The Moor's Last Sigh

by Salman Rushdie

Start Free Trial

Characters

Download PDF PDF Page Citation Cite Share Link Share

One of the hallmarks of Rushdie's vibrant character development is his selection of names. Early in his career, in 1983, just two years after the release of the groundbreaking novel Midnight's Children, Rushdie articulated his fascination, stating, "It is impossible to overestimate the importance of names. I think they affect us much, much more profoundly than we think . . . naming has always been understood as being absolutely crucial to perception. So that's why I'm very interested in naming and I take enormous amounts of care about naming." This deep commitment to the naming process, which Rushdie referred to as "the thing I agonize over most," has only intensified in his later works. The Moor's Last Sigh exemplifies how crucial names are in character introduction.

The titular "Moor," Moraes Zogoiby—a contemporary echo of the last Moorish sultan of Granada—is affectionately called "The Moor" (or mor) by his mother, as a nod to the lost Moorish Spain she revives in her art under the mythical name "Mooristan." Moraes, being a kind of descendant of Mohammad XI, has a nickname that reflects his present state, notably through the derogatory "Mo," which suggests a reduction (in stature or status) by evoking the stooge "Moe"—a typical infusion of popular culture in Rushdie's writing. This nickname also morphs into Mo-Hammered, highlighting his club-like, malformed hand and serving as a playful nod to Mohammad. The surname Zogoiby translates to unlucky or unfortunate in Arabic. Moraes's father, Abraham, is described as "not Moses . . . he would lead no people towards a promised land." His mother, Aurora, symbolizes light and understanding, her name evoking the image of dawn. Their three daughters, Christina, Inamorata, and Philomina, are affectionately called "Ina," "Mirmie," and "Mynah," each with unique connotations (Minnie = Mouse, another modern, cross-cultural reference) but collectively forming parts of a nursery rhyme that concludes with Moraes's Mo.

The "dynastic prelude" alludes to the historical significance of the Da Gama name, reminiscent of an era of exploration. Camoens is intended to invoke the memory of the illustrious Portuguese poet, Luis Vaz de Camoens, from the fourteenth century. Camoens was born the same year Vasco da Gama passed away, which was also when Portugal became part of the Spanish empire. The poet endured years of exile in Goa and Cochin, and his poetic homage to da Gama reflects on the notion of empire. While not every reader of The Moor's Last Sigh will grasp each reference, these cultural and historical elements enrich the novel's intricate texture. The book's main antagonist, Raman Fielding, is nicknamed Mainduck and compared to a frog. The deranged individual who confines Moraes in the Alhambra is named Vasco Miranda. The woman who betrays Moraes's affection is called Uma Sarasvati, a name rich with meanings in Indian theology. The social climber who becomes Abraham Zogoiby's adopted son was once Adam Braganza, and before that, Adam Sinai, and is mockingly referred to as "Dumbo," "Goofo," "Mutto," "Crooko," and "Sabu" in Moraes's sarcastic list of comic book names. Numerous minor characters have names that effectively replace any character development in Rushdie's perpetually suggestive narrative, such as the Larios sisters, Felicitas and Renegada. Other names serve as character commentaries, like Nadia Wadia, the well-intentioned but naive contestant representing India in the Miss Universe pageant. Some names are symbolic, such as Aoi Ue, a Japanese woman who is Moraes's soul mate and fellow captive, whose name is described as "a miracle of vowels," reflecting her deep connection to fundamental humane values.

In The Moor's Last Sigh , Rushdie crafts characters with depth, primarily focusing on Moraes's immediate family,...

(This entire section contains 880 words.)

Unlock this Study Guide Now

Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.

Get 48 Hours Free Access

particularly Moraes and Aurora. He employs distinct speech patterns to reveal their thoughts and emotions. Rushdie explains his goal: "to create a family and its verbal habit. I wanted to create a family verbal tic." This is most evident in Aurora's unique verb usage, such as: "Takes longer to gettofy to this Lord's house," or "But as for my son, I will feed-o him myself," along with many other similar phrases. Camoens often uses incomplete sentences, leaving out articles, while Epifania modifies syntax without losing meaning. Although Moraes's sisters have limited appearances, their speech aligns with their defining traits. Abraham combines tough talk with the sophistication of an educated man, but he is not deeply developed, leading Coetzee to label him "little more than a comic-book villain." Aurora stands out from the beginning—bold, daring, dedicated, and imaginative—and even though Rushdie doesn't delve into her inner thoughts, her actions clearly convey her intentions. Moraes is the only character whose inner world is fully explored, and the entire novel—his narrative—is a continuous exploration of his mental processes. It is unsurprising that Rushdie cites Joyce as an influence, noting, "There's Joyce for a start . . . because Joyce shows you that you can do anything if you do it properly." Rushdie shares many of Joyce's traits, such as inventive language, an ear for sound associations, a love of music, a gift for humor, and an interest in everyday details. The technical mastery evident in Rushdie's work from the beginning is central to his portrayal of Moraes, who finds solace in language when other "homes" like family, country, and romance are unavailable. Moraes inhabits a linguistic world, and his narrative demonstrates just how comfortable he is in that realm.

Previous

Themes

Next

Critical Essays

Loading...