven sides, windowless, where there reigned—as, for that matter, throughout the whole floor—a strong odor of stagnation or mold. Nothing terrifying.

  The room, as I said, had seven walls, but only four of them had an opening, a passage flanked by two little columns set in the wall; the opening was fairly wide, surmounted by a round-headed arch. Against the blind walls stood huge cases, laden with books neatly arranged. Each case bore a scroll with a number, and so did each individual shelf; obviously the same numbers we had seen in the catalogue. In the midst of the room was a table, also covered with books. On all the volumes lay a fairly light coat of dust, sign that the books were cleaned with some frequency. Nor was there dirt of any kind on the floor. Above one of the archways, a big scroll, painted on the wall, bore the words “Apocalypsis Iesu Christi.” It did not seem faded, even though the lettering was ancient. We noticed afterward, also in the other rooms, that these scrolls were actually carved in the stone, cut fairly deeply, and the depressions had subsequently been filled with color.

  We passed through one of the openings. We found ourselves in another room, where there was a window that, in place of glass panes, had slabs of alabaster, with two blind walls and one aperture, like the one we had just come through. It opened into another room, which also had two blind walls, another with a window, and another passage that opened opposite us. In these two rooms, the two scrolls were similar in form to the first we had seen, but with different words. The scroll in the first room said “Super thronos viginti quatuor,” and the one in the second room, “Nomen illi mors.” For the rest, even though the two rooms were smaller than the one by which we had entered the library (actually, that one was heptagonal, these two rectangular), the furnishing was the same.

  We entered the third room. It was bare of books and had no scroll. Under the window, a stone altar. There were three doors: the one by which we had entered; another, leading to the heptagonal room already visited; and a third, which led to a new room, no different from the others except for the scroll, which said “Obscuratus est sol et aer,” announcing the growing darkness of sun and air. From here you went into a new room, whose scroll said “Facta est grando et ignis,” threatening turmoil and fire. This room was without other apertures: once you reached it, you could proceed no farther and had to turn back.

  “Let us think about this,” William said. “Five quadrangular or vaguely trapezoidal rooms, each with one window, arranged around a windowless heptagonal room to which the stairway leads. It seems elementary to me. We are in the east tower. From the outside each tower shows five windows and five sides. It works out. The empty room is the one facing east, the same direction as the choir of the church; the dawn sun illuminates the altar, which I find right and pious. The only clever idea, it seems to me, is the use of alabaster slabs. In the daytime they admit a fine light, and at night not even the moon’s rays can penetrate. Now let’s see where the other two doors of the heptagonal room lead.”

  My master was mistaken, and the builders of the library had been shrewder than we thought. I cannot explain clearly what happened, but as we left the tower room, the order of the rooms became more confused. Some had two doorways, others three. All had one window each, even those we entered from a windowed room, thinking we were heading toward the interior of the Aedificium. Each had always the same kind of cases and tables; the books arrayed in neat order seemed all the same and certainly did not help us to recognize our location at a glance. We tried to orient ourselves by the scrolls. Once we crossed a room in which was written “In diebus illis,” “In those days,” and after some roaming we thought we had come back to it. But we remembered that the door opposite the window led into a room whose scroll said “Primogenitus mortuorum,” “The firstborn of the dead,” whereas now we came upon another that again said “Apocalypsis Iesu Christi,” though it was not the heptagonal room from which we had set out. This fact convinced us that sometimes the scrolls repeated the same words in different rooms. We found two rooms with “Apocalypsis” one after the other, and, immediately following them, one with “Cecidit de coelo stella magna,” “A great star fell from the heavens.”

  The source of the phrases on the scrolls was obvio
us—they were verses from the Apocalypse of John—but it was not at all clear why they were painted on the walls or what logic was behind their arrangement. To increase our confusion, we discovered that some scrolls, not many, were colored red instead of black.

  At a certain point we found ourselves again in the original heptagonal room (easily identified because the stairwell began there), and we resumed moving toward our right, trying to go straight from room to room. We went through three rooms and then found ourselves facing a blank wall. The only opening led into a new room that had only one other aperture, which we went through, and then, after another four rooms, we found ourselves again facing a wall. We returned to the previous room, which had two exits, took the one we had not tried before, went into a new room, and then found ourselves back in the heptagonal room of the outset.

  “What was the name of the last room, the one where we began retracing our steps?” William asked.

  I strained my memory and I had a vision of a white horse: “Equus albus.”

  “Good. Let’s find it again.” And it was easy. From there, if we did not want to turn back as we had before, we could only pass through the room called “Gratia vobis et pax,” and from there, on the right, we thought we found a new passage, which did not take us back. Actually we again came upon “In diebus illis” and “Primogenitus mortuorum” (were they the rooms of a few moments earlier?); then finally we came to a room that we did not seem to have visited before: “Tertia pars terrae combusta est.” But even when we had learned that a third of the earth had been burned up, we still did not know what our position was with respect to the east tower.

  Holding the lamp in front of me, I ventured into the next rooms. A giant of threatening dimensions, a swaying and fluttering form came toward me, like a ghost.

  “A devil!” I cried and almost dropped the lamp as I wheeled around and took refuge in William’s arms. He seized the lamp from my hands and, thrusting me aside, stepped forward with a decisiveness that to me seemed sublime. He also saw something, because he brusquely stepped back. Then he leaned forward again and raised the lamp. He burst out laughing.

  “Really ingenious. A mirror!”

  “A mirror?”

  “Yes, my bold warrior. You flung yourself so courageously on a real enemy a short while ago in the scriptorium, and now you are frightened by your own image. A mirror that reflects your image, enlarged and distorted.”

  He took me by the hand and led me up to the wall facing the entrance to the room. On a corrugated sheet of glass, now that the light illuminated it more closely, I saw our two images, grotesquely misshapen, changing form and height as we moved closer or stepped back.

  “You must read some treatise on optics,” William said, amused, “as the creators of the library surely did. The best ones are by the Arabs. Alhazen wrote a treatise, De aspectibus, in which, with precise geometrical demonstrations, he spoke of the power of mirrors, some of which, depending on how their surface is gauged, can enlarge the tiniest things (what else are my lenses?), while others make images appear upside down, or oblique, or show two objects in the place of one, and four in place of two. Still others, like this one, turn a dwarf into a giant or a giant into a dwarf.”

  “Lord Jesus!” I exclaimed. “Are these, then, the visions some say they have had in the library?”

  “Perhaps. A really clever idea.” He read the scroll on the wall, over the mirror: “Super thronos viginti quatuor.” “‘The twenty-four elders upon their seats.’ We have seen this inscription before, but it was a room without any mirror. This one, moreover, has no windows, and yet it is not heptagonal. Where are we?” He looked around and went over to a case. “Adso, without those wondrous oculi ad legendum I cannot figure out what is written on these books. Read me some titles.”

  I picked out a book at random. “Master, it is not written!”

  “What do you mean? I can see it is written. What do you read?”

  “I am not reading. These are not letters of the alphabet, and it is not Greek. I would recognize it. They look like worms, snakes, fly dung. . . .”

  “Ah, it’s Arabic. Are there others like it?”

  “Yes, several. But here is one in Latin, thank God. Al . . . Al-Kuwarizmi, Tabulae.”

  “The astronomical tables of Al-Kuwarizmi, translated by Adelard of Bath! A very rare work! Continue.”

  “Isa ibn-Ali, De oculis; Alkindi, De radiis stellatis . . .”

  “Now look on the table.”

  I opened a great volume lying on the table, a De bestiis. I happened on a delicately illuminated page where a very beautiful unicorn was depicted.

  “Beautifully made,” William commented, able to see the illustrations well. “And that?”

  I read: “Liber monstrorum de diversis generibus. This also has beautiful images, but they seem older to me.”

  William bent his face to the text. “Illuminated by Irish monks, at least five centuries ago. The unicorn book, on the other hand, is much more recent; it seems to me made in the French fashion.” Once again I admired my master’s erudition. We entered the next room and crossed the four rooms after it, all with windows, and all filled with volumes in unknown languages. Then we came to a wall, which forced us to turn back, because the last five rooms opened one into the other, with no other egress possible.

  “To judge by the angles of the walls, I would say we are in the pentagon of another tower,” William said, “but there is no central heptagonal room. Perhaps we are mistaken.”

  “But what about the windows?” I asked. “How can there be so many windows? It is impossible for all the rooms to overlook the outside.”

  “You’re forgetting the central well. Many of the windows we have seen overlook the octagon, the well. If it were day, the difference in light would tell us which are external windows and which internal, and perhaps would even reveal to us a room’s position with respect to the sun. But after dusk no difference is perceptible. Let’s go back.”

  We returned to the room with the mirror and headed for the third doorway, which we thought we had not gone through previously. We saw before us a sequence of three or four rooms, and toward the last we noticed a glow.

  “Someone’s there!” I exclaimed in a stifled voice.

  “If so, he has already seen our light,” William said, nevertheless shielding the flame with his hand. We hesitated a moment or two. The glow continued to flicker slightly, but without growing stronger or weaker.

  “Perhaps it is only a lamp,” William said, “set here to convince the monks that the library is inhabited by the souls of the dead. But we must find out. You stay here, and keep covering the light. I’ll go ahead cautiously.”

  Still ashamed at the sorry figure I had cut before the mirror, I wanted to redeem myself in William’s eyes. “No, I’ll go,” I said. “You stay here. I’ll proceed cautiously. I am smaller and lighter. As soon as I’ve made sure there is no risk, I’ll call you.”

  And so I did. I proceeded through three rooms, sticking close to the walls, light as a cat (or as a novice descending into the kitchen to steal cheese from the larder: an enterprise in which I excelled at Melk). I came to the threshold of the room from which the glow, quite faint, was coming. I slipped along the wall to a column that served as the right jamb, and I peered into the room. No one was there. A kind of lamp was set on the table, lighted, and it was smoking, flickering. It was not a lamp like ours: it seemed, rather, an uncovered thurible. It had no flame, but a light ash smoldered, burning something. I plucked up my courage and entered. On the table beside the thurible, a brightly colored book was lying open. I approached and saw four strips of different colors on the page: yellow, cinnabar, turquoise, and burnt sienna. A beast was set there, horrible to see, a great dragon with ten heads, dragging after him the stars of the sky and with his tail making them fall to earth. And suddenly I saw the dragon multiply, and the scales of his hide become a kind of forest of glittering shards that came off the page and took to circling around my h
ead. I flung my head back and I saw the ceiling of the room bend and press down toward me, then I heard something like the hiss of a thousand serpents, but not frightening, almost seductive, and a woman appeared, bathed in light, and put her face to mine, breathing on me. I thrust her away with outstretched hands, and my hands seemed to touch the books in the case opposite, or to grow out of all proportion. I no longer realized where I was, where the earth was, and where the sky. In the center of the room I saw Berengar staring at me with a hateful smile, oozing lust. I covered my face with my hands and my hands seemed the claws of a toad, slimy and webbed. I cried out, I believe; there was an acid taste in my mouth; I plunged into infinite darkness, which seemed to yawn wider and wider beneath me; and then I knew nothing further.

  I woke again, hearing some blows pounding in my head. I was stretched out on the floor and William was slapping me on the cheeks. I was no longer in that room, and before my eyes was a scroll that said “Requiescant a laboribus suis,” “May they rest from their labors.”

  “Come, come, Adso,” William was whispering to me. “There’s nothing. . . .”

  “Everything . . .” I said, still delirious. “Over there, the beast . . .”

  “No beast. I found you raving underneath a table with a beautiful Mozarabic apocalypse on it, opened to the page of the mulier amicta sole confronting the dragon. But I realized from the odor that you had inhaled something dangerous and I carried you away immediately. My head also aches.”

  “But what did I see?”

  “You saw nothing. The fact is that some substances capable of inducing visions were burning there. I recognized the smell: it is an Arab stuff, perhaps the same that the Old Man of the Mountain gave his assassins to breathe before sending them off on their missions. And so we have explained the mystery of the visions. Someone puts magic herbs there during the night to convince importunate visitors that the library is guarded by diabolical presences. What did you experience, by the way?”