How Does Süskind Use Religious and Spiritual Symbolism and Imagery to Establish a Distinction Between the Protagonist and Humankind in the Novel 'perfume: the Story of a Murderer'?

'How does Süskind use Religious and Spiritual symbolism and imagery to establish a distinction between the protagonist and humankind in the novel 'Perfume: The Story of a Murderer'?

Perfume: The Story Of A Murderer, written by Patrick Süskind, is a novel based in 18th century France that explores the concept that olfactory sense as sovereign over any other factor of life, and is the channel towards supremacy. The protagonist, Jean-Baptiste Grenouille, possesses a superhuman olfactory sense, and goes through life gradually obtaining power via this medium. As such, he is discriminated from the remainder of humanity in the novel; this separation is heavily represented by religious and spiritual allusions. Süskind realizes the prevalence of Catholicism in the time setting he selected, and allows this to be relevant to the novel. In effect, the use of religious and spiritual imagery allows the reader to register Grenouille's differentiation from humanity, in terms of both power, and lack thereof. Such is accomplished via direct parallels between religion and scent, references to Christianity, particularly Satan, and a vast series of other spiritual beliefs.

Süskind creates a composite in the novel as he allows spiritual and religious imagery to portray scent as sovereign, allowing the power of olfactory sense to be likened to Catholocism. Immense emphasis is put on the olfactory sense, 'He who ruled scent ruled the hearts of men' (page 155); such statements in the novel esteem Grenouille, as the reader is aware of his impeccable olfactory sense. Scent and religion are tied in the novel; in 18th century France, Catholicism was prevalent, and while nearly all characters in the novel believe in the power of God, the real power lies within scent, 'Odors have a power of persuasion stronger than that of words, appearances, emotions, or will' (page 88), this statement is further enhanced with, 'He [Grenouille] possessed the power. He held it in his hand. A power stronger than the power of money or the power of terror or the power of death: the invincible power to command the love of mankind' (page 102) - Scent is the power that Grenouille masters. Surrounding characters put faith in God, with the repetition of such religious phrases and rituals, 'The citizens of Grasse crossed themselves over three times', 'God's sake', and 'Whenever God wills it'. There is an appearance of strong faith for Christianity within society that juxtaposes with Grenouille, and esteems him, only to the reader, as his power is unknown by surrounding characters, 'Grenouille the wunderkind took place only inside him and could only be perceived by no other than himself' (page 28). The repetitive use of pronouns referring to Grenouille in the quote emphasise his status and further enhance his importance, as his power is inconceivable by humankind. With scent being comparable to spirituality and religion, the concept of the perfect perfume, one that would control the world, becomes relevant. Grenouille believes the scent necessary for the perfume is of virgin girls, a classical symbol of holiness. The perfume is symbolic of religious power, and simultaneously, olfactory power, 'Grenouille knew for certain that unless he possessed it his life would have no meaning' (page 42), with out religion, God would not contain meaning, this is parallel to Grenouille's situation, with out this perfume, or the scents he needed for it, he will have no meaning. Süskind closely links the sovereignty of olfactory sense to the sovereignty of religion in 18th century France, particularly through the use of contrast and irony.

The use of general and varying range of spiritual allusions at the climax of Grenouille's power is intended by Süskind to emphasise the irrelevance and insignificance of humankind when under the influence of his power. In these instances, Grenouille is compared to God, and other divine figures, and this shows his final transcendence of humankind. Grenouille successfully concocts the ultimate Perfume, giving him supremacy and stifling his execution. In order to express how the people idolized him due to the scent, Süskind begins by using the classic Catholic imagery he had used for the most part of the novel, 'Basking in religious rapture...the Lord God stayed the executioner's hand by disclosing as an angel the very man who for all