What would you say is the role of the reader in Umberto Eco’s The Name of the Rose? Essay Example

Holmes. In addition, the blind Jorge of Burgos's characteristics are reminiscent of Jorge Luis Borges, an Argentine writer who crafted imaginary libraries and labyrinths. The book's characters may be interpreted allegorically, as they correspond to characters from other books or real life individuals. Alternatively, they may be read anagogically, symbolizing metaphysical concepts. William represents reason, Adso embodies mysticism, Jorge symbolizes the force of evil, and Abo epitomizes complacency in a medieval fashion.

The typical mystery genre involves the interpretation of various signs by the detective and reader to identify the criminal's motive and identity. These signs may have multiple interpretations, but only one correct reading leads to the truth. However, The Name of the Rose deviates from this convention by allowing clues to be interpreted in different ways. Despite false hypotheses, the solution can still be reached. As William informed Adso at the end of the book, he arrived at Jorge accidentally, following an apocalyptic pattern that seemed to underline all the crimes. William recognizes that signs are crucial for orienting oneself in the world but also acknowledges that one can never be certain about their relation.

In "Reflections of the Name of the Rose," Umberto Eco claims that uncertainty begins with the book's title, which intentionally disorients readers and prevents them from settling on a single interpretation. This idea is echoed in the opening paragraph of Adso's memoir, where he notes that certainty is impossible due to biblical references. Adso cites the first verse of the gospel of John - "In the beginning was the word, and the word was with God" - to suggest that sensory perception and logic are unreliable in the

presence of God, as we see through a glass darkly. This sentiment is further supported by Corinthians 13:12, which suggests that we will only fully understand historical events at the end of time.

Adso incorporates Paul's writing from Corinthians into his apocalyptic vision, while the novel commences with William's deduction from literary knowledge and the presence of agitated monks, broken branches, and horsehair which leads to the discovery that the abbot's favorite horse has escaped and is in hiding nearby. Though signs can be ambiguous at times and when a friar is accused of heresy, witnesses make remarks on his actions.

There are varying opinions regarding him. Some suggest he is insane and under the influence of the devil due to his overwhelming pride. Others argue that he isn't a saint and was intentionally sent by Louis to create strife among the people. Alternatively, some believe he sets an example that all Christians should follow. In view of such opposing views, the best approach would be to practice benevolent acceptance.

According to William's words to Adso, the only way to find truth is by freeing ourselves from an obsessive pursuit of it. Despite being set in medieval times, the novel transcends any specific era. Similar to Fielding's characters from the 18th century, Eco's characters are not simply fictional beings, but rather an amalgamation of individuals throughout history. By looking at the historical context in which the plot takes place, readers gain a better understanding of both the story and the cyclical nature of history. Each time period has its own set of beliefs that are considered orthodox, as well as beliefs that are considered heretical, but these designations

can change with each new era. In fact, it may be difficult to determine which is which at any given moment.

In discussing Nicholas of Morimondo's willingness to destroy the "enemies of the people of God," William questions whether Louis the Emperor or John the Pope are considered the enemy. Michael Cunningham, in his Essential Collection, reflects on Umberto Eco's book, "The Name of the Rose," stating that books always refer to other books and every story tells a tale that has already been told. According to Michael, Eco's story exists on the fourth level of encasement, within three other narratives. Thus, Michael suggests that he is echoing Vallet's interpretation of Mabillon's recollection of Adso's account.

Eco's storytelling skills showcase his multi-layered construction approach, encouraging readers to engage and think critically while maintaining an enjoyable and thought-provoking experience. Ellis Peters, a fellow authority in medieval history, approaches her Cadfael mysteries in a similar manner, with both authors seamlessly transitioning into exploring future worlds.

The story's historical background aids imagination, although it could still maintain integrity if set in a more fantastical future. Eco discusses labyrinths and their various forms, accompanied by captivating illustrations such as the labyrinth found on the floor of Rheims Cathedral that inspired the library in the novel.

On the original Italian hardback, there was an image that caught Eco's attention. It was a classical maze that was destroyed by the canon in the 18th Century, yet still remains visible and usable. Despite being surprised that it was classical rather than mannerist, Eco found its appeal enduring. In the novel, the library is primarily mannerist, but both styles are surpassed by the

rhizomatic novel of Deleuze and Guattari in "Rose".

According to Eco's Reflections, the Rheims labyrinth has a singular route, akin to the Ariadne thread in the classical labyrinth. This idea was influenced by Borges' Death and the Compass, which also inspired the plot of Rose. Interestingly, William's use of mathematical analysis to navigate the mannerist maze in the novel is inaccurate as classical labyrinths were typically pictorial like Celtic examples and did not require a thread. The minataur's maze in contrast would need to be mannerist with numerous dead ends, hence the requirement for a thread to guide all routes, which run in various directions akin to a WC Escher work.

Before unraveling the mystery behind the murders, the protagonist and the audience encounter several philosophical inquiries concerning faith, the authenticity of the Christian church, and various heresies' conflicting portrayals. The heretics contend that Christ never owned any property and advocate against private ownership, while the Christian inquisitors execute them by burning at the stake. Determining who is correct raises questions and controversies for readers to consider since there are no definitive answers. Despite being a renowned spiritual dwelling place, the monastery appears to nurture insidious plots culminating in horrendous crimes, although committed for immaculate reasons.

Brother William, like Sherlock Holmes, solves mysteries by breaking monastery rules to track down murderers. Adso asks his teacher if he has lost faith and the age-old question of whether seeking knowledge is sinful remains unanswered. The novel shows how monks seeking knowledge in the library's labyrinth were killed by a book that poisoned readers based on their level of absolution.

The title of The Names of the Rose can be

described as enigmatic and mysterious, with subtext that entices the reader to peel away the layers. The Rose symbolizes beauty that hides something possibly ugly or wonderful. The allure of mystery is never fully revealed, but the novel still satisfies all tastes. The Sphinx and the Holy Grail are examples of this phenomenon. Rocco Capozzi notes similarities between Eco's work and classical and modern works where the protagonist is a combination of philosopher and adventurer in his book Reading Eco.

In his praise of Eco, Capozzi acknowledges the author's expertise in seamlessly blending classical and medieval themes with modern techniques, interpretation, and detection. He commends Eco as a skilled storyteller and master of semiotics who has perfected the use of complicated devices. Capozzi offers ample and generous descriptions of Eco's rich and diverse literary techniques, confirming that he is indeed a master of his craft.

The author refers to labyrinths, architecture, and the pursuit of knowledge. The journey itself holds more significance than its conclusion. The Name of the Rose presents a mysterious blend of spirituality and politics, drawing the reader into a complex detective story set in medieval times. The murders, protagonist, Adso, and William of Baskerville create an exciting tale woven with intrigue. The reader is able to deduce the truth about the murders and eventual motives behind them.

It is expected for readers to explore and discover the truth on their own, even though some aspects of the mystery may still remain hidden. Nevertheless, readers are not deceived. Even though many questions are answered, the final mystery regarding a profound secret of faith and philosophy should continue to be an age-old secret. Readers are

offered various roles and are given the freedom to enjoy them based on their literary background, cultural traditions, and personal experiences.