by Umberto Eco
Now I could no longer find the banqueters or the gifts they had brought, it was as if all the guests of the symposium were now in the crypt, each mummified in its own residue, each the diaphanous synecdoche of itself, Rachel as a bone, Daniel as a tooth, Sampson as a jaw, Jesus as a shred of purple garment. As if, at the end of the banquet, the feast transformed into the girl’s slaughter, it had become the universal slaughter, and here I was seeing its final result, the bodies (no, the whole terrestrial and sublunar body of those ravenous and thirsting feasters) transformed into a single dead body, lacerated and tormented like Dolcino’s body after his torture, transformed into a loathsome and resplendent treasure, stretched out to its full extent like the hide of a skinned and hung animal, which still contained, however, petrified, the leather sinews, the viscera, and all the organs, and even the features of the face. The skin with each of its folds, wrinkles, and scars, with its velvety plains, its forest of hairs, the dermis, the bosom, the pudenda, having become a sumptuous damask, and the breasts, the nails, the horny formations under the heel, the threads of the lashes, the watery substance of the eyes, the flesh of the lips, the thin spine of the back, the architecture of the bones, everything reduced to sandy powder, though nothing had lost its own form or respective placement, the legs emptied and limp as a boot, their flesh lying flat like a chasuble with all the scarlet embroidery of the veins, the engraved pile of the viscera, the intense and mucous ruby of the heart, the pearly file of even teeth arranged like a necklace, with the tongue as a pink-and-blue pendant, the fingers in a row like tapers, the seal of the navel reknotting the threads of the unrolled carpet of the belly . . . From every corner of the crypt, now I was grinned at, whispered to, bidden to death by this macrobody divided among glass cases and reliquaries and yet reconstructed in its vast and irrational whole, and it was the same body that at the supper had eaten and tumbled obscenely but here, instead, appeared to me fixed in the intangibility of its deaf and blind ruin. And Ubertino, seizing me by the arm, digging his nails into my flesh, whispered to me: “You see, it is the same thing, what first triumphed in its folly and took delight in its jesting now is here, punished and rewarded, liberated from the seduction of the passions, rigidified by eternity, consigned to the eternal frost that is to preserve and purify it, saved from corruption through the triumph of corruption, because nothing more can reduce to dust that which is already dust and mineral substance, mors est quies viatoris, finis est omnis laboris. . . .”
But suddenly Salvatore entered the crypt, glowing like a devil, and cried, “Fool! Can’t you see this is the great Lyotard? What are you afraid of, my little master? Here is the cheese in batter!” And suddenly the crypt was bright with reddish flashes and it was again the kitchen, but not so much a kitchen as the inside of a great womb, mucous and viscid, and in the center an animal black as a raven and with a thousand hands was chained to a huge grate, and it extended those limbs to snatch everybody around it, and as the peasant when thirsty squeezes a bunch of grapes, so that great beast squeezed those it had snatched so that its hands broke them all, the legs of some, the heads of others, and then it sated itself, belching a fire that seemed to stink more than sulphur. But, wondrous mystery, that scene no longer instilled fear in me, and I was surprised to see that I could watch easily that “good devil” (so I thought) who after all was none other than Salvatore, because now I knew all about the mortal human body, its sufferings and its corruption, and I feared nothing any more. In fact, in the light of that flame, which now seemed mild and convivial, I saw again all the guests of the supper, now restored to their original forms, singing and declaring that everything was beginning again, and among them was the maiden, whole and most beautiful, who said to me, “It is nothing, it is nothing, you will see: I shall be even more beautiful than before; just let me go for a moment and burn on the pyre, then we shall meet again here!” And she displayed to me, God have mercy on me, her vulva, into which I entered, and I found myself in a beautiful cave, which seemed the happy valley of the golden age, dewy with waters and fruits and trees that bore cheeses in batter. And all were thanking the abbot for the lovely feast, and they showed him their affection and good humor by pushing him, kicking him, tearing his clothes, laying him on the ground, striking his rod with rods, as he laughed and begged them to stop tickling him. And, riding mounts whose nostrils emitted clouds of brimstone, the Friars of the Poor Life entered, carrying at their belts purses full of gold with which they transformed wolves into lambs and lambs into wolves and crowned them emperor with the approval of the assembly of the people, who sang praises of God’s infinite omnipotence. “Ut cachinnis dissolvatur, torqueatur rictibus!” Jesus shouted, waving his crown of thorns. Pope John came in, cursing the confusion and saying, “At this rate I don’t know where it all will end!” But everyone mocked him and, led by the abbot, went out with the pigs to hunt truffles in the forest. I was about to follow them when in a corner I saw William, emerging from the labyrinth and carrying in his hand the magnet, which pulled him rapidly northward. “Do not leave me, master!” I shouted. “I, too, want to see what is in the finis Africae!”
“You have already seen it!” William answered, far away by now. And I woke up as the last words of the funeral chant were ending in the church:
Lacrimosa dies illa
qua resurget ex favilla
iudicandus homo reus:
huic ergo parce deus!
Pie Iesu domine
dona eis requiem.
A sign that my vision, rapid like all visions, if it had not lasted the space of an “amen,” as the saying goes, had lasted almost the length of a “Dies irae.”
After Terce
In which William explains Adso’s dream to him.
Dazed, I came out through the main door and discovered a little crowd there. The Franciscans were leaving, and William had come down to say good-bye to them.
I joined in the farewells, the fraternal embraces. Then I asked William when the others would be leaving, with the prisoners. He told me they had already left, half an hour before, while we were in the treasure crypt, or perhaps, I thought, when I was dreaming.
For a moment I was aghast, then I recovered myself. Better so. I would not have been able to bear the sight of the condemned (I meant the poor wretched cellarer and Salvatore . . . and, of course, I also meant the girl) being dragged off, far away and forever. And besides, I was still so upset by my dream that my feelings seemed numb.
As the caravan of Minorites headed for the gate, to leave the abbey, William and I remained in front of the church, both melancholy, though for different reasons. Then I decided to tell my master my dream. Though the vision had been multiform and illogical, I remembered it with amazing clarity, image by image, action by action, word by word. And so I narrated it, omitting nothing, because I knew that dreams are often mysterious messages in which learned people can read distinct prophecies.
William listened to me in silence, then asked me, “Do you know what you have dreamed?”
“Exactly what I told you . . .” I replied, at a loss.
“Of course, I realize that. But do you know that to a great extent what you tell me has already been written? You have added people and events of these past few days to a picture already familiar to you, because you have read the story of your dream somewhere, or it was told you as a boy, in school, in the convent. It is the Coena Cypriani.”
I remained puzzled briefly. Then I remembered. He was right! Perhaps I had forgotten the title, but what adult monk or unruly young novice has not smiled or laughed over the various visions, in prose or rhyme, of this story, which belongs to the tradition of the paschal season and the ioca monachorum? Though the work is banned or execrated by the more austere among novice masters, there is still not a convent in which the monks have not whispered it to one another, variously condensed and revised, while some piously copied it, declaring that behind a veil of mirth it concealed secret moral lessons, and others encouraged its circulation b
ecause, they said, through its jesting, the young could more easily commit to memory certain episodes of sacred history. A verse version had been written for Pope John VIII, with the inscription “I loved to jest; accept me, dear Pope John, in my jesting. And, if you wish, you can also laugh.” And it was said that Charles the Bald himself had staged it, in the guise of a comic sacred mystery, in a rhymed version to entertain his dignitaries at supper.
And how many scoldings had I received from my masters when, with my companions, I recited passages from it! I remembered an old friar at Melk who used to say that a virtuous man like Cyprian could not have written such an indecent thing, such a sacrilegious parody of Scripture, worthier of an infidel and a buffoon than of a holy martyr. . . . For years I had forgotten those childish jokes. Why on this day had the Coena reappeared so vividly in my dream? I had always thought that dreams were divine messages, or at worst absurd stammerings of the sleeping memory about things that had happened during the day. I was now realizing that one can also dream books, and therefore dream of dreams.
“I should like to be Artemidorus to interpret your dream correctly,” William said. “But it seems to me that even without Artemidorus’s learning it is easy to understand what happened. In these past days, my poor boy, you have experienced a series of events in which every upright rule seems to have been destroyed. And this morning, in your sleeping mind, there returned the memory of a kind of comedy in which, albeit with other intentions, the world is described upside down. You inserted into that work your most recent memories, your anxieties, your fears. From the marginalia of Adelmo you went on to relive a great carnival where everything seems to proceed in the wrong direction, and yet, as in the Coena, each does what he really did in life. And finally you asked yourself, in the dream, which world is the false one, and what it means to walk head down. Your dream no longer distinguished what is down and what is up, where life is and where death. Your dream cast doubt on the teachings you have received.”
“My dream,” I said virtuously, “not I. But dreams are not divine messages, then; they are diabolical ravings, and they contain no truth!”
“I don’t know, Adso,” William said. “We already have so many truths in our possession that if the day came when someone insisted on deriving a truth even from our dreams, then the day of the Antichrist would truly be at hand. And yet, the more I think of your dream, the more revealing it seems to me. Perhaps not to you, but to me. Forgive me if I use your dreams in order to work out my hypotheses; I know, it is a base action, it should not be done. . . . But I believe that your sleeping soul understood more things than I have in six days, and awake. . . .”
“Truly?”
“I find your dream revealing because it coincides with one of my hypotheses. Thank you.”
“But my dream made no sense, like all dreams!”
“It had another sense like all dreams. It must be read as an allegory, or an analogy. . . .”
“Like Scripture?”
“A dream is a scripture, and many scriptures are nothing but dreams.”
Sext
In which the succession of librarians is reconstructed, and there is further information about the mysterious book.
William decided to go back up to the scriptorium, from which he had just come. He asked Benno’s leave to consult the catalogue, and he leafed through it rapidly. “It must be around here,” he said, “I saw it just an hour ago. . . .” He stopped at one page. “Here,” he said, “read this title.”
As a single entry there was a group of four titles, indicating that one volume contained several texts. I read:
I. ar. de dictis cuiusdam stulti
II. syr. libellus alchemicus aegypt.
III. Expositio Magistri Alcofribae de coena beati Cypriani Cartaginensis Episcopi
IV. Liber acephalus de stupris virginum et meretricum amoribus
“What is it?” I asked.
“It is our book,” William whispered to me. “This is why your dream reminded me of something. Now I am sure this is it. And in fact”—he glanced quickly at the pages immediately preceding and following—“in fact, here are the books I was thinking about, all together. But this isn’t what I wanted to check. See here. Do you have your tablet? Good. We must make a calculation, and try to remember clearly what Alinardo told us the other day as well as what we heard this morning from Nicholas. Now, Nicholas told us he arrived here about thirty years ago, and Abo had already been named abbot. The abbot before him was Paul of Rimini. Is that right? Let’s say this succession took place around 1290, more or less, it doesn’t matter. Nicholas also told us that, when he arrived, Robert of Bobbio was already librarian. Correct? Then Robert died, and the post was given to Malachi, let’s say at the beginning of this century. Write this down. There is a period, however, before Nicholas came, when Paul of Rimini was librarian. How long was he in that post? We weren’t told. We could examine the abbey ledgers, but I imagine the abbot has them, and for the moment I would prefer not to ask him for them. Let’s suppose Paul was appointed librarian sixty years ago. Write that. Why does Alinardo complain of the fact that, about fifty years ago, he should have been given the post of librarian and instead it went to another? Was he referring to Paul of Rimini?”
“Or to Robert of Bobbio!” I said.
“So it would seem. But now look at this catalogue. As you know, the titles are recorded in the order of acquisition. And who writes them in this ledger? The librarian. Therefore, by the changes of handwriting in these pages we can establish the succession of librarians. Now we will look at the catalogue from the end; the last handwriting is Malachi’s, you see. And it fills only a few pages. The abbey has not acquired many books in these last thirty years. Then, as we work backward, a series of pages begins in a shaky hand. I clearly read the presence of Robert of Bobbio, who was ill. Robert probably did not occupy the position long. And then what do we find? Pages and pages in another hand, straight and confident, a whole series of acquisitions (including the group of books I was examining a moment ago), truly impressive. Paul of Rimini must have worked hard! Too hard, if you recall that Nicholas told us he became abbot while still a young man. But let’s assume that in a few years this voracious reader enriched the abbey with so many books. Weren’t we told he was called Abbas agraphicus because of that strange defect, or illness, which made him unable to write? Then who wrote these pages? His assistant librarian, I would say. But if by chance this assistant librarian were then named librarian, he would then have continued writing, and we would have figured out why there are so many pages here in the same hand. So, then, between Paul and Robert we would have another librarian, chosen about fifty years ago, who was the mysterious rival of Alinardo, who was hoping, as an older man, to succeed Paul. Then this man died, and somehow, contrary to Alinardo’s expectations and the expectations of others, Robert was named in his place.”
“But why are you so sure this is the right scansion? Even granting that this handwriting is the nameless librarian’s, why couldn’t Paul also have written the titles of the still earlier pages?”
“Because among the acquisitions they recorded all bulls and decretals, and these are precisely dated. I mean, if you find here, as you do, the Firma cautela of Boniface the Seventh, dated 1296, you know that text did not arrive before that year, and you can assume it didn’t arrive much later. I have these milestones, so to speak, placed along the years, so if I grant that Paul of Rimini became librarian in 1265 and abbot in 1275, and I find that his hand, or the hand of someone else who is not Robert of Bobbio, lasts from 1265 to 1285, then I discover a discrepancy of ten years.”
My master was truly very sharp. “But what conclusions do you draw from this discrepancy?” I asked.
“None,” he answered. “Only some premises.”
Then he got up and went to talk with Benno, who was staunchly at his post, but with a very unsure air. He was still behind his old desk and had not dared take over Malachi’s, by the catalogue. William addresse
d him with some coolness. We had not forgotten the unpleasant scene of the previous evening.
“Even in your new and powerful position, Brother Librarian, I trust you will answer a question. That morning when Adelmo and the others were talking here about witty riddles, and Berengar made the first reference to the finis Africae, did anybody mention the Coena Cypriani?”
“Yes,” Benno said, “didn’t I tell you? Before they talked about the riddles of Symphosius, Venantius himself mentioned the Coena, and Malachi became furious, saying it was an ignoble work and reminding us that the abbot had forbidden anyone to read it. . . .”
“The abbot?” William said. “Very interesting. Thank you, Benno.”
“Wait,” Benno said, “I want to talk with you.” He motioned us to follow him out of the scriptorium, onto the stairs going down to the kitchen, so the others could not hear him. His lips were trembling.
“I’m frightened, William,” he said. “They’ve killed Malachi. Now I am the one who knows too many things. Besides, the group of Italians hate me. . . . They do not want another foreign librarian. . . . I believe the others were murdered for this very reason. . . . I’ve never told you about Alinardo’s hatred for Malachi, his bitterness.”
“Who was it who took the post from him, years ago?”