The Name of the Rose (65 page)

“Who is it? We must save him!”

“We shall soon know who it is. And as for saving him, that can only be done by releasing the mechanism from above: we don't know the secret at this end. Let's hurry upstairs.”

So we went up to the scriptorium, and from there to the labyrinth, and we quickly reached the south tower. Twice I had to curb my haste, because the wind that came through the slits that night created currents that, penetrating those passages, blew moaning through the rooms, rustling the scattered pages on the desks, so that I had to shield the flame with my hand.

Soon we were in the mirror room, this time prepared for the game of distortion awaiting us. We raised the lamps to illuminate the verse that surmounted the frame. Super thronos viginti quatuor . . . At this point the secret was quite clear: the word “quatuor” has seven letters, and we had to press on the
q
and the
r.
I thought, in my excitement, to do it myself: I rapidly set the lamp down on the table in the center of the room. But I did this nervously, and the flame began to lick the binding of a book also set there.

“Watch out, idiot!” William cried, and with a puff blew out the flame. “You want to set fire to the library?”

I apologized and started to light the lamp again. “It doesn't matter,” William said, “mine is enough. Take it and give me light, because the legend is too high and you couldn't reach it. We must hurry.”

“And what if there is somebody armed in there?” I asked, as William, almost groping, sought the fatal letters, standing on tiptoe, tall as he was, to touch the apocalyptic verse.

“Give me light, by the Devil, and never fear: God is with us!” he answered me, somewhat incoherently. His fingers were touching the
q
of “quatuor,” and, standing a few paces back, I saw better than he what he was doing. I have already said that the letters of the verses seemed carved or incised in the wall: apparently those of the word “quatuor” were metal outlines, behind which a wondrous mechanism had been placed and walled up. When it was pushed forward, the
q
made a kind of sharp click, and the same thing happened when William pressed on the
r.
The whole frame of the mirror seemed to shudder, and the glass surface snapped back. The mirror was a door, hinged on its left side. William slipped his hand into the opening now created between the right edge and the wall, and pulled toward himself. Creaking, the door opened out, in our direction. William slipped through the opening and I scuttled behind him, the lamp high over my head.

Two hours after compline, at the end of the sixth day, in the heart of the night that was giving birth to the seventh day, we entered the finis Africae.

 

 

 

In which, if it were to summarize the prodigious revelations of which it speaks, the title would have to be as long as the chapter itself, contrary to usage.

 

We found ourselves on the threshold
of a room similar in shape to the other three heptagonal blind rooms, dominated by a strong musty odor, as of mildewed books. The lamp, which I held up high, first illuminated the vault; then, as I moved my arm downward, to right and left, the flame cast a vague light on the distant shelves along the walls. Finally, in the center, we saw a table covered with papers, and behind the table a seated figure, who seemed to be waiting for us in the darkness, immobile, if he was still alive. Even before the light revealed his face, William spoke.

“Happy night, venerable Jorge,” he said. “Were you waiting for us?”

The lamp now illuminated the face of the old man, looking at us as if he could see.

“Is that you, William of Baskerville?” he asked. “I have been waiting for you since this afternoon before vespers, when I came and closed myself in here. I knew you would arrive.”

“And the abbot?” William asked. “Is he the one making that noise in the secret stairway?”

Jorge hesitated for a moment. “Is he still alive?” he asked. “I thought he would already have suffocated.”

“Before we start talking,” William said, “I would like to save him. You can open from this side.”

“No,” Jorge said wearily, “not any longer. The mechanism is controlled from below, by pressing on the plaque, and up here a lever snaps, which opens a door back there, behind that case.” He nodded over his shoulder. “Next to the case you could see a wheel with some counterweights, which controls the mechanism from up here. But when I heard the wheel turning, a sign that Abo had entered down below, I yanked at the rope that holds the weights, and the rope broke. Now the passage is closed on both sides, and you could never repair that device. The abbot is dead.”

“Why did you kill him?”

“Today, when he sent for me, he told me that thanks to you he had discovered everything. He did not yet know what I had been trying to protect—he has never precisely understood the treasures and the ends of the library. He asked me to explain what he did not know. He wanted the finis Africae to be opened. The Italians had asked him to put an end to what they call the mystery kept alive by me and my predecessors. They are driven by the lust for new things. . . .”

“And you no doubt promised him you would come here and put an end to your life as you had put an end to the lives of the others, in such a way that the abbey's honor would be saved and no one would know anything. Then you told him the way to come, later, and check. But instead you waited for him, to kill him. Didn't you think he might enter through the mirror?”

“No, Abo is too short; he would never have been able to reach the verse by himself. I told him about the other passage, which I alone still knew. It is the one I used for so many years, because it was simpler in the darkness. I had only to reach the chapel, then follow the bones of the dead to the end of the passage.”

“So you had him come here, knowing you would kill him. . . .”

“I could no longer trust him. He was frightened. He had become famous because at Fossanova he managed to get a body down some circular stairs. Undeserved glory. Now he is dead because he was unable to climb his own stairway.”

“You have been using it for forty years. When you realized you were going blind and would no longer be able to control the library, you had a man you could trust elected abbot; and as librarian you first had him name Robert of Bobbio, whom you could direct as you liked, and then Malachi, who never took a step without consulting you. For forty years you have been master of this abbey. This is what the Italian group realized, this is what Alinardo kept repeating, but no one would listen to him because they considered him mad by now. Am I right? But you were still awaiting me, and you couldn't block the mirror entrance, because the mechanism is set in the wall. Why were you waiting for me? How could you be sure I would arrive?” William asked, but from his tone it was clear he had already guessed the answer and was expecting it as a reward for his own skill.

“From the first day I realized you would understand. From your voice, from the way you drew me to debate on a subject I did not want mentioned. You were better than the others: you would have arrived at the solution no matter what. You know that it suffices to think and to reconstruct in one's own mind the thoughts of the other. And then I heard you were asking the other monks questions, all of them the right ones. But you never asked questions about the library, as if you already knew its every secret. One night I came and knocked at your cell, and you were not in. You had to be here. Two lamps had disappeared from the kitchen, I heard a servant say. And finally, when Severinus came to talk to you about a book the other day in the narthex, I was sure you were on my trail.”

“But you managed to get the book away from me. You went to Malachi, who had had no idea of the situation. In his jealousy, the fool was still obsessed with the idea that Adelmo had stolen his beloved Berengar, who by then craved younger flesh. Malachi didn't understand what Venantius had to do with this business, and you confused his thinking even further. You probably told him Berengar had been intimate with Severinus, and as a reward Severinus had given him a book from the finis Africae; I don't know exactly what you told him. Crazed with jealousy, Malachi went to Severinus and killed him. Then he didn't have time to hunt for the book you had described to him, because the cellarer arrived. Is that what happened?”

“More or less.”

“But you didn't want Malachi to die. He had probably never looked at the books of the finis Africae, for he trusted you, respected your prohibitions. He confined himself to arranging the herbs at evening to frighten any intruders. Severinus supplied him with them. This is why Severinus let Malachi enter the infirmary the other day: it was his regular visit to collect the fresh herbs he prepared daily, by the abbot's order. Have I guessed?”

“You have guessed. I did not want Malachi to die. I told him to find the book again, by whatever means, and bring it back here without opening it. I told him it had the power of a thousand scorpions. But for the first time the madman chose to act on his own initiative. I did not want him to die: he was a faithful agent. But do not repeat to me what you know: I know that you know. I do not want to feed your pride; you already see to that on your own. I heard you this morning in the scriptorium questioning Benno about the
Coena Cypriani.
You were very close to the truth. I do not know how you discovered the secret of the mirror, but when I learned from the abbot that you had mentioned the finis Africae, I was sure you would come shortly. This is why I was waiting for you. So, now, what do you want?”

“I want,” William said, “to see the last manuscript of the bound volume that contains an Arabic text, a Syriac one, and an interpretation or a transcription of the
Coena Cypriani.
I want to see that copy in Greek, made perhaps by an Arab, or by a Spaniard, that you found when, as assistant to Paul of Rimini, you arranged to be sent back to your country to collect the finest manuscripts of the Apocalypse in León and Castile, a booty that made you famous and respected here in the abbey and caused you to win the post of librarian, which rightfully belonged to Alinardo, ten years your senior. I want to see that Greek copy written on linen paper, which was then very rare and was manufactured in Silos, near Burgos, your home. I want to see the book you stole there after reading it, to keep others from reading it, and you hid it here, protecting it cleverly, and you did not destroy it because a man like you does not destroy a book, but simply guards it and makes sure no one touches it. I want to see the second book of the
Poetics
of Aristotle, the book everyone has believed lost or never written, and of which you hold perhaps the only copy.”

“What a magnificent librarian you would have been, William,” Jorge said, with a tone at once admiring and regretful. “So you know everything. Come, I believe there is a stool on your side of the table. Sit. Here is your prize.”

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.