The aftermath

William and Adso leave as the fire obliterates the abbey's knowledge. Years later, Adso reflects on the elusive nature of truth and scattered wisdom.

Themes

Umberto Eco's The Name of the Rose explores themes such as the nature of truth. the tension between reason, faith, and heresy, and the power of symbols.

The nature of truth

The novel presents truth as multi-layered, encouraging examination beyond surface appearances. As William navigates deception, the narrative suggests truth involves partial truths and diverse perspectives. This reflects the novel’s philosophical inquiries.

Reason, faith, and heresy

Set during a time of theological conflict, the novel highlights the clash between reason and faith. William represents reason, often opposing Jorge of Burgos, who views certain knowledge as heretical. Jorge's suppression of Aristotle's "lost book" on comedy illustrates the threat of dogma to intellectual freedom and knowledge.

The power of symbols

Semiotics, the study of signs and symbols, is central to the plot. William of Baskerville employs semiotics to solve a series of murders in the monastery. In addition, the monastery's library represents layers of meaning and secrecy. William's analysis of symbols and texts examines the complexities of interpretation.

Characters

• William of Baskerville: A Franciscan friar and former inquisitor, William investigates mysterious deaths at the abbey using logic and deduction. His methods mirror those of Sherlock Holmes.

• Adso of Melk: The narrator, Adso is a young Benedictine novice who gains a deeper understanding of the world under William’s guidance, similar to Dr. Watson's role alongside Holmes.

• Jorge of Burgos: A blind, elderly monk guarding the abbey's library, Jorge serves as the central antagonist. He believes that certain knowledge, especially laughter, threatens divine order.

• Abo of Fossanova: The abbot, Abo values the abbey’s dignity over the resolution of crimes, representing institutional interests.

• Severinus of Sankt Wendel: The herbalist, Severinus plays a key role in the mystery by discovering a peculiar book that leads to his demise.

• Malachi of Hildesheim: The library’s keeper, Malachi is known for his secrecy and loyalty to Jorge, contributing to events at the abbey.

• Berengar of Arundel: As the assistant librarian, Berengar’s hidden actions intensify the abbey's conflicts, linking knowledge and power.

• Bernard Gui: An inquisitor embodying the severe aspects of heresy hunting, Bernard opposes William’s balanced search for truth.

• Peasant Girl: Her brief interaction with Adso symbolizes innocence and temptation, contrasting with the abbey's intellectual debates.

Quick facts

• The Name of the Rose has sold over 50 million copies worldwide.

• It was Umberto Eco's debut novel, first published in Italy in 1980.

• Eco, a professor of semiotics, integrated extensive philosophical and literary references into the novel.

• The Name of the Rose combines historical fiction, detective fiction, semiotics, and medieval studies.

• The author refused to simplify the first hundred pages of the novel, presenting them as a “penitential obstacle” to challenge and immerse readers.

• Eco chose the novel’s title for its symbolic richness and interpretative ambiguity.

• The character Jorge of Burgos was inspired by Jorge Luis Borges, famous for intricate literary labyrinths. 

• The character of William of Baskerville was influenced by Sherlock Holmes and William of Ockham, combining rational inquiry with medieval philosophy.

• The story is set in a 14th-century Italian Benedictine monastery and unfolds during a symbolic seven-day period aligned with monastic prayer times.

• The manuscript central to the novel’s mystery is believed to be a lost comedic work by Aristotle, symbolizing debates on humour, knowledge, and authority.

• Eco structured the novel to include postmodern narrative techniques emphasizing irony, metanarrative, and intertextual references.

• A critically acclaimed 1986 film adaptation stars Sean Connery as William of Baskerville.

Semiotics in the novel

Umberto Eco's The Name of the Rose explores semiotics, the study of signs and symbols, as a central theme. Within a riveting murder mystery, the novel uses semiotics to examine interpretations of texts and artifacts. This transforms William of Baskerville’s investigation into murders at the monastery from a fact-finding mission into an exploration of meaning.

William tells Adso to focus on what a book means rather than what it says. This shifts attention to the novel’s theme that language and symbols convey deeper truths. The library's labyrinth serves as a metaphor for the complexity of interpreting signs. William and Adso's confusion in the library mirrors the broader challenge of understanding meanings. Adso’s struggle with "the accidental difference" highlights the difficulty of finding absolute truths.

The novel acts as a "machine for generating interpretations," reflecting the endless relationship between signifiers and meanings. This aligns with Eco's view on the interpretative nature of texts.

The medieval setting

Set in the 14th century, The Name of the Rose examines the complexities of medieval society. This era combines growing intellectualism with deep-rooted superstition, forming a backdrop for Eco's narrative.

The novel grounds monastic life in historical realism. In the Benedictine abbey, religious practices coexist with hidden tensions. The story reflects societal conflicts between spiritual commitment and institutional corruption. The abbey's library, with its labyrinthine architecture, symbolizes the Church's control over information and the balance between preserving knowledge and enforcing censorship.

The book explores theological disputes, particularly regarding the Franciscans, who advocated for Apostolic poverty. This stance challenged the Church's opulence, echoing larger debates about Christianity's principles. Political and theological discord reflects the historical conflict between Pope John XXII and Emperor Louis IV and underscores the era's ecclesiastical power struggles.

Eco presents the abbey as a site of ideological conflict, mirroring the medieval interplay of faith, intellectual pursuit, and power dynamics. This offers insight into a tumultuous period.

The labyrinth motif

In The Name of the Rose, the labyrinth motif symbolizes the complexities of knowledge and the search for truth. The abbey's library, designed as a maze, represents the difficult journey in understanding. This physical maze challenges William of Baskerville and his novice, Adso, reflecting the novel’s broader theme of semiotics. The labyrinth highlights the difficulties of distinguishing truth from deception, echoing the theological and epistemological debates in the story. Eco uses the labyrinth as a structural and thematic element to depict the human quest for clarity amid ambiguity and diverse interpretations.

Adaptations

The 1986 film adaptation of The Name of the Rose was directed by Jean-Jacques Annaud. Sean Connery played William of Baskerville, while Christian Slater portrayed Adso of Melk. The film focused on translating the novel's historical murder mystery into a visual format. It condensed the story to emphasize the murder investigation and streamlined the novel's extensive philosophical discussions. The production aimed to depict a medieval atmosphere with attention to architecture and cinematography.

In 2019, an eight-part miniseries offered a broader exploration of the narrative. This format provided room to examine the political and theological dimensions present in the book. Starring John Turturro as William, the series introduced contemporary elements by adding female characters, aligning with modern inclusivity.

Each adaptation reflects different thematic focuses. The film heightens suspense, while the miniseries delves into the novel's philosophical and theological themes. These variations offer diverse interpretations of Umberto Eco's complex narrative.

About the author

Umberto Eco was born on January 5, 1932, in Alessandria, Italy. He studied medieval philosophy and aesthetics at the University of Turin. These subjects influenced his first novel, The Name of the Rose. Eco worked as a university lecturer, philosopher, and novelist. He also contributed to semiotics, the study of signs and symbols, which is central to his storytelling.

Eco employed intertextuality, incorporating diverse texts into his works. This approach created a web of historical and literary references in The Name of the Rose. His friendship with Argentine writer Jorge Luis Borges inspired the character Jorge of Burgos, a blind librarian, reflecting themes from Borges. Eco's work was also influenced by philosopher William of Ockham, whose ideas influence the novel's themes on truth and interpretation. Eco combined historical and intellectual elements, crafting a complex narrative in the novel.