THE FEMININE SYMBOLS IN DAN BROWN’S THE DA VINCI CODE

A Paper
Submitted to the Faculty of Adab and Humanities
In Partial Fulfillment of the Requirements
for the Degree of Strata 1 (S 1)

By

SITI RODIYAH
102026024540

ENGLISH LETTERS DEPARTMENT

FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY
SYARIF HIDAYATULLAH JAKARTA
2007
THE FEMININE SYMBOLS IN DAN BROWN’S THE DA VINCI CODE

A Paper
Submitted to the Faculty of Adab and Humanities
In Partial Fulfillment of the Requirements
for the Degree of Strata 1 (S 1)

By

SITI RODIYAH
102026024540

Advisor

Drs. Naf’an Tarihoran, M.Hum

NIP.150 326 885

ENGLISH LETTERS DEPARTMENT

FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY
SYARIF HIDAYATULLAH JAKARTA
2007
 LEGALIZATION OF EXAMINATION BOARD

A paper entitled The Feminine Symbols in Dan Brown’s The Da Vinci Code was examined
by examination board of Faculty of Adab and Humanities State Islamic University Syarif
Hidayatullah Jakarta on March 9th, 2007.It has been accepted as a partial fulfillment of the
requirements for the Degree of Strata 1 (S 1)

Jakarta, March 9th, 2007

Examination Committee

Chief of Committee Secretary of Committee

Dr. M. Farkhan, M. Pd Drs. A. Saefuddin, M. Pd

NIP 150 299 480 NIP. 150 262 902

Advisor

Drs. Naf’an Tarihoran, M.Hum

NIP.150 326 885

Examiner I Examiner II

Dini Masitah, SS., M.Hum Drs. A. Hamid, M.Ed

NIP. 150 317 724 NIP. 150 181 822
 ACKNOWLEDGMENT

Bimlillahirrahmanirrahim

Praise be to Allah SWT, The Lord of The Lord, who has authority of creation in the

whole world. Blessing and solutions be upon the greatest prophet, the messenger

Muhammad SAW, his relatives and followers.

This paper is presented to English Department of Adab and Humanities Faculty,

State Islamic University Syarif Hidayatullah Jakarta as partial requirement for the Degree

of Strata 1 (S1).

In this paper, the writer would like to say thanks to her beloved parents, Pr. H.M.

Samman Hudy and Hj. Nurhayati. They have been giving a great spirit morally and

materially for the writer along her life, especially in writing this paper. They are the

wonderful parents.

Next, the writer would like to say thanks to Drs. Naf’an Tarihoran, M.Hum as the

writer’s advisor, for his guidance during the process of writing this paper.

The writer also would like to say thanks to these following amazing and admiring

persons who supported her finishing this paper, namely: Prof. Dr. Komarudin Hidayat, the

Rector of State Islamic University Syarif Hidayatullah Jakarta. Dr. Abdul Chair, the Dean

of Adab and Humanities Faculty. Dr. M. Farkhan, M. Pd, the Head of English Letters

Department, and Drs. Asef Saefuddin, M. Pd, the Secretary of English Letters Department.
All of the lectures of English Letters Department for their teaching knowledge and giving

experience during study.

The writer’s sister and brothers; Siti Marfuqoh, Saftiah, Siti Toyyibah, Saidah, Siti

Rahmaniyah, Halimatussa’diyah, A.Fauzi Ramdhan, M. Husin, Tabrani, Abdu Syadid,

Hermawan. The writer’s funniest nephew and niece; Fathoni, Fitri, Fahmi, Fauzan, Fadli,

Ramdhi, Fathur, and Dhafa. All writer’s friends at the English Letters Department; Dhuha,

Engkin, Fajar, Meniq, Umay, Atiq, Nuy, Dwi, Dewi, Dian, Hasist, Afive, Ozy, Uul, Ade,

Daus, Umah, Nia, Winda, Double Andri, Wulan, Nony, and Abdul Latif. And those all

their names which are not mentioned here, all of them are special friends.

Lastly, the writer would like to thank for the supports of the journalist teamwork of

UINJKT Online; Mr. Idris, Mr. Iding, Mr. Nanang, Etty, Ifa, Isty, Ady, Neng, Desi and

Mustafa. Especially, journalist teamwork of the Ministry of Sport and Youth Republic of

Indonesia and LPM. Institute.

Jakarta, February 2007

Siti Rodiyah
 ABSTRACT

Siti Rodiyah, 2007. The Feminine Symbols in Dan Brown’s The Da Vinci Code,
Undergraduate research paper, Department of English Letters, Adab and Humanities
Faculty, State Islamic University “Syarif Hidayatullah Jakarta”.

This research set out to study the feminine symbols in The Da Vinci Code novel by
Dan Brown. Two research questions guided this research study, they are: What the
feminine symbols are appeared in The Da Vinci Code? What are the meanings of the
feminine symbols?
The research methodology for this study was qualitative descriptive analysis was
used as the data analysis technique.
The findings indicated that there were two general feminine symbols: the universal
symbols and the conventional symbols. The universal symbols described as: the Last
Supper; the Mona Lisa; the Rose Line; the Pentacle and the Walt Disney. While the
conventional symbols described as: the Holy Grail and Madonna of the Rocks. This study
highlights the description of the symbols and their meanings.
 TABLE OF CONTENTS

APPROVAL SHEET ………………………………………………………………. i

LEGALIZATION OF EXAMINATION ……………………………………….. ..ii

ACKNOWLEDGMENT ……….………………………………………………… iii

ABSTRACT …………………………………………………………………………v

TABLE OF CONTENTS …………………………………………………………. vi

CHAPTER I INTRODUCTION …………………………………………………. 1

A. Background of the Study …………………………………………………… 1

B. Focus of the Study ………………………………………………………….. 4
C. Research Question ………………………………………………………….. 4
D. Significance of the Research ………………………………………………...5

CHAPTER II THEORITICAL FRAMEWORK ……………………………….. 5

A. Theory of Symbol …………………………………………………………... 6

B. Study of Symbolism ………………………………………………………… 8

CHAPTTER III RESEARCH METHODOLOGY ……………………………… 9

A. The Objective of the Research ……………………………………………… 9

B. The Method of the Research …………………………………………………9
C. Technique of Data Analysis ………………………………………………….9
D. Instrument of the Research ….……………………………………………... 10
E. Unit of Analysis ...………………………………………………………….. 11
CHAPTER IV RESEARCH FINDING AND ANALYSIS ………………….… 12

A. Data Analysis ……………………………………………………………… 12

a. The Meanings of the Feminine Symbols in The Da Vinci Code …………… 12
1. The Last Supper ………………………………………………………... 12
2. The Mona Lisa …………………………………………………………..16
3. The Holy Grail …………………………………………………………. 18
4. The Rose Line …………………………………………………………...20
5. Pentacle ………………………………………………………………… 22
6. Madonna of The Rocks ……………………………………………….... 23
7. Walt Disney ……………………………………………………………. 26

CHAPTER V CONCLUSING AND SUGGESTION …………………………. 28

A. Conclusion ………………………………………………………………….30
B. Suggestion ………………………………………………………………..... 31

BIBLIOGRAPHY ………………………………………………………………… 32

AUTHOBIOGRAPHY OF DAN BROWN .…………………………………….. 33

APPENDIX

1. AUTOBIOGRAPHY OF DAN BROWN ……………………………….. 34

2. COVER OF THE DA VINCI CODE NOVEL …………………………... 35
 CHAPTER I

INTRODUCTION

A. Background of the study

The literary work is the appearance of an author’s creative life and expresses the

author’s essential self. The text of literary work is the place where the reader enters into a

spiritual or humanistic communion with an author’s thoughts and feelings.1 In other words,

the literary work is valuable wealth of human being. of course the indicator of literary work

neither successful nor unsuccessful can be seen by how do the society give some comments

and enjoy an author’s thoughts and feelings.

As N. Scott Momaday embodied in Discovering Literature that, “We are what we

imagine. Our very existence consists in our imagination of ourselves. Our best destiny is to

imagine who and what we are. The greatest tragedy to befall us is to go unimagined”, and

the popular writer, Tony Morrison also have a great words as her reason why she wrote

many works in order to get attention that she was exist, “I only have twenty-six letters

alphabet; I don’t have color or music. I must use my craft to make reader see the colors and

hear the sounds.”2

From the statements above, we can assume that, what a great life to be the source of

literary work. Every authors can write what they feel and experience of their life. Mostly,

as the results of author’s experience, literary work is well known through novel, poetry,

1
Raman Selden, Peter Widdowson, Peter Broker, A Reader’s Guide To Contemporary Literary Theory,
London: Prentice Hall, 1997, p. 66
2
Hans P. Guts, Gabriel L. Rico, Discovering Literature: Stories, Poems, Plays, New Jersey: Prentice Hall,
1997.
play or short story. Literary work, is not only as place of feeling and thinking expression,

but also literary work is an author’s reaction focus on reality that happen in society

arrangement.

Furthermore, the literary work is a mirror of life and a representative tool to

understand human life enlarge. Normally, the literary work should be created based on

humanity values.3 Every sectors of human life, those are made as the part of literary

discourses, not only including of some material things, but also nuance of spirituals things.

Literary work based on the characteristics of material or spiritual things followed by many

authors up to the recent time.4

According to the writer’s view, which the world domain literary, less than one

decade, is being colored by some contemporary author and their works relate to spiritual

view.

The novel of The Da Vinci Code by Dan Brown is one of some literary works that

load of spiritual or religious problems. Dan Brown is the author of numerous bestselling

novels, including the # 1 New York Times bestsellers, The Da Vinci Code—of the best

selling novels of all time. In early 2004, all four Dan Brown’s novels held spots on the New

York Times bestseller list during the same week.5 Through his best-selling novel, Dan

Brown has been destructing the natural existence and belief of Christianity that has been

kept over 2000 years.6 And the novel tells the reader so many symbols that heighten

interest and appear the curiosity of the reader. Almost, all of the mentioned symbols are the

3
Sutardja, I, Memahami Cakrawala Sastra Dan Kehidupan, Jakarta: Ariadne, 1994, p. vii.
4
Ibid., p. 1
5
http//www.danbrown.com, January, 8th, 2007.
6
Husaini, Adian. http//www.hidayatullah.com. April, 9th, 2005.
feminine symbols. And the writer interest to analyze about the feminine symbols in the

novel of The Da Vinci Code.

Dan Brown in his The Da Vinci Code has discovered many secrets of Christianity

theology that has been hid in some artworks of painters such as Leonardo da Vinci and

George de La Tour.

The most important idea in Dan Brown’s The Da Vinci Code is the secret

appearance of Jesus and Mary Magdalene’s marriage. In history, Jesus was viewed by

followers as mortal prophet; a great and powerful man, but a man nonetheless, a mortal.

The early Christianity did not permit the controversial issue of Jesus and Mary’s

marriage to be growth. The early church has launched the legacy of a smear campaign.

Exactly, through such as an unfortunate misconception that Mary Magdalene was a

prostitute. Seeing that assumption, the church needed to defame Mary Magdalene in order

to cover up her dangerous secret, her role in keeping the Jesus’ bloodlines.

While, another hand such as the Priory of Sion, has been posing Mary Magdalene

as the sacred feminine because she was the womb of Jesus’ bloodlines. Also, Mary’s story

has been kept by some art workers such as Leonardo and George de La Tour, through their

artworks of paintings.

Especially, Da Vinci has made some pictures revealing the background story of

Mary Magdalene through many secrets symbols, such The Mona Lisa and The Last Supper.

The writer then considered those secrets symbols as the feminine symbols because it

represented behind story of a holy woman, Mary Magdalene. Leonardo’s pictures were not

only symbolizes Mary Magdalene facedly and bodily, but also using something reference
objects relate to women. Actually, the writer considered that the feminine symbols in Dan

Brown’s The Da Vinci Code are the objects relate to women.

The writer would like to analyze the feminine symbols that hid in some artworks of

Leonardo da Vinci through The Da Vinci Code novel. Really, most of Da Vinci’s paintings

have been directing artwork lovers, historians, and researchers to know what happen

behind them. Especially, the writer also has been directed to cover up the paintings of

Leonardo that nuance of the feminine symbols.

B. Focus of the Study

The research focused on the feminine symbols in the novel The Da Vinci Code by

Dan Brown and the meaning of each symbols.

C. Research Questions

From the explanation above, the writer wants to propose the questions below:

1. What the feminine symbols are appeared in The Da Vinci Code?

2. What are the meanings of those feminine symbols?

C. Significance of the Research

 The writer hopes the research could increase reader’s knowledge, especially the

novel’s lovers, how to understand the feminine symbols and the meaning of each symbols.

Besides, the writer also hopes the research will support the reader to be more interested in

the novel.
 CHAPTER II

THEORETICAL FRAMEWORK

A. Definition of Symbol

A symbol is a person, object, action, or idea that in addition to its literal or

denotative meaning suggests as more complex meaning or range of meanings.7

As an object or an action, then symbol, represents itself. And at the same time has a

larger meaning than it ordinarily has-a meaning which can often be multiple or ambiguous.

Symbols are more suggestive than figures of speech usually more complex, and often

harder to interpret.8

Universal or archetypal symbols, such as The Old Man, The Mother, or The Grim

Reaper, are so much a part of human experience that they suggest much the same thing to

nearly everyone.9

While, another symbol, which Conventional Symbols are likely to suggest the same

thing to most people, provided they share common cultural and social assumptions ( a rose

suggests love, a skull and crossbones denotes poison). Such symbols are often used as a

7
Laurie G. Kirszner, Literature, Reading, Reacting, Writing, Holt, Rine Hart and Winston, Inc. USA, 1991,
p.248. op.cit, p. 248
8
Ellman, Richard, Reading Poems, W. W. Norton and Company, Inc. USA, 1976, p. xliii
9
Laurie G. Kirszner, log.cit.
kind of shorthand in films, popular, literature, and advertising, where they encourage

automatic responses.10

Furthermore, Laurie G. Kirszner explains, which Conventional Symbols such as the

stars and stripes of the American flag can evoke. Powerful feelings of pride and patriotism

in a group of people who share the same orientation toward it, just as the maple leaf, the

Union Jack, and the hammer and sickle can. 11

A more universal symbol, the cross, is a sample geometric form, but for billions of

Christians it stands for Christ’s crucifixion—itself a symbolic event which represents the

attitudes toward God, the cosmos, and themselves, that two intersecting lines can somehoe

embody a view of the universe gives some idea of the power symbols have.12

A national flag and the cross are conventional symbols, in that while people and

nations may fight over the validity of the concepts they symbolize, most or all know, in

general, what the symbols mean. (Not all flags or crosses are symbolic the white flag which

means only onething—“truce”—and the crosses you use in answering a multiple-choice are

not symbols but signs).13

Symbols carry different meanings in different settings. Telling someone what a

symbol “meant” it was different for all people.14

10
Laurie G. Kirszner, log.cit
11
Laurie G. Kirszner, log.cit.
12
Ellman, Richard, log.cit
13
Ellman, Richard, op.cit. p. xliv
14
Dan Brown, The Da Vinci Code, Anchor Books, A Division of Random House, Inc. Ney Work, 2003, p.
39)
B. Study of Symbolism

Literary symbols, in addition to having the same associations as conventional

symbols, literary symbols may derive additional associations through their use in a

particular literary work. Often a character, place, action, event, or object is used to suggest

multiple meanings in a particular story. For instance, a watch or clock denotes time; as a

literary symbol in a particular work, it might seem to suggest just the passing of time, or it

might convey anything from a character’s inability to recapture the past to the idea of time

running out—or, it might suggest more than one of these ideas. Thingking about an

object’s possible meanings can suggest a variety of ways to interpret a text. Actually, you

should not concentrate on finding the one true equvalent for a symbol; in fact, this kind of

search is very limiting and not very productive. Instead consider the possibilities, the

different meanings as symbol might suggest. The consider how the various interpretations

enrich the other elements of the story and the work as whole.15

In recognizing symbol, Kirszner explains, considering an image is used, how often

it is used, and when it appears will help you to determine whether or not it functions as a

symbol.

While the purpose of symbols, symbols expand the possible meanings of a story,

thereby heightening interest and involving readers in active participation in the text. In

“The Lottery”, for example, the mysterious black box has some symbolic significance. It is

mentioned prominently and repeatedly, and it plays a pivotal role in the story’s action. Of

15
Laurie G. Kirszner, op.cit, p. 249
course, the black box is important on purely literal level: It functions as a key component of

the lottery. But the box has other associations as well, and it is these associations that

suggest what its symbolic value might be.16

In that context, the black box, has a significant symbol and important on purely

literal level. In other words, symbol encourages readers to probe a story for values and

ideas, to consider and weigh the suitability of a variety of interpretations. It serves as a hot

spot that invites questions and exploration. The answers to these questions reinforce and

enrich the story’s theme.

16
Laurie G. Kirszner, op.cit, p. 250
 CHAPTER III

RESEARCH METHODOLOGY

A. Objective of the Research

The objective of the research in this paper is trying to find out the feminine symbols

and analyze the meaning of each symbol that appears in the novel of The Da Vinci Code by

Dan Brown.

B. The Method of The Research

This study uses method of qualitative description which concerns on the feminine

symbols and their meanings. The writer compiles the symbols which are utilized in the

novel.

C. Technique of Data Analysis

The writer uses a descriptive analysis technique which is based on a textual

approach. To get the specific data, this research uses the following steps:

a. Read all the content of novel texts.

b. Sign up the feminine symbols

c. Collect those feminine symbols and mentioning the meaning of each symbol.

d. Conclude the collecting data.

D. Instrument of the Research

The instrument of the research is the writer herself through analyzing the feminine

symbols and their meaning.

E. Unit of Analysis

The analysis unit of the research is the novel of The Da Vinci Code by Dan Brown.
 CHAPTER IV

RESEARCH FINDINGS AND ANALYSIS

A. Data Analysis

a. The Feminine Symbols in The Da Vinci Code and the meaning of each symbols

In this chapter, the writer analyzes the meanings of the feminine symbols that

appear in The Da Vinci Code. The writer categorizes the feminine symbols as Universal

Symbols and Conventional Symbols. And the following explanations below are the

feminine symbols and the meanings of each.

1. The Last Supper

“One note, folks. We’ve only touched on Da Vinci today, but we’ll be seeing a lot
more of him this semester. Leonardo was a well documented devotee of the ancient
ways of the goddess. Tomorrow, I’ll show you his fresco The Last Supper, which is
one of the most astonishing tributes to the sacred feminine you will ever see.”
“You’re kidding, right?” somebody said. “I thought The Last Supper was about
Jesus. (Brown 2003: 103).

From the quotation above, Robert Langdon as “I” in The Da Vinci Code novel, told

his students when they were in class, The Last Supper which is one of Leonardo’s painting

that appreciates a holy woman everyone will ever see. But it is denied by Langdon’s

student, that what Langdon said about The Last Supper which is one of the most

astonishing tributes to the sacred feminine only a joke. While the students or everyone have

been suspecting that The Last Supper was about Jesus.

 Furthermore the assumption of The Last Supper is cleared with the dialogue of The

Da Vinci Code that occurs between Sophie Neveu, a cryptographer of Department of

Symbology, French and a historian Leigh Teabing.

“Hold on,” Sophie said. “You told me the Holy Grail is a woman. The Last Supper
is a painting of thirteen men.”
“Is it?” Teabing arched his eyebrows. “Take a closer look.” (Brown 2003: 262)

Generally The Last Supper has been recognized as a painting of thirteen men. The

thirteen figures—Jesus Christ in the middle, six disciples on His left, and six on His right.

They are all men. Teabing disagree with the interpretation above, and says;

“Oh?” Teabing said. “How about the one seated in the place of honor, at the right
hand of the lord?” (Brown 2003: 263).

After examining the figure to Jesus’ immediate right, focusing in. As she studied

the person’s face and body, a wave of astonishment rose within her. The individual had

flowing red hair, delicate folded hands, and the hint of a bosom. It was, without a doubt,

female.

“That’s a woman! Sophie exclaimed.

Teabing was laughing. “Surprise, surprise. Believe me, it’s no mistake. Leonardo
was skilled at painting the difference between the sexes.”

Sophie could not take her eyes from the woman beside Christ. The Last Supper
supposed to be thirteen men. Who is this woman? Although Sophie had seen this
classic image many times, she had not once noticed this glaring discrepancy.
“Who is she?” Sophie asked.
“That, my dear,” Teabing replied, “is Mary Magdalene.” (Brown 2003: 263).

According to that dialogue, Sophie is surprised after examining deeply The Last

Supper. She is just aware, that one of the thirteen people in The Last Supper is a woman.
But she is still in requesting who is the woman, the answered by Teabing that the woman is

Mary Magdalene.

“It’s a matter of historical record,” Teabing said, “and Da Vinci was certainly aware
of that fact. The Last Supper practically shouts at the viewer that Jesus and
Magdalene were a pair.” (Brown 2003:264)

According to the history, Teabing decides, that The Last Supper talks about Jesus

and Mary’s marriage. Da Vinci as the painter of the picture tried to approve that fact.

The Last Supper, then become a yardstick in expressing Jesus and represents one of most

amaze respecting for woman. There are many occult symbols in some place that have never

been conceived. That painting, through process resolving of complicated symbols, is

containing history that Mary Magdalene was Jesus’ wife and they had a distance in French.

Then Jesus claimed as an ordinary human being. The painting, practically shouts at the

viewer that Jesus and Magdalene were a pair. This matter is being a secret during more

than 2000 years.

Teabing’s claim about The Last Supper, strengthened with another interpretation

physically about it. Jesus and Mary Magdalena are clothed as mirror images of one another.

Their clothes were inverse colors. Jesus wore a red robe and blue cloak, while Mary

Magdalene wore a blue robe and red cloak. Yin and Yang. It is a sign of balance between

male and female.

“Venturing into the more bizarre,” Teabing said, “note that Jesus and His bride
appear to be joined at the hip and are leaning away from one another as if to create
this clearly delineated negative space between them.”
 Even before Teabing traced the contour for her, Sophie saw it—the indisputable
shape at the focal point of the painting. It was the same symbol Langdon had
drawn earlier for the Grail, the chalice, and the female womb. (Brown 2003:264)

Teabing asked Sophie to look closer to The Last Supper, that the contour of the

painting show a symbol V, symbol represents the meaning of Grail, the chalice, and the

female womb.

“Finally,” Teabing said, “if you view Jesus and Magdalene as compositional
elements rather than as people, you will see another obvious shape leap out at you.”
He paused. A letter of the alphabet.”

Sophie saw it at once. To say the letter leapt out at her was understatement. The
letter was suddenly all Sophie could see. Glaring in the center of the painting was
unquestionable outline of an enormous, flawlessly formed letter M. (Brown
2003:265)

Moreover, Teabing explained his interpretation of The Last Supper, with the

evidence through the contour of Jesus and Mary’s seat position, that it is looked like an

alphabet, “M”. And “M” means Mary Magdalene.

Some scientists said that, The Last Supper paint made an alphabet “V” and “M”.

The sort of V, symbolizes Grail used in the Holy Messiah, or means feminine (from the

word vulva or virgin). While the alphabet “M”, not only symbolizes Mary Magdalene, but

also means “Marital”— marriage between Mary Magdalene and Jesus Christ.17

Based on the interpretation about the Last Supper above, the writer categorizes the

Last Supper as the universal symbol. The symbolism refers to Mary Magdalene as a

woman, which has same characteristic as other women, bodily or facedly. And the

interpretation of Jesus and Mary’s clothes colour, also used in world symbolism.

17
Lynn Picknett and Clive Prince, The Templar Revelation Para Pelindung Identitas Sejati Kristus, PT.
Serambi Ilmu Semesta, Jakarta: 2006. p.22.
2. The Mona Lisa

The fleur-de-lis … the flower of lisa … the Mona Lisa it was all intertwined, a
silent symphony echoing the deepest secrets of the Priory of Sion and Leonardo Da
Vinci. (Brown, 2003:123)

What the narrator of The Da Vinci Code novel said above, tells the reader more

clarification that Leonardo was the one of some painters that appears deep meaningful

works, such as The Mona Lisa.

The Mona Lisa’s status as the most famous piece of art in the world, Langdon
knew, had nothing to do with her enigmatic smile. Nor was it due to the mysterious
interpretations attributed her by many art historians and conspiracy buffs: Quite
simply, the Mona Lisa was famous because Leonardo da Vinci claimed she was his
finest accomplishment. He carried the painting with him whenever he traveled and,
if asked why, would reply that he found it hard to part with his most sublime
expression of female beauty. (Brown 2003:127)

The Mona Lisa is a masterpiece of Leonardo Da Vinci that hid a great mystery

through her smile. It is called the sfumato style of painting because of its foggy. Then

everyone always talks about it and just supposes whether The Mona Lisa is a picture of a

woman or a man. According to Langdon’s view through the statement above, that The

Mona Lisa is being popular painting because Leonardo admitted that she was his nicest

work. There is no correlation between mysterious smile of the Mona Lisa painting and

some interpretation that given by some historians who are interested in conspiracy issue. In

The Da Vinci Code Langdon said about The Mona Lisa that Leonardo’s aim to paint The

Mona Lisa is to show a beauty woman.

Even so, many art historians suspected Da Vinci’s reverence for The Mona Lisa had
nothing to do with its artistic mastery. In actually, the painting was a surprisingly
ordinary sfumato portrait. Da Vinci’s veneration for this work, many claimed,
stemmed from something for deeper: a hidden message in the layers of paint. The
 Mona Lisa was, in fact, one of the world’s most documented inside jokes. The
painting’s well documented college of double entendress and playful allusions had
been revealed in most asrt history tomes, and yet, incredibly, the public at large still
considered her smile a great mystery.
No mystery at all, Langdon thought, moving forward and watching as the faint
outline of the painting began to take shape. No mystery at all. (Brown 2003:128)

The narrator says, however, historians suspected Da Vinci’s mark of honour among

The Mona Lisa had nothing to correlate to her smile, but it is only an artistic work. Once,

Langdon says, that The Mona Lisa has no mysterious story.

… “That the background behind her face is unever.” Langdon motioned to the
glaring discrepancy. “Da Vinci painted the horizon line on the left significantly
lower than the right. (Brown 2003:128)

The quotation above is what Langdon shared The Mona Lisa’s secret with prisoners

attending class, The Mona Lisa could be seen in two sides and two sexuality status, male or

female, that attributed by the contour of The Mona Lisa picture as if seen from the left side

it is significantly lower than the right side. The Mona Lisa picture as if seen in the left side,

it is looked sense of a beauty, because Leonardo’s aim is a picture of woman. Furthermore

Langdon explains, actually, this is a little trick Da Vinci played by lowering the contour

side on the left side, Da Vinci made Mona Lisa look much larger from the left side than

from the right side. Historically, the concepts of male or female have assigned side that left

side assigns female and right side assigns male. It is supposed that Leonardo Da Vinci was

very interested on feminine principles; he made Mona Lisa look more majestic from the

left side than the right side.

Clearly, The Mona Lisa is a picture of a subtle message of androgyny. It is

symbolizes a holy fushing of both, male or female such Jesus and Mary Magdalene. Name
of Mona Lisa also an anagram to “Amon L’Isa”, refers to an Egyptian god and goddess are

Amon and Isis.

Exactly, after examining The Mona Lisa could be categorized as the one of

universal symbol. Leonardo has painted The Mona Lisa used world concept symbolism,

such the characteristic of male and female, facedly and bodily.

3. The Holy Grail

…” according to the Priory of Sion, the Holy Grail is not a cup at all. They claim
the Grail legend—that a chalice—is actually an ingeniously conceived allegory.
That is, that the Grail story uses the chalice as a metaphor for something else,
something far more powerful.” He paused. “Something that fits perfectly with
everything your grandfather has been trying to tell us tonight, including all his
symbologic references to the sacred feminine.” (Brown 2003:176)

Mostly, The Holy Grail has been suspected as The Christ’s Cup. Even if, according

to the Priory of Sion said that the Holy Grail is not only a cup but also a collection of

documents that reveals some dark secret. The interpretation of the Holy Grail based on

Teabing’s statement in the novel of The Da Vinci Code clarifies that The Priory of Sion

always keeps the meaning of the Holy Grail which is supposed as Christ’s cup used at the

Last Supper. The Holy Grail is a symbol refers to a holy woman. Physically, the sort of

grail that interpreted as a cup looked like a chalice. With another word, the chalice

symbolizes form of , which is looked like a womb of woman. Then if the symbol of

chalice and the form of referred to the story of Mary Magdalene which was suspected

as Jesus’ Wife, so the chalice means the womb of Jesus’ bloodlines.

The Holy Grail is suspected to relate to Jesus. According to some traditions, The

Holy Grail is a cup which was by Jesus at The Last Supper. While another tradition said,
that the cup was used by Joseph Arimathea to keep Jesus’ blood when he was in the cross.

Another assumption said which Grail are both of them. But, exactly, The Holy Grail relates

to Jesus.18

The Holy Grail or Sangreal the word with the French word sang or Spanish
sangre—meaning blood. (Brown 2003:174).
This Langdon’s expression, seriously, interpreted the Holy Grail in logical view by

translating word meaning of the Holy Grail in French language or Spain language, that

sang means blood.

“The legend of the Holly Grail is a legend about royal blood. When Grail legend
speaks of ‘the chalice that held the blood of Christ’ … it speaks, in fact, of Mary
Magdalene—the female womb that carried Jesus’ royal bloodline.”
“the greatest cover-up in human history. Not only was Jesus Christ married, but he
was a father. My dear, Mary Magdalene was the Holy Vessel. She was the chalice
that bore the royal bloodline of Jesus Christ. She was the womb that bore the
lineage, and the vine from which the sacred fruit sprang forth!” (Brown 2003:270)

Excitedly, Teabing explains above about the real legend of the Holy Grail to stand

up Langdon’s view that sang means blood. Exactly, the Holy Grail is a legend of Jesus and

Mary’s bloodlines. Mary was the chalice that bore the royal bloodline of Jesus. She was the

womb that bore the lineage. This legend has been spread for over 2000 years by The Priory

of Sion, that held important role to keep the secret of Mary Magdalene.

“Quite literally,” Teabing said. “The word Sangreal derives from San Greal—or
Holy Grail. But in its most ancient form, the word Sangreal was divided in a
different spot.” Teabing wrote on a piece of scrap paper and handed it to her
She read what he had written.
Sang Real
Instantly, Sophie recognized the translation.
Sang Reaal literally meant Royal Blood. (Brown 2003:271)

18
Henry Lincoln, Richard Leigh, Michael Baigent, translated by Isma B. Koesalamwardi, Holy Blood, Holy
Grail, Ufuk Press, Jakarta: 2006, p.358.
 Teabing’s rationalization, as what Langdon had interpreted Sangreal word by word.

Sang means—blood and Real means—royal. The meaning of Sangreal is Royal Blood.

Another reason, Mary Magdalene became the Holy Grail, in addition to being

Christ’s right hand, was a powerful woman already. She was of the House of Benjamin.

Mary Magdalene was a royal descent.

The legend of the Holy Grail, has been enriched by so many experts or scholars

with different interpretation and symbolism based on different culture and language. As the

principle of conventional symbol which is reflected arbitrary, the Holy Grail is a kind of it.

4. The Rose Line

There it is.
Embedded in the gray granite floor, a thin polished strip of brass glistened in the
stone … a golden line slanting across the church’s floor. The line bore graduated
markings, like a ruler. It was a gnomon, Silas had been told, a pagan astronomical
device like a sundial. Tourists, scientists, historians, and pagans from around the
world came to Saint-Sulfice to gaze upon this famous line.
The Rose Line (Brown 2003:113)

The quotation above describes when Silas (an albino and member of Opus Dei) at

the first time find the line out in Saint Sulfice. That’s the famous line as could be found by

tourists, scientists, historians, and pagans from around the world when they visit Saint

Sulfice. The substance of the Rose Line means the Holy Grail’s existence. Many historians

and scientist suspected that the keystone of Priory of Sion is in the same place of the Rose

Lin. The secret of the Holy Grail had been kept by the Priory of Sion for years.
 Slowly, Silas let his eyes trace the path of the brass strip as it made its way across
the floor from his right to left, slanting in front of him at an awkward angle, entirely
at odds with the symmetry of the church. Slicing across the main altar itself, the line
looked to a man like a slash wound across a beautiful face. The strip cleaved the
communion rail in two and then crossed the entire width of the church, finally
reaching the corner of the north transept, where it arrived at the base of a most
unexpected structure. (Brown 2003:113).

The Rose Line is the line brass looked stripped from right to left side. Slanting in

front of him at an awkward angle, entirely at odds with the symmetry of the church. A slash

wound across a beautiful face as if Mary’s face that was hurt by the campaign of the earlier

Christianity to deviate her love affair with Jesus.

The early Church needed to convince the world that the mortal prophet Jesus was a

divine being. Therefore, any gospels that described earthly aspects of Jesus’ life had to be

omitted from the Bible. But the Priory of Sion still effort hardly to keep the legend of the

Holy Grail and the Rose Line.

The Holy Grail ‘neath ancient Roslin waits.

The blade and chalice guarding o’er Her gates.
Adorned in masters’ loving art, She lies.
She rests at last beneath the starry skies. (Brown 2003:482)

That is the clarity of Sauniere’s final revelation. It states that the Holy Grail is in

Roslyn Chapel. Roslin, this ancient spelling, according to Langdon, derived from the Rose

Line meridian on which the chapel sat or as Grail academics preferred to believe, from the

“Line of Rose”—the ancestral lineage of Mary Magdalene. The subsistence of the Holy

Grail together with the Rose Line’s subsistence might still be looked know and later.

“Heavens no. The end of Days is a legend of paranoid minds. There is nothing in
the Priory doctrine that identifies a date at which the Grail should be unveiled. In
 fact the Priory has always maintained that the Grail should never be
unveiled.”(Brown 2003:479)

From the statement above, Marie Chauvel (Sauniere’s wife) clarified that the Holy

Grail never be covered. Finally, Sophie and Langdon did not find out the the Holy Grail,

but Sophie met her grandmother and her brother, they are another bloodlines of Jesus and

Mary Magdalene.

Universally, Rose always refers to female or woman. In the context of Rose Line the

meaning refers to Mary Magdalene. And the Rose Line categorized as universal symbol.

5. Pentacle

Sauniere’s left index finger was also bloody, apparently having been dipped into the
wound to create the most unsettling aspect of his own macabre deathed; using his
own blood as ink, and employing his own naked abdomen as a canvas, Sauniere had
drawn a simple symbol on his flesh—five straight lines that intersected to form a
five-pointed star.
The pentacle. (Brown 2003:39)

The narrator of The Da Vinci Code describes the condition around Sauniere’s
macabre. There a curious thing appears in Sauniere’s death, he had drawn a simple symbol
that is known as the pentacle, five straight lines that intersected to form a five pointed star.

“The pentacle,” Langdon clarified, “is a pre-Christian symbol that relates to Nature
worship. The ancients envisioned their world in two halves—masculine and
feminine. Their gods and goddesses worked to keep a balance of power. Yin and
yang. When male and female were balanced, there was harmony in the world.
When they were unbalanced, there was chaos.” Langdon motioned to Sauniere’s
stomach. “This pentacle is representative of the female half of all things—a concept
religious historians call the ‘sacred feminine’ or the divine goddess.’ Sauniere, of
all people, would know this.” (Brown 2003:40)
 Furthermore, Langdon clarifies, that pentacle is a pre-Christian symbol that relates

to nature worship. Where the world was divided in two halves, masculinea and feminine.

The god and goddess worked to keep a balance of power. Of course the harmony would be

created in the world if there was a balance male and female. Contextually, Langdon says,

that the pentacle occurs on Sauniere’s stomach interpreted as female half of things.

Religious historians call that concept as the symbol of the sacred feminine or the divine

goddess. Brown aimed, which the sacred feminine is Mary Magdalene.

“Sauniere drew a goddess symbol on his stomach?

Langdon had to admit, it seemed odd. “In its most specific interpretation, the
pentacle symbolizes Venus—the goddess of female sexual love and beauty. (Brown
2003:40)

Again, the symbol relates to feminine. Langdon interprets that the pentacle

specifically symbolizes Venus. Venus is well known the goddess of sexual, love and beauty

female. In The Da Vinci Code, the pentacle is the top of another symbol that approves

feminine symbols and could be interconnected with another symbolism. Especially, all of

the interpretation of symbol refers to Mary Magdalene, the holy female, who has an

important role among Jesus life and their bloodlines.

The interpretation of pentacle as the five straight lines that intersected to form a
five-pointed star is much used by some interpreters in the whole world, and then the writer
could categorize it as a universal symbol.
6. Madonna of the Rocks

… Madonna of the Rocks was yet another fitting link in the evening’s chain of
interconnected symbolism. Sauniere, it seemed, at every turn, was reinforcing his
fondness for the dark and mischievous side of Leonardo da Vinci.
Da Vinci’s original commission for Madonna of the Rocks had come from an
organization known as the Confraternity of the Immaculate Conception, which
needed a painting for the centerpiece of an altar triptych in their church of San
Francesco in Milan. The nuns gave Leonardo specific dimensions, and the desired
theme for the painting—the Virgin Mary, baby John the Baptist, Uriel, and Baby
Jesus sheltering in a cave. Although Da Vinci did as they requested, when he
delivered the work, the group reacted with horror. He had filled the painting with
explosive and disturbing details. (Brown 2003:148)

Again, Leonardo has painted a picture nuance of feminine symbols. The quotation

above tells Madonna of the Rocks. It is not such another portrait; Leonardo was requested

to paint Madonna of the Rocks. Even if, Leonardo has painted Madonna of the Rock

different than what was requested by an organization. So Leonardo accepted reaction of

horror when he delivered his work or Madonna of the Rock to current organization.

The painting showed a blue-robed Virgin Mary sitting with her arm around and
infant child, presumably Baby Jesus. Opposite Mary sat Uriel, also with an infant,
presumably baby John the Baptist. Oddly, though, rather than the usual Jesus-
blessing-John scenario, it was baby John who was blessing Jesus … and Jesus was
submitting to his authority! More troubling still, Mary was holding one hand high
above the head of infant John and making a decidedly threatening gesture—her
fingers looking like eagle’s talons, gripping an invisible head. Finally, the most
obvious and frightening image: Just below Mary’s curled fingers, Uriel was making
a cutting gesture with his hand—as if slicing the neck of the invisible head gripped
by Mary’s claw-like hand. (Brown 2003:149)

The narrator says that the paint shows the virgin of Mary with an infant, suspected

Baby Jesus. Opposite Mary sat Uriel also with an infant presumably baby John the Baptist.

The paint shows an odd thing that Baby Jesus blessed by Baby John. More matter, in that

paint there fingers looking like eagle’s talons presumably that is Peter’s fingers which was
leaning menacingly toward Mary Magdalene and slicing his blade-like hand across her

neck.

So dark the con of man

“Sophie,” Langdon said, “the Priory’s tradition of perpetuating goddess worship is
based on a believe that powerful men in the early Christian church ‘conned’ the
world by propagating lies that devalued the female and tipped the scales in favor of
the masculine.” (Brown 2003:133)

Langdon said to Sophie, that the Priory tradition for perpetuating goddess worship

is based on a believe that the early Christian church influence the world by spreading lies

that posed the female in the lower position and men in high position. The early church

washed a campaign of propaganda that demonstrated the sacred feminine, and the early

Christianity church has obliterated the goddess from modern religion forever.

Taking the stairs two at a time, Langdon wondered if Sophie had any idea how
valuable a painting she had almost ruined. Her choice in art seemed early pertinent
to tonight’s adventure. The Da Vinci she had grabbed much like the Mona Lisa,
was notorious among art historians for its plethora of hidden pagan symbolism.
(Brown 2003:144).

Through the statement above, Langdon explains what a great work of Madonna of

the Rock that hid secret much like Mona Lisa, which is popular for its plethora of pagan

symbolism. Mostly, the interpretations of Madonna of the Rocks based on the historical

background life of Mary Magdalene, especially refers to the revengeful of a Jesus’ student,

Peter to Mary and approved by Leonardo in The Madonna of the Rocks, then the writer

categorized the Madonna of the Rocks picture as the conventional symbol because it is

based on a current history.

7. Walt Disney

Langdon quickly told her about works by Da Vinci, Botticelli, Poussin, Bernini,
Mozart, and Victor Hugo that all whispered of the quest to restore the banished
sacred feminine. Enduring legends like Sir Gawain and the Green Knight, King
Arthur, and Sleeping Beauty were Grail allegories. Victor Hugo’s Hunchback of
Notre Dame and Mozart’s Magic Flute were filled with Masonic symbolism and
Grail secrets. (Brown 2003:282)

The Da Vinci Code, through the character of Robert Langdon, always talks about

Mary Magdalene that symbolized by some art works such as; The Holy Grail and The Last

Supper. All of the works not only belong to Leonardo Da Vinci, but also all the works

belong to another painters, such as Poussin, Botticelli, Bernini, Mozart and Victor Hugo,

all of them taken important quest to restore the interment of sacred feminine, Mary

Magdalene the Holy Grail that appear everywhere, painting, music, books. Even in

cartoons, theme parks, and popular movies.

Langdon held up his Mickey Mouse watch and told her that Walt Disney had made
it his quiet life’s work to pass on the Grail story to future generations. Throughout
his entire life, Disney had been hailed as “the Modern-Day Leonardo da Vinci.”
Both men were generation ahead of their times, uniquely gifted artist, members of
secret societies, and most notably, avid pranksters. Like Leonardo, Walt Disney
loved infusing hidden messages and symbolism in his art. For the trained
symbologist, watching an early Disney movie was like being barraged by an
avalanche of allusion and metaphor. (Brown 2003: 282)

It seems, that what Langdon told Sophie above, mainly focuses on Walt Disney.

Mickey Mouse is Walt Disney life’s work to whisper the story of Grail to next generations.

Leonardo da Vinci and Walt Disney, they have some same characteristics, both men were

uniquely talented, members of secret organization, and especially love jokes. Walt Disney

love putting hidden messages or symbolism in his work as Leonardo has hidden some
messages or symbolism in his works. The master symbologist, watching an early Disney

movie was like attacked by an avalanche of allusion and metaphor.

Most of Disney’s hidden messages dealt with religion, pagan myth, and stories of
the subjugated goddess. It was no mistake that Disney retold tales like Cinderella,
Sleeping Beauty, and Snow White—all of which dealt with the incarceration of the
sacred feminine. Nor did one need a background in symbolism to understand that
Snow White—a princess who fell from grace after partaking of a poisoned apple—
was a clear allusion to the downfall of Eve in the Garden of Eden. Or that Sleeping
Beauty’s Princess Aurora—code—named “Rose” and hidden deep in the forest to
protect her from the clutches of the evil witch- was the Grail story for children.
(Brown 2003:282)

Furthermore, Langdon said, matters of religion, pagan myth, and story of goddess,

were being Disney’s hidden message in his art. Many assumptions said that Disney retold

stories such as Cinderella, Sleeping Beauty, and Snow White all of which dealt with the

interment of the sacred feminine. People need not to see a background symbolism of the

tale Snow White. A tale appears the character of a princess who fell from the Eden after

eating a poisoned apple was a clear allusion to the downfall of Eve in the Garden of Eden.

Or the Princess Aurora of Sleeping Beauty with a code name Rose which it is another name

of Grail. Grail means womb, exactly refers to Mary Magdalene who was being deviated by

the early of Christianity because she was the womb of Jesus’ bloodlines.

Despite its corporate image, Disney still had a savvy playful element among its
employees, and their artist still amused themselves by inserting hidden symbolism
in Disney products. Langdon would never forget one of his students bringing in a
DVD The Lion King and pausing the film to reveal a freeze-frame in which the
word SEX was clearly visible, spelled out by floating dust particles over Simba’s
head. Although Langdon suspected this was more of a cartoonist’s sophomoric
prank than any kind of enlightened allusion to pagan human sexuality, hea had
learned not to underestimate Disney’s grasp of symbolism. The Little Mermaid was
a spellbinding tapestry of spiritual symbols so specifically goddess-relate at that
they could not be coincidence. (Brown 2003:283)
 Moreover, Langdon said that Disney’s movies infused so many hidden symbols.

For example in a part scene of the Lion King film show the word SEX clearly, spelled out

by floating dust particles over Simba’s head. According to Langdon, it was only a

cartoonist prank, not the allusion of paganism sexuality. And The Little Mermaid was an

interest art of spiritual symbolism.

When Langdon had first seen The Little Mermaid, he had actually gasped aloud
when he noticed that the painting in ariel’s underwater home was none other than
seventeenth-century artist Georges de La Tour’s The Penitent Magdalene—a
famous homage to the banished Mary Magdalene—fitting décor considering the
movie turned out to be a ninety-minute collage of blatant symbolic references to the
lost sanctity of Isis, Eve, Pisces the fish goddess, and, repeatedly, Mary Magdalene.
The Little Mermaid’s name, ariel, possessed powerful ties to the sacred feminine
and, in the Book of Isaiah, was synonymous with “the Holy City he sieged.” Of
course, the Little Mermaid’s flowing red hair was certainly no coincidence either
(Brown 2003:283)

Langdon, had actually surprised when he watched The Little Mermaid for its

appearance that the painting in ariel’s underwater home was none other Georges de la Tour,

was an artist of seventeenth century, The Penitent Magdalene, a popular homage of the

banished Mary Magdalene. The lost sacred of Eve, Pisces the fish goddess, and exactly

Mary Magdalene showed by fitting décor as clear symbolic references. And no doubt,

which the Little Mermaid’s flowing red hair was certainly Mary’s hair. The stories of the

Walt Disney have been whispered all over the world and have been getting so many

symbolisms universally.
 The writer has found out so many symbols relate to feminist in Dan Brown’s The

Da Vinci Code. Clearly, Dan Brown overing the symbols to discover what a great women

in religious view or all over the world.

Dan Brown, represents the character of Mary Magdalene as the sacred feminine.

She was an important woman in Christianity, but role was being closed by the early

Christianity. Based on historical background, many historians said Mary Magdalene

supposed as Jesus’ wife. The early Christianity did not permit this issue to be growth, in

order the divinity of Jesus was no doubt. But, the story of Mary Magdalene as the Holy

Grail, chalice or womb of Jesus’ bloodline will never closed because it appeared in so

many artworks of paintings that represent her self, however, through symbolism as what

Dan Brown recovered in his The Da Vinci Code.

 CHAPTER V

CONCLUSION AND SUGGESTION

A. Conclusion

The novel of The Da Vinci Code is Brown’s work to reveal some great secrets of

feminine symbols in Leonardo da Vinci’s works. Dan Brown wants to point the world out

of the hidden messages of Leonardo’s works.

The writer has found out the feminine symbols in Dan Brown’s The Da Vinci Code.

They are, The Last Supper, The Mona Lisa, Madonna of the Rocks, The Holy Grail, The

Rose Line, Pentacle, and characters in Walt Disney film. The three earlier of Leonardo’s

works, The Last Supper, The Mona Lisa, and Madonna of the Rocks, are the paints that

relate to feminine, and all of them symbolize Mary Magdalene, was an important woman to

Cristianity and Jesus’ life. Also The Holy Grail, The Rose Line, Pentacle, and Walt Disney,

those symbols are interrelated each other, and revealed the secret of a sacred feminine,

Mary Magdalene.

Wherever it was, two important facts remained:

Leonardo knew where the Grail resided during his life time
That hiding place had probably not changed to this day.
For this reason, Grail enthusiast still pored over Da Vinci’s art and diaries in hopes
of uneathing a hidden clue as to the Grail’s current location. Some claimed the
mountainous backdrop in Madonna of the Rocks matched the topography of a series
of cave-ridden hills in Scotland. Others insisted that the suspicious placement of
disciples in The Last Supper was some kind of code. Still others claimed that X rays
of the Mona Lisa revealed she originally had been painted wearing a lapis lazuli
 pendant of Isis—a detail Da Vinci purportedly later decided to paint over. (Brown
2003:184).

From the quotation above, the writer realizes that Leonardo had an important role to

whisper the secret of sacred feminine, Mary Magdalene, through his artworks. Once more,

it facilitated by Dan Brown with his novel in revealing what the artwork says the hidden

messages that mostly symbolized feminine.

B. Suggestion

This paper approves the feminine symbols in the novel of The Da Vinci Code by

Dan Brown. Most of the symbols refer to the sacred feminine, Mary Magdalene. According

to writer, analyzing the feminine symbols is one of interest thing in the novel. Therefore,

the writer suggests the next researchers to research enlargement of each feminine symbols,

religious symbols or in-depth intrinsic elements of Dan Brown’s The Da Vinci Code. Not

many researchers in literatures do the above studies.

The writer suggests everybody who interested in doing the same study about the

feminine symbols hopefully read more about some topics in the books of The Holy Blood,

The Holy Grail written by Henry Lincoln, Richard Leigh, and Michael Baigent.

Especially, to the students of English Department, Adab and Humanities Faculty,

State Islamic University Jakarta, the writer suggests that The Da Vinci Code is a great

novel that can be analyzed through many literary views such as through the feminine

symbols perspective.
 BIBLIOGRAPHY

Brown, Dan. 2003. The Da Vinci Code, Anchor Books, A Division of Random House, Inc.
Ney Work

Elliade, Mircea & Kitaqava M. Joseph. 1974. The History of Religious:Essays in

Methodology. University of Chicago Press. Chicago. London
.
Ellman, Richard. 1976. Reading Poems, W. W. Norton and Company, Inc. USA.

Gatra. No. 34 Tahun XI. Gelap Terang Opus Dei. July 9th 2005.

Guts Hans P & Rico, Gabriel L. 1997. Discovering Literature: Stories, Poems, Plays:
Prentice Hall. New Jersey.

Husaini, Adian. http//www.hidayatullah.com. April, 9th, 2005.

Kirszner Laurie G. 1991. Literature Reading, Reacting, Writing, Holt, Rine Hart and
Winston, Inc. USA.

Langmur L. Gavin. 1990. History, Religion and Antisemitism. I. B. Touris & Co. Ltd.
London. New York.

Lincoln, Henry, Leigh, Richard & Baigent, Michael, translated by Isma B. Koesalamwardi.
2006. Holy Blood, Holy Grail, Ufuk Press, Jakarta.

Picknett , Lynn & Prince, Clive. 2006. The Templar Revelation Para Pelindung Identitas
Sejati Kristus, PT. Serambi Ilmu Semesta, Jakarta.

Kriswaw, Radha & Allen, George. 1961. Recovery of Faith. Uinwin. Ltd. London

Selden, Raman, Widdowson Peter & Broker Peter. 1997. A Reader’s Guide To
Contemporary Literary Theory, Prentice Hall. London.

Sutardja, I. 1994. Memahami Cakrawala Sastra Dan Kehidupan, Ariadne. Jakarta.

http//www.danbrown.com, January, 8th, 2007.

 AUTOBIOGRAPHY OF THE WRITER

Siti Rodiyah, a girl was born in Jakarta, 23 years ago, exactly on 12th March 1983.

She is the sixth child of her beloved parents, Mr. H. M. Samman Hudy and Mrs. Hj.

Nurhayati. Her sisters and brothers are: Siti Marfuqoh, Siti Saftiah, Siti Toyyibah, Saidah,

Siti Rahmaniyah, Halimatussa’diyah, A. Fauzi Ramdhan, M. Husein, Tabrani, Abdu

Syadid and Mawan.

She has finished her study of Junior High School and Senior High School in 1996-

2002 at the Borading School of Daarul Uluum Lido, Sukabumi, West Java. Continued to

the English Letters Department, Adab and Humanities Faculty, State Islamic University

Syarif Hidayatullah Jakarta 2002-2007.

English Leters Department was choosen by Siti Rodiyah because of her great

interest to literary works. Her study in literature has directed her to accept an appreciation

as the Poem Nominator of ADAB SHOW 2004.

During her study, she had been a freelance worker of a newspaper KOMPAS

(2004-2005) and taken a part as reporter of UINJKT Online (2005-2007). In 2006, she

began to enlarge networking by working on professional journalist, that as reporter of the

magazine Gerbang Pemuda and Buletin Kemenegpora, The Ministry of Youth and Sport

Republic of Indonesia.

The principle life of the writer is “With the Two Hands, We Can Enrich Ourselves

with a Million Activities.”

 AUTOBIOGRAPHY OF DAN BROWN

Dan Brown is the author of numerous bestselling novels, including the # 1 New

York Times bestsellers, The Da Vinci Code—one of the best selling novels of all time. In

early 2004, all four of Dan Brown’s novel held spots on the New York Times Bestsellers

list during the same week.17

Dan Brown’s website, continually, explains that recently named one of the World’s

100 Most Influential People by TIME M.agazine. Dan Brown has made appearances on

CNN, The Today Show, National Public Radio, Voice of America, as well as in the pages

of Newsweek. Forbes, People, GQ, The New Yorker, and others. His novels has been

translated and published in more than 40 languages around the world.

Dan Brown is a graduate of Amherst College and Phillips Exeter Academy, where

he spent time as an English teacher before turning his efforts fully to writing. In 1996, his

interest in code-breaking and covert government agencies led him to write his first novel,

Digital Fortress, which quickly became a # 1 national bestselling ebook. Set within the

clandestine National Security Agency, the novel explores the fine line between civilian

privacy and national security. Brown’s follow-up tecno-thriller. Deception point, centered

on similar issues of morality in politics, national security, and classified technology.18

Brown, written in his own site, is the son of of a Presidential Award winning math

professor and of a professional sacred musician, Dan grew up surrounded by paradoxial

philosophies of science and religion. These complementary perspectives served as

17
http//www.danbrown.com. op.cit. January, 8th, 2007.
18
Ibid.
inspiration for his acclaimed novel Angels & Demons—a science vs. religion thriller set

within a Swiss physics lab and Vatican City. Recently, he has begun work on a series of

symbology thrillers featuring his popular protagonist Robert Langdon, a Harvard professor

of iconography and religious art. The upcoming series will include books set Paris,

London, and Washington D. C.

Dan’s wife Blythe—an art histroy buff and painter—collaborates on his research

and accompanies him on his frequent trips, their latest to Paris, where they spent time in the

Louvre for his thriller, The Da Vinci Code. The Da Vinci Code has sold some 50 million

copies worldwide and is now being adapted for film by Columbia Pictures.