The Name of the Rose


First Day: Sext (pp. 40-64)

Commentary on Adso's view of the tympanum in the Church (pp. 41-45). This website is a continuation from First Day: Sext commentary on the architecture of the Church.

"The face of the Seated One" (p. 41). Roger Raber comments: Adso's vision of the "Seated One" and the four surrounding images have multiple symbolic meanings. These Tetramorphs (forms bearing the four faces of lion, eagle, bull, and man) are typically viewed as the positive Christian symbols of the four Evangelists (Mathew, Mark, Luke, and John). The three animal images, which Adso refers to as "horrifying", can also be associated with evil or The Devil. The lion is likened to The Devil in Psalms 10:8-11. The eagle is representative of the sins of pride and greed. As a bird of prey its victims are often fish (one of the earliest symbols of Christianity). The bull is often seen as the embodiment of evil in the form of an enemy to Israel (Psalms 22:12). These negative associations to what Adso realizes are strong and powerful protectors of the "Seated One" suggest a conflict. The presence of evil is reiterated in the words of Salvatore and the theme of conflict between evil and good is further developed by Umbertino in his discussion with William chronicling the duplicitous nature of the church and his attempts return it to a state of absolute poverty.

The Tetramorphs or cherubim were angelic beings having four faces (human, lion, ox, and eagle).

Later Christian writers sought to associate the beings described in Ezekiel and Revelation with the Four Evangelists. The winged man is associated with Matthew because his gospel begins by tracing the human descent of Jesus. The winged lion is the symbol of Mark because his gospel expresses the royal dignity of Christ. The winged bull or ox represents Luke because the bull is a symbol of sacrifice, and his gospel emphasizes the sacrificial nature of Christ’s priesthood on Earth. The eagle is associated with John because his visionary gospel soars the nearest to heaven.

Just as the Evangelists proclaimed God’s message (ultimately culminating in the apocalypse) in words, the scene depicted in the tympanum sets forth the divine plan in pictorial form. In The Name of the Rose, Adso acts as an evangelist by recording in his manuscript the "apocalyptic" events that occurred at the monastery during his visit.

 

References:

Ferguson, George. Signs & Symbols in Christian Art. London: Oxford University Press, 1954.

Ross, Leslie. Medieval Art, A Topical Dictionary. Westport: Greenwood Press 1966.

 



"the silent speech of carved stone" (p. 41) [Lee Zickel comments]: this line, while being formed around the way a monk should feel upon witnessing the effigies, is textually linked to Dante's Purgatorio. In Canto X, as Dante the Pilgrim "crossed the threshold of the gate" (ln. 1), he, just as Adso, encounters an arrangement of extremely life-like effigies. Dante's statues proceed to create for him a "visibile parlare", a "speech made visible" (ln. 94), which, just as to Adso the Pilgrim, "plunged [him] into a vision" (p. 41).

Pictures in the church as apocalyptic vision (p. 41): The role and efficacy of religious images, or "icons," was a recurring theme in the Middle Ages, especially in the Eastern Roman Empire, where religious images were destroyed in an "Iconoclastic movements." According to the Iconoclast rationale, the veneration of images was a form of idolatry. Western writers, such as Bede in De Templo, defended religious images using two arguments: (1) artistic portrayals of biblical stories function as a "visual Bible" for the illiterate; and (2) religious images inspire "compunctio," a desire for piety, in the hearts of devout Christians who view them. A general medieval rationale for church decoration is provided by Suger of St. Denis [1081-1155], abbot of St. Denis from 1122-1155, in the Book on What was Done in his Administration.

David dancing before the ark (p. 42): The immediate allusion is to the story about the recovery of the ark of the Covenant, after the Philistines had stolen it, in 2 Samuel 6. David's dancing is one of many allusions to David as a musician, and this, in turn, evokes the medieval theory of music as imitation of divine harmonies, expressed in Boethius' De musica and elsewhere.

"I saw a miser, stiff in the stiffness of death . . . his soul in the form of an infant" (p. 44) [Tracie Lloyd comments]: Adso's journey through the church introduces him to a variety of images which display the Second Coming of Christ (see Catholic Encyclopedia, "Second Coming," p.1179). The image of a miser alludes to Matthew 19:23-24, where Jesus warns that it is difficult for a rich man to enter heaven. Perhaps Adso recognizes, in this symbol, some assurance that due to his lack of material wealth, he shall enter the gates of heaven.

With further analysis, this passage points to the controversy of whether a human soul is distinct in characteristic. The soul Adso witnesses is the one of the miser that is taken by a demon. This soul has taken the shape of an infant or a "physical form" versus an "atomic form" (see "resurrection of the body" in Catholic Encyclopedia, pp. 1110-1111). Adso's observation of the infant soul also brings up another question: Since this man died as a miser and not an infant, why was his soul not only of a physical form, but one that bears no reference to his previous physical state?

"Thrust in thy sickle" (p. 45) [Ruth Bijja comments] Adso enters the church but he feels that it is not majestic like the other churches that he has seen.He feels that it is "firmly set on the earth" and not "pointing to the heavens". This can be related to the words of the Bible where it is said that the minds of the saints should be on the things of heaven and not on the carnal things of the earth.But the moment Adso sees the carvings on the stone he sees a vision where he sees Christ as a lion on the throne.This vision is related to Rev 2:12-20 where Paul sees Christ in his glory.After a short while,he sees the horrible images and all kinds of "satan's bestiary".He was stunned whether he was in a "friendly palce or in the valley of last judgement". This vision prepares him for the mission ahead as Christ prepares himself to judge the wicked and uproot the evil from the world.He also seems to hear the words that the "sickle should be thrusted" and the "earth should be reaped".He realizes that the vision is meant for the purpose of uprooting the evil which is ruling the abbey.

"I had never in my whole life been visited by the Devil; but…" (45)

Adso prefaces his description of Salvatore with this admission. Salvatore is described as "Hairless," a victim "of some viscid eczema." His eyes were rounded "with tiny mobile pupils", and his nose was nothing more than "a bone…between the eyes." The description of Salvatore continues and includes words such as "Transforming," "Stretching," and "Protruding."

Adso’s description of Salvatore is similar to Dante’s treatment of thieves in the Inferno. The reptilian imagery used by Dante is similar to scaly visage of Salvatore. His, Dante’s, creatures exchange form, from man to animal, to reflect the human element necessary for the pursuit of material goods. Dante viewed the skill associated with thievery as animalistic whereas the desire, humanistic.

The transformation of Dante’s thieves is instant, hinting at an ugly duality inherent in some men. Salvatore’s transformation has occurred over a number of years. Having committed his evils during his time with Fra Dolcino (mentioned by name in Canto XXXVIII), The assistant cellarer appears to be a figure unable to choose between the two opposing images. Just as we meet Salvatore prior to learning of his vile transgressions and his involvement with Dolcino, Dante’s descent brings him to the circle of thieves before eventually encountering the "sowers of scandal and schism." As we proceed deeper into Eco’s inferno, we too will meet with the real dissemblers of the church.

 



Adso's vision of one like the Son of Man (p. 45): the source for Adso's language is Revelations 1.

Salvatore's speech, "put together with pieces" (p. 47): [Jacqueline J. Reese comments] The character, Salvatore, is interesting because of his use of combined languages. Adso referred to Salvatore's speech as a "human language"; and therefore, his speech must have rules. But for me, Salvatore's speech reminded me of a spiritual language (or speaking in tongues) in Acts 2:3,4 and I Corinthians 14:2, 14:6, and 14:10. Speaking in tongues is often believed to be God's language being transmitted through humans, that only a few people have a comprehension of because the content of what is being said is holy and above unsaved or common people. Another theory is that people, like Paul in the Bible, were given the ability to speak any language at will for the sake of spreading the Gospel whenever and where ever the apostles went . God gave them the ability to speak all language so that all people could understand spiritual things. It will be interesting to learn the significance of Salvatore. Maybe he holds the key to the murder.

Adso's encounter with Ubertino de Casale (p. 48). [Roula Hohlakis comments] Adso describes Ubertino as a man wearing the habit of the Cluniac order. The Cluniac reforms were founded in France, northwest of Lyons, in 909 by Abbot Berno. The Catholic church celebrates the early abbots of the Monastery of Cluny on April 30th. The goal of this order was to achieve isolation from outside society. Indeed, they became independent of all but papal jurisdiction. The Monastery of Cluny is known for being a center of reform in Western monasticism in the tenth and eleventh centuries. Abbot Odilo, the fifth abbot of the Monastery of Cluny is well-known for instituting November second as All Soul's Day which was meant to be a day of prayer for the dead brothers of the abbey, but eventually expanded to include anyone who died in the faith of Christ. Eventually, the Cluniac reforms spread to other cities in France and much of Spain and Italy. The Golden Age of Cluny lasted over two centuries and is said to have contributed greatly to the advance of Western Civilization. For more information on the Cluniac reforms. For more information: Cluniac reform.

"We were in the presence of Ubertino of Casale: (p. 48) [Michelle Rankins comments] The Sext chapter reads as a struggle between gaining a balance of good and evil. Throughout the chapter, there are opposites, such as Ubertino's obession with the purity of Clare of Montefalco, and his disgust of sexuality as propregated by Bentivenga of Gubbio. [pg. 58-59] Futhermore, William of Baskerville feels there is a possible connection between physical lust and Adelmo's murder, and the secrets lusts of the monastery as a whole. [pg. 60] Everyone is suspect as the detective story begins to play out. Even Ubertino, the wise elder, has a scarred past as an inquistor. [pg. 56] This foreshadowing adds intrigue of what is to come as William and Adso continue upon the quest to find Adelmo's killer. And much more.

"The peninsula, where the power of the clergy" (p.49): Adso begins here explaining the cyclical power of the Church and the clergy. The cycle seems to be identical to Machievelli's theory of political conceptions and practices during the Renaissance era. Machievellli says that men are like animals, thus they choose a wise leader to protect them from themselves. In the case of The Name of the Rose , Saint Francis becomes the chosen leader. Machievelli then says that the leader's powers are transmitted to some of his followers like his heirs or the monarchy. Saint Francis has followers who strongly believe in his "love of poverty" message. But, then, Machievelli asserts that man is selfish and certain to abuse his powers. Adso says, "They should have followed a period of meekness and holiness, but as the Franciscans order grew and attached the finest men, it became too powerful, too bound to earthly matters, and many Franciscans wanted to restore it to its purity." The last interests is what Machievelli says takes place next; the people whose powers were appropriated are now expelled. Then, the people try to govern themselves again, as was the case with the monks. But they fail to accomplish this - Joachim followers. Then, the cycle starts over again with another leader - Thomas Aquinas and Bonaventure.

Open text versus Closed Text "Finally Saint Francis had appeared, spreading a love of poverty that did not contradict the precepts of the church"(p 49): [Jacqueline J. Reese comments] The ideas of closed text versus opened text as is discussed in the article, "The Name of the Rose and Semioses," suggests an issue of Eco's intentions that needs to be examined. Eco seems to support the ideas of a closed text through the theme of heresy and the ramifications of it. Several people in The Name of the Rose, such as Ubertino and St. Francis are persecuted for having the audacity to interpret the Bible in the way they believed God wanted, or they interpreted it in way that emphasized a certain concept that seemed fanatical. Eco is making a statement that texts do have a closed meaning, and the Bible is the ultimate example of that. Open interpretations create chaos, which is demonstrated in the failed Church/church, which is the setting in this detective story. Eco says that it is the business of the reader to determine if this novel is an open novel or not, and I have determined that it is not.

"I gazed on the legendary figure of Ubertino. My master introduced me, and the old man stroked my cheek, with a warm, almost burning hand. At the touch of his hand I understood many of the thing I had heard about the holy man and others I had read in the pages of his Arbor vitae crucifixae;"(p.53):[TammyBennington comments] Adso is talking about the Ubertino of Casale (1259-1330) a real- life person who rose to be the most prominent leader among Spiritual Franciscans. He made his own unique, but unorthodox contribution to the continuing discussion over papal abdiction. He wrote the Arbor vite Crucifixe Iesu which refers to the recent debate concerning the legitimacy of papal abdication. I would also like to note that Ubertino was also a pupil of Peter Olivi. Peter Olivi developed the doctrine of papal infallibility, which evolved from the "contradictory spirit of Aristotelian philosophy and Bonaventurean symbolism in his breast."Papal Abdication in Later Medieval Thought[The Edwin Mellen Press:Eastman,1990],p.51[Tammy Bennington comments] I now find it very interesting that we have these two real life figures in the novel, and that they have such different views on Aristotelian philosophy.

"I had just been cured of my ailments through the intercession of that marvelous woman… Clare of Montefalco" (p. 56) [Anne Butera comments] Umbertino’s comment, "when female nature, naturally so perverse," exemplifies the view of women as written by St. Jerome in "The Inferiority of Marriage and the Distraction of Women." "Like a worm in wood, so [is] a wicked woman," he writes. This wickedness is stated by Umbertino when on page sixty he says, "there was something … feminine, and therefore diabolical, about the young man who is dead." But, Umbertino goes on to say that this naturally perverse nature, "becomes sublime through holiness." This "holiness" is chastity, the state of the most holy of women, the Virgin Mary. St. Jerome expounds on this idea, "to the unmarried… it is good for them if they so continue even as I, but if they do not contain themselves, let them marry: for it is better to marry than be burnt." To contain themselves is to remain chaste; to burn is to burn with lust. Umbertino also explains that chastity in a woman, "can be the noblest vehicle of grace." This grace is represented not only by Mary, but also by Sophia, the representation of holy wisdom and the symbol of the church. Thus, when a few pages later Umbertino speaks of Avignon and asks, "Oh Lord, into what hands has Thy church fallen," he compares the state of the church to that of a "harlot" (61).

"grazing my cheek with his long white fingers" (p. 60): [Andrew Pegman comments] This detail resembles the moment in the Aedificium, where Adso "felt an invisible hand stroke my cheek" (177). While there are clearly elements of the supernatural element here, if we remember earlier in the novel Adso's cheek was stroked by a more visible character. After William's discussion with Ubertino, Ubertino asks "Why must we talk of these sad things and frighten this young friend of ours?' He looked at me with his pale-blue eyes, grazing my cheek with his long-white fingers and I instinctively almost withdrew..." (61). Eco uses intertexuality within his own novel and the ghostly fingers clearly parallel one another. There is also an unmistakable reference to the lust for young boys. Adso later admits himself at having impure thoughts upon seeing the fresh-faced young boys in church. These fingers across the cheek represent more than the chilling supernatural, but as an unspoken urge which Eco subtely represents as a ghostly finger across the young boys flesh. The spirit of the unspoken desires, and the problems caused by them, can be found throughout this novel.