Umberto Eco - The Name of the Rose

William sat and put down the lamp, which I had handed him, illuminating Jorge’s face from below. The old man took a volume that lay before him and passed it to William. I recognized the binding: it was the book I had opened in the infirmary, thinking it an Arabic manuscript.

“Read it, then, leaf through it, William,” Jorge said. “You have won.”

William looked at the volume but did not touch it. From his habit he took a pair of gloves, not his usual mitts with the fingertips exposed, but the ones Severinus was wearing when we found him dead. Slowly he opened the worn and fragile binding. I came closer and bent over his shoulder. Jorge, with his sensitive hearing, caught the noise I made. “Are you here, too, boy?” he said. “I will show it to you, too … afterward.”

William rapidly glanced over the first pages. “It is an Arabic manuscript on the sayings of some fool, according to the catalogue,” he said. “What is it?”

“Oh, silly legends of the infidels, which hold that fools utter clever remarks that amaze even their priests and delight their caliphs …”

“The second is a Syriac manuscript, but according to the catalogue it is the translation of a little Egyptian book on alchemy. How does it happen to be in this collection?”

“It is an Egyptian work from the third century of our era. Coherent with the work that follows, but less dangerous. No one would lend an ear to the ravings of an African alchemist. He attributes the creation of the world to divine laughter…” He raised his face and recited, with the prodigious memory of a reader who for forty years now had been repeating to himself things read when he still had the gift of sight: “ ‘The moment God laughed seven gods were born who governed the world, the moment he burst out laughing light appeared, at his second laugh appeared water, and on the seventh day of his laughing appeared the soul…’ Folly. Likewise the work that comes after, by one of the countless idiots who set themselves to glossing the Coena … But these are not what interest you.”

William, in fact, had rapidly passed over the pages and had come to the Greek text. I saw immediately that the pages were of a different, softer material, the first almost worn away, with a part of the margin consumed, spattered with pale stains, such as time and dampness usually produce on other books. William read the opening lines, first in Greek, then translating into Latin, and then he continued in this language so that I, too, could learn how the fatal book began:

In the first book we dealt with tragedy and saw how, by arousing pity and fear, it produces catharsis, the purification of those feelings. As we promised, we will now deal with comedy (as well as with satire and mime) and see how, in inspiring the pleasure of the ridiculous, it arrives at the purification of that passion. That such passion is most worthy of consideration we have already said in the book on the soul, inasmuch as — alone among the animals — man is capable of laughter. We will then define the type of actions of which comedy is the mimesis, then we will examine the means by which comedy excites laughter, and these means are actions and speech. We will show how the ridiculousness of actions is born from the likening of the best to the worst and vice versa, from arousing surprise through deceit, from the impossible, from violation of the laws of nature, from the irrelevant and the inconsequent, from the debasing of the characters, from the use of comical and vulgar pantomime, from disharmony, from the choice of the least worthy things. We will then show how the ridiculousness of speech is born from the misunderstandings of similar words for different things and different words for similar things, from garrulity and repetition, from play on words, from diminutives, from errors of pronunciation, and from barbarisms.

William translated with some difficulty, seeking the right words, pausing now and then. As he translated he smiled, as if he recognized things he was expecting to find. He read the first page aloud, then stopped, as if he were not interested in knowing more, and rapidly leafed through the following pages. But after a few pages he encountered resistance, because near the upper corner of the side edge, and along the top, some pages had stuck together, as happens when the damp and deteriorating papery substance forms a kind of sticky paste. Jorge realized that the rustle of pages had ceased, and he urged William on.

“Go on, read it, leaf through it. It is yours, you have earned it.”

William laughed, seeming rather amused. “Then it is not true that you consider me so clever, Jorge! You cannot see: I have gloves on. With my fingers made clumsy like this, I cannot detach one page from the next. I should proceed with bare hands, moistening my fingers with my tongue, as I happened to do this morning while reading in the scriptorium, so that suddenly that mystery also became clear to me. And I should go on leafing like that until a good portion of the poison had passed to my mouth. I am speaking of the poison that you, one day long ago, took from the laboratory of Severinus. Perhaps you were already worried then, because you had heard someone in the scriptorium display curiosity, either about the finis Africae or about the lost book of Aristotle, or about both. I believe you kept the ampoule for a long time, planning to use it the moment you sensed danger. And you sensed that days ago, when Venantius came too close to the subject of this book, and at the same time Berengar, heedless, vain, trying to impress Adelmo, showed he was less secretive than you had hoped. So you came and set your trap. Just in time, because a few nights later Venantius got in, stole the book, and avidly leafed through it, with an almost physical voracity. He soon felt ill and ran to seek help in the kitchen. Where he died. Am I mistaken?

“No. Go on.”

“The rest is simple. Berengar finds Venantius’s body in the kitchen, fears there will be an inquiry, because, after all, Venantius got into the Aedificium at night thanks to Berengar’s prior revelation to Adelmo. He doesn’t know what to do; he loads the body on his shoulders and flings it into the jar of blood, thinking everyone will be convinced Venantius drowned.”

“And how do you know that was what happened?”

“You know it as well. I saw how you reacted when they found a cloth stained with Berengar’s blood. With that cloth the foolhardy man had wiped his hands after putting Venantius in the jar. But since Berengar had disappeared, he could only have disappeared with the book, which by this point had aroused his curiosity, too. And you were expecting him to be found somewhere, not bloodstained but poisoned. The rest is clear. Severinus finds the book, because Berengar went first to the infirmary to read it, safe from indiscreet eyes. Malachi, at your instigation, kills Severinus, then dies himself when he comes back here to discover what was so forbidden about the object that had made him a murderer. And thus we have an explanation for all the corpses… What a fool …”

“Who?”

“I. Because of a remark of Alinardo’s, I was convinced the series of crimes followed the sequence of the seven trumpets of the Apocalypse. Hail for Adelmo, and his death was a suicide. Blood for Venantius, and there it had been a bizarre notion of Berengar’s; water for Berengar himself, and it had been a random act; the third part of the sky for Severinus, and Malachi had struck him with the armillary sphere because it was the only thing he found handy. And finally scorpions for Malachi … Why did you tell him that the book had the power of a thousand scorpions?”

“Because of you. Alinardo had told me about his idea, and then I heard from someone that you, too, found it persuasive… I became convinced that a divine plan was directing these deaths, for which I was not responsible. And I told Malachi that if he were to become curious he would perish in accordance with the same divine plan; and so he did.”