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Dan Brown

The Da Vinci Code

Fiction | Novel | Adult | Published in 2003

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Symbols & Motifs

The Rose

In Dan Brown’s narrative universe, a rose is also a pentacle, a symbol of female reproductive power, a longitudinal marker, a navigational symbol, and the Holy Grail itself. Its many incarnations make it a potent symbol. A rose adorns the wooden box containing the keystone, and Da Vinci’s Vitruvian Man is laid out in a five-pointed star pattern, the pattern of the pentacle and the Venus star. In goddess cults, the rose has close associations with femininity, the five petals of the rose symbolizing “the five stations of female life—birth, menstruation, motherhood, menopause, and death” (275). The rose is also associated with the goddess Venus, whose functions include love, sex, and fertility. The “Rose Line,” the zero-degree longitudinal line used for navigation, represents guidance, as navigators used stars to chart their courses. Roses also represent secrecy (sub rosa), as Sauniére explains to a young Sophie. Taken together, these disparate meanings suggest an homage to femininity, to its procreative power, to its guiding wisdom, and to the mysteries within the sacred womb. 

The Cilice

Silas’s cilice, a barbed chain he wears around his thigh, is a reminder of man’s sins of the flesh. The spikes cut into his leg, causing pain and drawing blood. While the Opus Dei practice of “corporal mortification” is archaic and not sanctioned by the Church, Silas views it as a way to share in Christ’s burden, to suffer for his faith. Linking suffering and virtue has a long history. Early prisons were built on religious fundamentals, the theory being that suffering in prison was reformative and would bring the incarcerated closer to God. Religious devotion, in the eyes of Silas and Aringarosa, should be hard. Redemption from sin—which no human is free of—must be earned, not given away freely. While self-inflicted wounds are rare among religious devotees, the basic idea is still ever present, even in casual discourse: Suffering is good for the soul. 

Circles/Orbs

Circles, in their infinite, looping movement, and their three-dimensional equivalent, orbs, are prominent symbols in paganism and goddess worship. Circles have no end point but repeat the same cyclical pattern indefinitely, much like the cycles of nature. Pagan worship was highly attuned to these cycles; the simple figure of the circle captured these dynamics. In The Da Vinci Code, circle symbols are pervasive: in the architecture of the Temple Church, in the massive orb over Isaac Newton’s tomb. Da Vinci’s Vitruvian Man is enclosed in a circle, and, during the Priory ritual of Helios Gamos, the participants stand in a circle.

The circle also suggests harmony and unity rather than division. The two halves of yin and yang fit together into a perfect circle, showing the harmony of the sexes. Circles also represent “totality, wholeness, original perfection, the Self, the infinite…God” (Protas, Allison. Dictionary of Symbolism. University of Michigan. Updated in 2001). The terms “original perfection” and “Self” can be interpreted as contrary to Church dogma, which preaches the concept of original sin. The Self suggests individuation, the idea that individuals are unique and whole. That oneness—in harmony with nature and the perpetual motion of the universe—allows the individual to find and commune with God on a personal level, undercutting the necessity of the Church as middleman.

Blood

A good deal of blood is shed during the course of The Da Vinci Code. Sauniére bleeds to death after Silas shoots him—as do the other three sénéchaux—but not before leaving a trail of coded messages in his own blood. Silas also dies from a gunshot wound. Aringarosa sheds blood but lives. Blood is necessary for life and represents the power to give it or take it away. On a pagan level, menstrual blood—the blood shed when a woman is at her childbearing peak—symbolizes fertility. It’s no coincidence that Sophie, heir to the Holy Grail and Mary Magdalene, has “thick burgundy hair” (55). Paganism does not shy away from sex and childbirth (and the blood that accompanies them). It sees them as natural and sacred. This is in contrast to contemporary culture, where menstrual blood can be a source of shame. When blood leaks, clothing is soiled. Menstruation is generally not discussed openly but cloaked in euphemism: That time of the month, the curse. Rather than celebrate a woman’s period as powerful, it is swept under the rug. In Brown’s male-dominated Church, women are not only robbed of the historical importance of Mary Magdalene—but of their mythic power as life-givers.

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