Sacred Feminine Symbol-Thesis

SACRED FEMININE SYMBOL DESCRIBED IN
DAN BROWN’S THE DA VINCI CODE
A THESIS
Submitted in partial fulfillment of the requirements for the completion for

the Degree of Sarjana Sastra (S.S) in English Language specialized in
Literature
By:
Mathresti Hartono
C11.2009.01017
FACULTY OF HUMANITIES
DIAN NUSWANTORO UNIVERSITY
SEMARANG
2013
STATEMENT OF ORIGINALITY
I certify that this thesis is absolutely my own work. I am completely responsible
for the content of this thesis. Opinions or findings of others are quoted and cited
with respect to ethical standard.
Semarang, August 2013
Mathresti Hartono
MOTTO
Good does never mean good and bad does never mean bad. Dare to choose and
never look back. Everything can change depends on how you look and handle it,
because every things in this world has many sides to be seen.

DEDICATION
This thesis is dedicated to:
- My parents
- My family
- My University, Dian Nuswantoro University

ACKNOWLEDGEMENT
At this happiest moment, I would like to wish a prayer to my Lord, Jesus
Christ who has blessed me during writing this thesis.
Furthermore, I would like to express my sincere thanks to:
1. Mr. Achmad Basari, S.S., Dean of Faculty of Humanities of Dian
Nuswantoro University, who gave me permission to conduct this thesis.
2. Mr. Sunardi, S.S., M.Pd., The head of English Department of Strata 1
Program, Faculty of Humanities, Dian Nuswantoro University, who gave me
permission to conduct this thesis.
3. Ms. Valentina Widya, S.S., M.Hum., my adviser, for her continuous an
valuable guidance, advice, and encouragement in completing and finishing
this thesis.
4. Mrs. Haryati Sulistyorini, M.Hum., who has help me by giving me references
about semiotic research and how to do semiotic research.
5. Mr. Muhammad Rifqi, S.S, M.Pd., who has help me by giving me another
book of theories of semiotic.
6. All lectures at the English Department of Faculty of Humanities of Dian
Nuswantoro Unversity, who have taught, motivated, given guidance and a
chance to get more experience and develop my skill in English language
during studying in English Department of Faculty of Humanities of Dian
Nuswantoro University.
7. The librarians of Self Access Centre of Faculty of Humanities of Dian
Nuswantoro University for her permission to me for using some valuable
references to write this thesis.
8. My parents for their support by asking me when I finish my thesis and have a
graduation and their unlimited prayer for my success in writing this thesis.
9. My boyfriend, “AK”, thanks for your support that I can do this thesis well
when I thought I cannot do it.
10. All my friends in English Department of Faculty of Humanities of Dian
Nuswantoro University, especially Ima and Ajeng who have given me
support during writing this thesis.
Finally, I do realize that due to my limited ability, this thesis must have
shortcoming. For this I welcome any suggestions and critics.
Semarang, August 2013
The Writer
Mathresti Hartono
ABSTRACT
The Da Vinci Code is a novel telling about a journey of a woman, named Sophie
Neveu who tries to reveal a message of her grandfather through a series of riddles
that he made before he died. This journey involving some symbols of sacred
feminine those become her grandfather interest. Because of those sacred feminine
symbols, the writer is interested in analyzing the sacred feminine symbols found
in The Da Vinci Code novel. There are some objectives that the writer wants to
deliver in this thesis. First is to describe the sacred feminine symbols in The Da
Vinci Code and to describe the meaning behind the symbol. The second is to
describe the contribution of sacred feminine symbols in conflict and setting.
The library research method was used to gain some information that was needed
by the writer to conduct this thesis. Structural approach was applied to analyze
character and characterization, conflict, and setting. Semiotic approach was
applied to analyze sacred feminine symbol in The Da Vinci Code.
The result of the study showed that Sophie Neveu, as a character of The Da Vinci
Code novel, belongs to round character. She is an orphan and described as
beautiful, wise, responsible, smart, firm, emotional, and risk taking middle aged
woman. There are several sacred feminine symbols found during her journey
including herself because her name is rooted from one of goddess’ name. She
experiences external conflict with Jacques Sauniere, Robert Langdon and Sir
Leigh Teabing and internal conflict against herself. Sacred feminine symbols that
she found and learned in every riddle help her to reveal what her grandfather
wants to tell her and unpredictably lead her to find her grandfather’s murderer.
Those symbols also help her to fix her relationship with her grandfather.
Keywords: character, conflict, riddle, sacred feminine symbols, semiotic

approach
TABLE OF CONTENTS
PAGE OF TITLE.................................................................................... i
PAGE OF APPROVAL.......................................................................... ii
STATEMENT OF ORIGINALITY........................................................ iii
MOTTO................................................................................................... iv
DEDICATION........................................................................................ v
ACKNOWLEDGEMENT...................................................................... vi
ABSTRACT............................................................................................. viii
TABLE OF CONTENTS........................................................................ ix
CHAPTER I INTRODUCTION
1.1. Background of the Study...................................................... 1
1.2. Statement of the Problem...................................................... 3
1.3. Scope of the Study................................................................ 4
1.4. Objective of the Study.......................................................... 4
1.5. Significance of the Study...................................................... 4
1.6. Method of the Study............................................................. 5
1.6.1. Research Design........................................................... 5
1.6.2. Unit of Analysis........................................................... 5
1.6.3. Source of Data............................................................. 5
1.6.4. Technique of Data Collection...................................... 5
1.6.5. Technique of Data Analysis......................................... 6
1.6.5.1. Structural Approach......................................... 6

1.6.5.2. Semiotic Approach.......................................... 6
1.7 Thesis Organization .............................................................. 7
CHAPTER II AUTHOR AND SYNOPSIS
2.1. Dan Brown and His Work ................................................... 9
2.2. Synopsis of The Da Vinci Code .......................................... 11
CHAPTER III REVIEW OF RELATED LITERATURE
3.1. Character.............................................................................. 13
3.2. Conflict ................................................................................ 15
3.3. Setting ................................................................................. 17
3.4. Semiotic ............................................................................... 20
3.4.1. Symbol ........................................................................ 21
3.4.2. Sacred Feminine Symbol ............................................ 23
CHAPTER IV DISCUSSION
4.1. General Description and Characterization of
Sophie Neveu ...................................................................... 25
4.2. Conflict ................................................................................ 40
4.2.1. Internal Conflict .......................................................... 41
4.2.2 External Conflict........................................................... 46
4.2.2.1. Sophie Neveu against Jacques Sauniere ......... 46
4.2.2.2. Sophie Neveu against Robert Langdon .......... 47
4.2.2.3. Sophie Neveu against Sir Leigh Teabing ....... 53
4.3. Setting ................................................................................. 56
4.3.1. Setting of Place ........................................................... 57

4.3.2. Setting of Time ........................................................... 60
4.3.3. Setting of Social........................................................... 61
4.4. Symbol
4.4.1. Sophie Neveu.............................................................. 67
4.4.2. Holy Grail.................................................................... 68
4.4.3. Rosa Rugosa................................................................ 70
4.4.4. The Mona Lisa............................................................. 72
4.4.5. Hermaphrodite............................................................. 73
4.4.6. Pentacle........................................................................ 73
4.4.7. The Vitruvian Man....................................................... 76
4.4.8. The Star of David......................................................... 77
4.4.9. Left.............................................................................. 77
4.5. Contribution of Sacred Feminine Symbols to Sophie
Neveu’s Conflict and Setting.............................................. 79
CHAPTER V CONCLUSION
5.1. Conclusion...................................................................... 86
5.2. Suggestion...................................................................... 88
BIBLIOGRAPHY.................................................................................. 89
CHAPTER I
INTRODUCTION
1.1. Background of the Study
Symbol always presents in our daily life. We can find it in any form, such
as movement, sound, statement, color or even thing. One example of symbol is
literary work. Literary work is a picture of human life in written form. As a
symbol, literary work has a function as a mirror of real world. It means literary
work represents any activities and phenomena that happened in real world.
Human in real world is represented by the character in literary work. Both human
and character, they face conflicts.
One type of literary work is novel. Novel is a narrative, tells a story to
readers. It contains elements which build and make the story interesting; they are
intrinsic and extrinsic elements. Character, conflict, and setting are intrinsic
elements, without them the story will never exist, while one of extrinsic elements
of the story is symbol.
Symbol is used to represent something else. The meaning of symbol
depends on its place; it means there is different meaning of one symbol if we
bring the same symbol into different place. It is grown by the society and adopted
through generations. Symbol in literary work also has its own meaning. It means
that we can only find its meaning through the story of the novel. The meaning is
built inside the story. That is why literary work has an authority to create its
meaning.
Dan Brown’s The Da Vinci Code is a novel that tells us a journey of
Sophie Neveu and Robert Langdon who try to reveal what Jacques Sauniere wants
to tell. Their journey begins when Jacques Sauniere is found died in Grand
Gallery, house of painting of famous Italian artists in Louvre Museum. He
arranges his body in Vitruvian Man position with four lines message beside his
corpse body and a pentacle in his stomach. This strange situation makes Sophie
Neveu, granddaughter of Jacques Sauniere, and Robert Langdon, a professor of
religious symbology, are met. They involves in a journey made by Jacques
Sauniere which full of riddle, and word games. They do not know why Jacques
Sauniere is involving them in his game and what Jacques Sauniere wants to tell.
Sophie Neveu is sure if her grandfather’s game will reveal the truth of her family
that she believes has died in car accident when she was a child. Her journey in
revealing the message of her grandfather, unpredictably help her to understand her
grandfather better than before. She finds the explanation of sex rites that she saw
some years ago which has successfully made her relation with her grandfather has
fallen for a long time. Langdon explains the right definition of the sex rites to her,
and for the first time she tells the reason what makes her and her grandfather
never meet and communicate for a long time. She tries to fix her mistake of
abandoning her grandfather and not letting him to explain by attempting to keep
the cryptex that her grandfather gave her and reveal what actually her grandfather
wants to tell her about her family. Her journey with Robert Langdon also helps
her know and learn new things and symbols that she never heard and knew before.
She learns if her grandfather is one of the top members of Priory of Sion. Priory
of Sion is the guardian of Holy Grail which she believes is The Cup that used by
Jesus to share wine in Last Supper and to catch the blood of Jesus in crucifixion.
But through this journey, she learns that Holy Grail is not as simple as a cup at all.
She learns so much about Holy Grail and the sacred feminine. She learns the
connection between them. The Rose, that she knows is the symbol of secrecy,
actually is more than that. It is the symbol of Holy Grail that speaks in many
levels. It relates to Holy Grail through some reasons and its characteristic. Not
only that she also get the right meaning of pagan and pentacle that always relate to
devil worship.
Based on the previous explanation, the writer decides to analyze symbols
of sacred feminine described in Dan Brown’s The Da Vinci Code. Finally, the
writer chooses “Sacred Feminine Symbol Described in Dan Brown’s The Da
Vinci Code” as the titles of this thesis.
1.2. Statement of the Problem
Connected with the background of the study, the statement of the problem as
follows:
1. What are the general descriptions of Sophie Neveu in Brown’s The Da
Vinci Code?
2. What are conflicts experienced by Sophie Neveu in Brown’s The Da Vinci
Code?
3. What are settings described in Brown’s The Da Vinci Code?
4. What are sacred feminine symbols described in Brown’s The Da Vinci
Code?
1.3. Scope of the Study
In analyzing Brown’s The Da Vinci Code, the writer focuses to analyze on
the general descriptions of Sophie Neveu as character, conflict experienced by
Sophie Neveu and settings described in Brown’s The Da Vinci Code. The writer
also focuses on the study of semiotic approach especially sacred feminine
symbols.
1.4. Objective of the Study
1. To describe the general descriptions of Sophie Neveu in Brown’s The Da
Vinci Code.
2. To describe conflicts experienced by Sophie Neveu in Brown’s The Da
Vinci Code.
3. To describe settings in Brown’s The Da Vinci Code.
4. To describe sacred feminine symbols in Brown’s The Da Vinci Code.
1.5. Significance of the Study
The significance of the study as follows:
1. For the writer
The writer wants to find out how structural element, such as character,
conflict, setting and semiotic approach especially symbol can build the
story in Brown’s The Da Vinci Code.
2. For the reader
To give more knowledge about the structural elements in literature like
character, conflict, and setting, beside to improve the reader’s knowledge
in symbol as semiotic approach.

3. For the university
To give a contribution for the library of Dian Nuswantoro University as
the additional references, especially in Faculty of Humanity.
1.6. Method of the Study
1.6.1 Research Design
The writer analyzes the data which is in sentence forms. The data,
which is found, are analyzed and the result is description. It presents
sentences which give clear and detail information related to the data. Because
the result is description, not a diagram or graphic, it belongs to qualitative.
Based on the explanation before, this method is categorized into qualitative
descriptive method.
1.6.2. Unit of Analysis
The writer focuses on sentences which are related to topic of this
research that is character, conflict, and setting as structural element and also
symbol as semiotic approach.
1.6.3. Source of Data
In this thesis, the writer chooses Brown’s The Da Vinci Code as the
object of analysis and source of data. For the theories, the writer will use
some books which are relevant and related to the problem discussed.
1.6.4. Technique of Data Collection
In getting data for this research, the writer takes the data from library
called library research. All of the data is taken from the book or document.
The writer uses novel, Dan Brown’s The Da Vinci Code, as her primary data
and other references related to the topic to strengthen her research.
In making the research, the writer does some steps. First, the writer
reads the novel for several times to get deep understanding about the idea of
the novel. As the result, the writer will get interesting topic to discuss and
analyze for this research.
Second, the writer looks for the data related to the topic. Then
analyze, describe, and connect it to suitable theories related with the topic.
1.6.5. Technique of Data Analysis
1.6.5.1. Structural Approach
For the thesis, the writer uses structural approach and semiotic
approach. According to Harsono (1999:47-78), “Structural approach refers
to the modern linguistic approach which is introduced by Ferdinand de
Saussure. This approach based on assumption that literary work as a work
of imagination can stand by itself.” The writer uses structural approach to
analyze the intrinsic element of the literary work.
1.6.5.2.Semiotic Approach
Semiotic approach is based on the assumption that the literary
work has its potential communicative which is signed by a symbol which
is artistic and dynamic. According to Eco in Nöth (1999: 326) “Semiotic is
defined as a research program which studies all cultural processes as
processes of communication.” Next he asserts his following definition of
semiotic in Noth (1990: 326):

Semiotics is concerned with everything that can be
taken as a sign. A sign is everything which can be
taken as significantly substituting for something
else. This something else does not necessarily have
to exist or actually be somewhere at the moment in
which a sign stands for it. Thus semiotics is in
principle the discipline studying everything which
can be used in order to lie.
The writer uses semiotic approach to analyze the symbol in literary work.
1.7. Thesis Organization
This thesis consists of five chapters. They are arranged as follows:
Chapter I is Introduction. In this chapter the writer presents background of
the study, statement of the problem, scope of the study, objective of the study,
significance of the study, method of the study which are consists of research
design, unit of analysis, technique of data collection and technique of data
analysis, and thesis organization.
Chapter II is Author and Synopsis. In this chapter the writer gives the short
biography of Dan Brown and his work and the synopsis of Dan Brown “The Da
Vinci Code”
Chapter III is Review of Related Literature. This chapter presents the
theory of structural approach and semiotic approach that is used to analyze this
thesis. The structural approach consists of character and characterization, conflict
and setting. While in semiotic approach, the writer focuses on symbol.
Chapter IV is Discussion. In Discussion, the writer answers the question of
Objective of the Study. She describes every finding that she found in the novel
and strengthens it by giving argument from the novel and literary review.
Chapter V is Conclusion. It presents the conclusion from the previous
chapter and suggestion to next researcher about the approach that can be used for
the next research

CHAPTER II
AUTHOR AND SYNOPSIS
2.1. Dan Brown and His Work
In this sub chapter, the writer presents short biography of the writer of The
Da Vinci Code novel that is Dan Brown. The writer takes the short biography
from http://en.wikipedia.org/wiki/DanBrown.
Dan Brown was born and raised in Exeter, New Hampshire, U.S.A. on
June 22, 1964. He was the eldest of three children. He grew up on the Campus of
Philips Exeter Academy. Both of his parents are singers and musicians, having
served as church choir master, with his mother serving as church organist. He was
raised an Episcopalian.
His interest in secrets and puzzles was started when he was still a child.
The young Brown spent hours working out anagrams, crosswords, and puzzles.
On holidays and birthdays, he and his siblings participated in treasure hunt
devised by their father to get their gifts.
After graduating Philips Exeter Academy, he attended Amherst College.
He was a member of Psi Upsilon fraternity. Brown spent the 1985 school year
abroad in Seville, Spain where he was enrolled in an art history course at the
University of Seville. He graduated from Amherst in 1986.
After graduating from Amherst, Brown dabbled with a musical career,
creating effects with a synthesizer, and self-producing a children cassette entitled
SynthAnimals, then formed his own record company called Dalliance. In 1993, he
moved to Hollywood to pursue his career as singer-songwriter and pianist and to
support himself, he taught classes at Beverly Hills Preparatory School.
He met with his wife, Blythe, in The National Academy of Songwriters.
She was 12 years his senior, and the Academy’s Director of Artist Development.
She took on the seemingly unusual task of helping to promote Brown’s project.
They developed personal relationship and married in 1997, at Pea Porridge, near
Conway, New Hampshire.
His first book was Digital Fortress which was inspired from Sidney
Sheldon’s The Doomsday Conspiracy and was published in 1998. Brown’s next
novel was Angels and Demons and Deception Point, released in 2000 and 2001
respectively, the former of which was the first to feature the lead character,
Harvard symbology expert Robert Langdon. His fourth novel, The Da Vinci Code,
became a bestseller going to the top of the New York Times Best Seller list during
its first week of release in 2003 and now credited with being one of the most
popular books of all time. Its success has helped push sales of Brown’s earlier
books. Brown’s third novel featuring Robert Langdon, The Lost Symbol, was
released on September 15, 2009. The Lost Symbol also had a big success. The
book’s selling reached to the five million first printing. Brown has stated that he
has ideas for about 12 future books featuring Robert Langdon. Characters in
Brown’s book are often named after real people in his life, for example Robert
Langdon is named after John Langdon, the artist who created the ambigrams used
for the Angels and Demons CD and novel.

2.2. Synopsis of The Da Vinci Code
Sophie Neveu is a middle aged woman who works in DCPJ, the Judicial
Police of France, as a code breaker. She is grown up by her grandfather because
her parent has died in car accident when she was a child. Her grandfather, Jacques
Sauniere, is the curator of Louvre Museum. It is the most well known museum in
world. She is grown up within her grandfather’s interests. She learns unusual
things for a child. She learns about word games, puzzles and the sort of thing. Her
grandfather likes to make a treasure hunt for her birthday or in Christmas. His
treasure hunts are completed by riddles that she should solve. Jacques Sauniere
also introduces her about art, especially the work of Da Vinci, one of famous
Italian artists, and her favorite work is The Vitruvian Man. But her relation with
Jacques Sauniere is fallen. One day in spring, she saw sex rites done by his
grandfather. Driven by her disappointment, she decides to pack her belongings
and go to London. Keep her distance from her grandfather and not allowing her
grandfather to reach her.
After ten years keeps her distance from her grandfather, she gets a
message that her grandfather died. Beside her grandfather corpse, there are four
lines message. She is sure that it aims to catch her attention and it works. But
unpredictably, the message meets her with Robert Langdon, a professor of
religious symbology. Both Neveu and Langdon do not know why Jacques
Sauniere meets them and their journey to reveal Jacques Sauniere intention is
begun.
Their journey is complete with riddles made by Jacques Sauniere. Every
riddles contains of work of Da Vinci. It seems that Jacques Sauniere wants to
reveal the dark side of Da Vinci. Neveu believes if this journey leads her to the
truth of her family. But unpredictably, the journey makes her knowing and
learning about secret society named Priory of Sion. It is a society which is
believed by people as a guardian of Holy Grail. She also learns many things about
it, including Holy Grail. They help each other to solve every riddles they met,
Neveu with her experience with Jacques Sauniere when she was a child and
Langdon with his knowledge of The Priory.
Cryptex, one of Da Vinci invention, is the thing that Neveu and Langdon
get after they solve some riddles from Jacques Sauniere. The cryptex is made by
Jacques Sauniere himself. It is placed in rosewood box with the rose inlaid in its
lid. Cryptex is a tool used to carrying secret message. Only proper man can open
it. They need password consists of five letter to open the cryptex. Finding
difficulty to open it, they decide to go to Teabing’s house. They hope Teabing can
help them because Teabing is a historian who devotes his life to find Holy Grail.
But it is a kind of surprise for them, after they are success opening the first
cryptex, there is another smaller cryptex nested inside.
In the end of the story, Neveu knows who she is. She is the part of that
powerful secret. She finds her true family that she knows has died some years ago
because of car accident. Her relationship with her grandfather also gets better after
she heard the explanation about sex rites from Langdon. Langdon has helped her
so much to know her grandfather well and find rest of her family.
CHAPTER 3
REVIEW OF RELATED LITERATURE
Review of related literature consists of some theories from books that
related to topic of this thesis. It helps the writer to analyze intrinsic and extrinsic
element of primary source of this thesis. It supports the writer to compose the
analysis in the next chapter, and help the reader to understand this thesis easily.
The writer realizes that she needs some literary reviews to help her make the
thesis become scientific. For the writer, the theories serve as basic in writing the
thesis. This chapter is divided into 4 sub-chapters that are character, conflict,
setting, and symbol.
3.1. Character
As we know that literary work is a mirror of real life, human in real life is
replaced by the character in literary work. Characters in literary work are
important, because characters can explain what happens in the story and help
readers to know about the story. In some aspect, characters are same with human
in real life. They have emotion, desires, and personality. But, because literary
work has an imaginative idea, the character in literary work is not real or the
illustration of the author.
Characters, based on Reaske (1966:40), are fictitious creations and thus
the dramatist and the novelist may both be judged with regard to their ability in
the art of characterization.

Characters are men or women who suffer, do action and experience such
event in novel. According to Hudson (1913: 170-171):
Secondly, such things happen to people and are

suffered or done by people ; and the naen and women
who thus carry on the action form its dramatis personæ
or characters.
The imaginative idea of author of literary work can be seen in how the
character in literary work is developed. Although character is one of important
element in literary work and represents human in real life, character in literary
work is not as simple as human in real life. As stated by Perrine (1984:66) the
characters in literary work are more complex, ambiguous, and variable than
human in real world. This thing makes the readers difficult to understand how and
what the character is, especially for the readers who read literary work just to
entertain themselves. For this type of readers, they will enjoy read the plot
represented in literary work than have deep understanding about how and what the
character is. They will remember the order of event easily and can tell about the
story for many times, but they will have difficulty to describe how the character
is. They can only say whether the character is good or bad.
According to Perrine (1984: 42), there are two types of character,
protagonist and antagonist. Protagonist is a character who becomes the central of
the conflict and character against protagonist is called antagonist.
The central characters in a conflict, whether

sympathetic or unsympathetic as persons, are referred
to as protagonists; the forces arrayed against them,
whether persons, things, conventions of society, or
traits of their own characters, are the antagonists.
Based on its complexity, characters can be divided into flat and round.
According to Perrine (1984: 68), “flat characters are characterized by one or two
traits; they can be summed up in a sentence.” Then, according to Klarer (1999:
17), “flat character is dominated by one specific trait.” Although flat characters
only have one or two specific traits, flat characters can easily memorable in the
hands of expert author. Perrine (1984: 69) asserts that:
Flat characters, though they touch life at only one or

two points, may be made memorable in the hands of
expert author through some individualizing detail of
appearance, gesture or speech.
Round characters are the opposite of flat characters, if the flat characters are the
simple characters in a story; round characters are more complex characters. They
have more than two traits. According to Perrine (1984: 68), “Round characters are
complex and have many sides; they might require an essay for full analysis.”
Klarer (1999: 17) also states that “The term round character usually denotes a
persona with more complex and differentiated feature.” Perrine (1984: 68-69)
asserts “They live by their very roundness, by the many points at which they
touch life.”
3.2. Conflict
Another element of literary work is conflict. Without this element, literary
work especially fiction or novel will remain flat. Conflicts give their own color in
novel to make it more interesting to read. Conflicts are things, situations,
conditions or events that characters in a story must face, suffer and done. Another
term for conflicts is incidents or problems. Based on Hudson (1913: 170), conflict
is the part of plot of story. It means conflicts that happen in story are arranged and
connected to make how the story is developed from beginning to the end of story.
Conflicts in literary work must not like fighting in real world. According
to Perrine (1984: 42):
“Conflicts-a clash of actions, ideas, desires, or will.

Characters may be pitted against some other person or
group of persons (conflict of person against person);
they may be in conflict with some external force-
physical nature, society, or “fate” (conflict of person
against environment); or they may be in conflict with
some elements in their own natures (conflict of person
against himself or herself). The conflict may be
physical, mental, emotional, or moral.”
Based on this explanation, conflicts can be divided into external conflicts
and internal conflicts. External conflicts are situations, conditions, things, or
events that come from the outside of characters. This kind of conflicts may
happen as the effects of what the characters have done in story. It can lead the
characters to have internal conflict and sometimes can change the personality of
the characters in the end of the story. External conflict in literary work does not
mean like war, battle, or fight in real word. It may simply like debate between two
persons who have different idea or will. It may also simply like the struggle of a
person who lives in isolated island. Person against person, person against
environment and person against nature are three kinds of external conflict that
characters face in literary work.
The conflict in which characters against their own nature, is called internal
conflict. It forces the characters to face problems arose within themselves. This
may happen because of the external conflict, guilty or the clash between
characters’ will or desires and reality. Internal conflict commonly relates to
characters motive, feeling or desires of characters and implicitly pictured by the
author. Story which present characters’ high motives or desires will have more
intense internal conflict than external conflict. This conflict affects characters both
emotionally and mentally. Effects of internal conflict may be greater than external
conflict. Characters which cannot solve his internal conflict will end up in
depression.
Characters may experience single conflict or multiple conflicts. Single
conflict means that characters only face one kind of conflict whether against
person, nature, environment, or against their own nature. It is easy to identify if
character only face single conflict than multiple conflict. Characters which face
multiple conflicts will experience several kinds of conflict at same time, whether
they aware of being involve or not. Perrine (1984: 42) assets that:
In some stories the conflict is single, clear-cut, and

easily identifiable. In others it is multiple, various, and
subtle. A person may be in conflict with other persons,
with social norms or nature, and with himself or herself,
all at the same time, and sometimes may be involved in
conflict without being aware of it.
But, according to Perrine (1984: 42) excellent interpretive fiction has been written
utilizing all four of these major kinds of conflict.
3.3. Settings
Another important element of literary work is settings. Settings are created
to help readers know where and when that story happens in literary work. Next,
readers will easily have imagination about how is the situation and condition in
literary work in certain time and place. Readers also know about what happens in
certain time of literary work. Based on Klarer setting is chosen as a complement
to story. Settings’ appearance is to support action, and character of the literary
work. According to Klarer (1999: 26):
Authors hardly ever choose a setting for its own sake,

but rather embed a story in a particular context of time
and place in order to support action, characters, and
narrative perspective from an additional level.
Based on Hudson, novel have to clearly tell when and where the action of
characters takes place and what characters do and suffer in certain time and place.
As stated by Hudson (1913: 171):
Fourthly, the action must take place, and the characters

must do and suffer, somewhere and at some time; and
thus we have a scene and a time of action.
Then, Klarer reinforced the idea of settings of Hudson. Based on Klarer, setting is
a term denotes to place, time and social surrounding the text develops. Klarer
(1999: 25) asserts:
The term “setting” denotes the location, historical

period, and social surroundings in which the action of a
text develops.
There are three kinds of settings, setting of place, setting of social, and
setting of time. Setting of place or also known as scene describes where the
actions or events take place. It tells to the reader what characters do and how the
characters suffer in certain situation at certain place. As stated by Hudson (1913:
171):
Fourthly, the action must take place, and the characters

must do and suffer, somewhere and at some time; and
thus we have a scene and a time of action.
Then, setting of social refers to background of character and which
environment characters live. It explains to reader about the social status of
character in story, how character grown up and the way of live of character.
Hudson (1913: 209) asserts:
In this term we include the entire milieu of a story—the

manners, customs, ways of life, which enter into its
composition, as well as its natural background or
environment.
Furthermore, setting of social refers to social surrounding in which the story
develops and how the story is treated. It can also be the idea of the story. It gives
the reader about the detail of certain classes or environment. Hudson (1913: 210)
asserts:
A certain largeness of design is indeed often noticeable,

as in the work of Dickens ; yet, for the most part, life is
rather treated in sections, each novel concerning itself
chiefly with one or two aspects of the great social
comedy. Thus we have novels of the sea and of military
life ; of the upper classes, the middle classes, the lower
classes of industrial life, commercial life, artistic life,
clerical life ; and so on.
Setting of time refers to when/the historical period in which action develops. It
explains for readers what happens in certain place, and how the condition and
situation in that age. It gives picture to readers of way of life, manners, traditions,
or even custom of society in certain period of time. According to Hudson (1913:
211):
Sometimes the historical setting has comparatively little

to do with the essence of the narrative, the basis of
which is provided rather by the permanent facts of
experience than by the forms which these facts assume
in special circumstances.
3.4. Semiotic
Etymologically, semiotic derives from Greek that is semeion. It means
sign, symbol. Based on Van Zoest, semiotic is a science that study about sign and
everything relates to sign, such as sign system, and the process of it. According to
Van Zoest in Harsono (1999:52),
Semiotik adalah suatu cabang ilmu yang berurusan

dengan tanda, seperti system tanda dan proses yang
berlaku bagi penggunaan tanda.
Furthermore according to Harsono (1999:52), semiotic approach is based
on the assumption that the literary work has its potential communicative which is
signed by a symbol which is artistic and dynamic.
Pendekatan semiotic bertolak dari asumsi bahwa

karya sastra memiliki system sendiri, dunia sendiri,
sebagai realitas yang dihadirkan di hadapan
pembaca yang didalamnya terkandung potensi
komunikatif yang ditandai dengan adanya lambang-
lambang kebahasaan yang khas yang memiliki nilai
artistic dan dinamik
Then, semiotic literature systematically studies signs, symbols, creation process,
and the others which relate to literary work as a system. As stated by Harsono
(1999:52),
Semiotik sastra secara sistematik mengkaji tanda-

tanda, lambing-lambang, process pencipaan, dan
lain-lain yang menyangkut karya sastra sebagai suatu
sosok yang memiliki system.
According to Peirce in Nöth (1990: 40) sign is divided into three kinds,
they are symbol, icon, and index. Based on Peirce symbol is category of sign
which is arbiter and conventional. The signifier and signified are connected by the
general idea. As stated by Peirce in Nöth (1990: 45), “A symbol is a sign which
refers to the Object that it denotes by virtue of law, usually an association of
general ideas.” Color, shape, word or abstract idea belongs to symbol. Pictures,
paintings, and photographs are the example of icon.
In doing the research, the writer focuses her research in analyzing
symbols contained in literary work, especially novel as the primary source of her
research. The writer chooses to analyze symbols because the novel contains a lot
of symbols that can be explored especially sacred feminine symbols.
3.4.1. Symbol
Literary work is an independent work. It has its own authority to create
its own story and meaning. It also happens to symbol in literary work. Symbol
in literary work is different with symbol in daily life. Symbol in literary work
is not wholly arbiter. There is a single link that connects the form to the idea
of signified. Symbol in literary work are not wholly conventional too. Not all
symbols contains in literary work people know. Some conventional which
means everyone knows it, and some is not which means the symbol is created
by the story. Because some symbol in literary work is created by the story, its
meaning also developed within the story.
In general, there are some definitions of symbol. Symbol is used as
substitute for its interpreter because of its similarity. According to Morris in
Nöth (1990: 54) “A symbol is a sign produced by its interpreter which acts as
a substitute for some other sign with which it is synonymous.” The other
definition of symbol comes from Goodman. Goodman in Nöth (1999: 116)
uses symbol “as a very general and colorless term. It covers letters, words,
texts, pictures, diagrams, maps, models, and more, but carries no implication
of the oblique or the occult.” Sebeok’s definition of symbol is not too different
from Peirce. As stated by him in Nöth (1990: 108), “a sign without either
similarity or contiguity but only with conventional link between its signifier
and its denotata, and with an intensional class for its designatum, is called
symbol.”
Symbol in literary work can be grouped into two categories, symbol as
an iconic sign, and symbol as a connotative sign. Symbol as an iconic sign has
its roots from aesthetic. The definition of it opposes the symbol as arbitrary
sign. Based on Hegel, symbol is a form that symbolizes the content of idea.
The form and the idea share same quality but there is still independent quality
in the form. According to Hegel in Nöth (1990: 117-118) symbol is:
A significant fact which in its own external form

already presents the content of the idea which it
symbolizes (…) Though the content which is
significant, and the form which is used to typify it
in respect to a single quality, unite in agreement,
none the less the symbolical form must possess the
same time still other qualities entirely independent
of that one which is shared by it, and is once for all
marked as significant.
This idea of symbol as an iconic sign is emphasized by Saussure. According
to Saussure symbol is defined as motivated sign. There is quality shared by
the signifier and signified. The quality shapes the form that can best represent
the signified. According to Saussure in Nöth (1999: 118):
One characteristic of the symbol is that it is never

wholly arbitrary; it is not empty, there is the
rudiment of a natural bond between the signifier and
signified. The symbol of justice, a pair of scales,
could not be replaced by just any other symbol,
such as the chariot.
Symbol as a connotative sign is different with the other sign. It is
because symbol as connotative sign has additional meaning. According to
Nöth (1999: 118), “The connotational view of symbolism characterizes
symbols in contradistinction to other signs as having a “surplus of meaning””
This surplus of meaning or the connotation is in contrast with the denotative.
According to Nöth (1999: 118):
In contradistinction to normal connotation, where

the connotative sense is only an addition to the
primary denotative sense, the connotation of the
symbol is essential in contrast to its denotational
meaning.
3.4.2. Sacred Feminine Symbol
Sacred feminine is an abstract idea about women, her important role in
the world, and the characteristic of woman. Holy Mother, Mother Earth, and
Goddess mythology belong to sacred feminine. According to Amy Peck
(1992) in her essay of “What is The Sacred Feminine”:
The Sacred Feminine is a paradigm of Universal

Motherhood. It is a principle that embraces concepts of
the Holy Mother, the Goddesses of ancient
mythologies, the angelic realms, the Divine Self within,
Mother Earth doctrines and lore of indigenous peoples.
It is a spiritual model that weaves concepts of wisdom,
compassion and unconditional love, plus other
metaphysical, shamanic, pagan and magical practices.
Furthermore the sacred feminine is a concept which recognizes God is neither
male nor female but rather as Divine Essence. Amy Peck asserts:
The Sacred Feminine is a concept that recognizes that
"God" ultimately is neither anthropomorphically male
nor female but a Divine Essence (Goddessence) beyond
form and duality—an essence that is a balance and
unification of masculine and feminine principles—a
dynamic, interdependent immanence that pervades all
life.
Another definition about sacred feminine is the other face of God which has
never been acknowledged by people. According to Margaret Starbird
(http://secretsbehindthedavincicode.wetpaint.com/page/The+Sacred+Feminine
The sacred feminine is that other face of God that has

not been honored over the two millennia of
Christianity--at least, not as a fully equal partner. The
Virgin Mary certainly embodies one aspect of God as
feminine: the Blessed Mother, our advocate at the
throne of her Son. But in Christianity, the paradigm of
partnership, the life-giving principle on planet earth,
has not been celebrated or even acknowledged.
Anne Baring is her website http://annebaring.com emphasizes the definition of
sacred feminine as the other face of God. Sacred Feminine, according to Anne
Baring is “the feminine face of God as it has been expressed in different
cultures all over the world.”
Symbols which are associated with the Sacred Feminine are called as
the sacred feminine symbol. It relates to the characteristic and a nature of a
woman. Sometimes Sacred Feminine symbol can refer to the goddesses’
mythology which has been known or developed in culture in every side of the
world.
CHAPTER IV
DISCUSSION
In this chapter, the writer presents the analysis about sacred feminine
symbol described in Brown’s The Da Vinci Code. Brown’s The Da Vinci Code
novel is the primary source of data that the writer used to conduct this thesis. The
secondary source is taken from the book and internet, especially about symbol and
sacred feminine. The writer focuses the analysis of sacred feminine symbol that is
found in Brown’s The Da Vinci Code and its relation to conflict and setting.
Based on that analysis, the writer describes some intrinsic element. From the
intrinsic element, the writer focuses how the sacred feminine symbol helps Sophie
Neveu to solve her problem and where the sacred feminine symbol appears in
setting of place. The writer also describes the general description of Sophie
Neveu.
4.1. General Description and Characterization of Sophie Neveu
In this sub-chapter, the writer discusses the general description and
characterization of Sophie Neveu, one of characters in The Da Vinci Code by Dan
Brown.
Sophie Neveu is an orphan. Her family died in car accident when she was
four years old. It made Neveu lost her parents, brother, and grandma. It was only
Neveu and her grandfather who survived from the car accident. It can be seen in
following quotation:
Sophie suddenly could hear her own heart. My family? Sophie's

parents had died when she was only four.
Their car went off a bridge into fast-moving water. Her
grandmother and younger brother had also been in the car, and
Sophie's entire family had been erased in an instant. She had a
box of newspaper clippings to confirm it.
(Brown, 2003: 76)
She is thirty two years old now. She has explicitness framed by obduracy.
She is an enthusiastic woman. Her enthusiastic in cryptology methodology wakes
up the anger of veteran French cryptologist. She is also an attractive woman that
can makes men drew their eyes to her. It can be proved by this quotation below:
At thirty-two years old, she had a dogged determination that

bordered on obstinate. Her eager espousal of Britain's new
cryptologic methodology continually exasperated the veteran
French cryptographers above her. And by far the most
troubling to Fache was the inescapable universal truth that in
an office of middle-aged men, an attractive young woman
always drew eyes away from the work at hand.
(Brown, 2003: 50)
Sophie Neveu grows up becoming a natural beautiful woman that shows
her confident. Her face is warm framed by shoulders-length burgundy hair. Her
clear, incisive, olive-green eyes show explicitness. She speaks English in France
accent. It is stated by this following quotation:
Her thick burgundy hair fell unstyled to her shoulders, framing

the warmth of her face. Unlike the waifish, cookie-cutter
blondes that adorned Harvard dorm room walls, this woman
was healthy with an unembellished beauty and genuineness
that radiated a striking personal confidence.
To Langdon's surprise, the woman walked directly up to him
and extended a polite hand. "Monsieur Langdon,
I am Agent Neveu from DCPJ's Cryptology Department." Her
words curved richly around her muted Anglo-Franco accent.
"It is a pleasure to meet you."
Langdon took her soft palm in his and felt himself momentarily
fixed in her strong gaze. Her eyes were olivegreen— incisive
and clear.
(Brown, 2003: 50)
Sophie Neveu is a wise person. Based on Oxford Advanced Learner’s
Dictionary (Homby, 1995), wise is “having or showing good judgment based on
knowledge or experience.” She can take good decision to solve her problem even
when she is in hard situation. She knows what the best to do. It is proved by
several quotations and explanations below.
Sophie Neveu has run from Louvre and DCPJ tries to catch her. She tries
to keep the cryptex her grandfather gave to her. She does anything to keep it safe.
Considering Langdon’s judgment about Teabing that he is the master about Holy
Grail and he has spent his life for Holy Grail, Neveu agrees to come to Teabing’s
residence. She thinks at least she and Langdon can find a place to hide and a little
help to open the cryptex. It is the most important to do for Neveu now. It can be
proved by quotation below:
The fond memory caused Sophie a pang of sadness as the harsh

reality of the murder gripped her again.
Grand-père is gone. She pictured the cryptex under the divan
and wondered if Leigh Teabing would have any idea how to
open it. Or if we even should ask him. Sophie's grandfather's
final words had instructed her to find Robert Langdon. He had
said nothing about involving anyone else. We needed
somewhere to hide, Sophie said, deciding to trust Robert's
judgment.
(Brown, 2003: 227)
She cannot handle her regret toward her grandfather. She has made a big
mistake, judged her grandfather falsely and not gave him a chance to explain. She
has kept what she saw for ten years since she thought that it was embarrassing for
her. Her wisdom can be seen in her decision to tell Langdon about what she saw.
She believes if Langdon is the right person to explain about it, considering that he
has already explained a little bit about the sex rites that she saw in the true
dimension. She knows if Langdon can help her to understand her grandfather well
and fix their broken relationship. It is stated by quotation below:
Sophie's forehead felt cold as she pressed it against the plane's

window and stared blankly into the void, trying to process what
Langdon had just told her. She felt a new regret well within
her. Ten years. She pictured the stacks of unopened letters her
grandfather had sent her. I will tell Robert everything. Without
turning from the window,
Sophie began to speak. Quietly. Fearfully.
(Brown, 2003: 310-311)
Other wisdom that Neveu shows is when she fulfills her grandfather last
message to find Robert Langdon after ten years. Living with her grandfather and
raised by him, makes Neveu knows if her grandfather will not let her fall in
wrong man. If her grandfather thinks that Langdon is the right man to help her, so
it is true. She forgets about what makes them far away for a moment to fulfill her
grandfather last message. She believes if her grandfather has a good intention for
her and Langdon is the right man to make it happens. It can be proved by
quotation below:
Sophie was silent for several seconds. "My grandfather asked

me to trust you. I'm glad I listened to him for once."
"Your grandfather didn't even know me."
"Even so, I can't help but think you've done everything he
would have wanted. You helped me find the keystone,
explained the Sangreal, told me about the ritual in the
basement." She paused. "Somehow I feel closer to my
grandfather tonight than I have in years. I know he would be
happy about that."
(Brown, 2003: 340)
Neveu is wise when she knows what she should do toward the cryptex.
She does not want if Teabing gets the cryptex and has power over it. She knows if
Teabing has a bad aim by telling the truth about Holy Grail to the world. He wants
the world know if The Church has been lie all these years. She knows how her
grandfather is. She is sure her grandfather does not want the truth to be revealed
because it will create big chaos to world. It is the reason why Neveu chooses the
cryptex to be smashed rather than to be opened. Instead of it Teabing is also the
murderer of her grandfather and of course she also feels certain if her grandfather
does want the cryptex falls in wrong hand. It can be proved by following
quotation:
She shook her head. "Not unless you either hand me the
cryptex or smash it on the floor."
"What?" Langdon gasped.
"Robert, my grandfather would prefer his secret lost forever
than see it in the hands of his murderer." Sophie's eyes looked
as if they would well with tears, but they did not. She stared
directly back at Teabing. "Shoot me if you have to. I am not
leaving my grandfather's legacy in your hands."
(Brown, 2003: 422)
Sophie Neveu is a responsible person. As stated by Oxford Advanced
Learner’s Dictionary (Homby, 1995), responsible means “having the job or duty
of doing something or caring for someone or something so that one may be
blamed if something goes wrong.” Sophie Neveu is responsible for two things.
First, she must help and save Langdon. It is because Langdon is not the person
who kills her grandfather and indirectly, Langdon becomes the primary suspect
because of her. Second, she must protect the cryptex that her grandfather gave to
her. The cryptex is the key for everything and it tells the secret that her
grandfather wants to tell. It is proved in several situations.
There is nothing can be done by Neveu to make her grandfather alive. He
has gone and now there is only a cryptex her grandfather gave to her. Her
responsibility is shown by still protecting the cryptex. She does not know what it
is contained, and how to open it, but she does everything to protect it though it
means she have to accept Langdon judgment about Teabing and his decision to go
to Teabing residence at least to hide for a moment and maybe they can find a little
help to open it. She feels that she is responsible toward the cryptex. It can be
proved by quotation below:

judgment.
(Brown, 2003: 227)
Now the cryptex is in danger and also Teabing. Silas, the albino who came
to Château Villette uninvited, and Remy, Teabing’s manservant, have arrested
them. It is Neveu’s responsibility to save them, Teabing and the cryptex. She
shows her responsibility by not involving the authorities. She is responsible to
make the cryptex still safe. She does not want to endanger the cryptex by
involving the authorities. If Silas and Remy know that she involves authorities,
the worst will happen to the cryptex and Teabing. And if it happens, it means she
cannot fulfill her grandfather last message and reveal what he wanted to tell and
the worst is she cannot prove if Langdon is not the murderer of her grandfather.
She does not want to fail to do it because she is the one who responsible to protect
the cryptex and Langdon. It is stated by quotation below:

Langdon nodded but still felt circumspect. He had wanted to
bring the London police with them, but Sophie's fears of who
might be involved put a damper on any contact with the
authorities. We need to recover the cryptex,
Sophie had insisted. It is the key to everything.
She was right, of course.
The key to getting Leigh back alive.
The key to finding the Holy Grail.
The key to learning who is behind this.
(Brown, 2003: 396)
Because the cryptex is given to her by her grandfather, so she is
responsible to take care of it. No matter what happened to her, she must protect
the cryptex. She does not want the cryptex falls in wrong man. For her, it is better
if the cryptex is broke rather than falls in Teabing who in fact is the person who
murdered her grandfather. She lets Teabing to kill her because she will not ever to
give her cryptex to Teabing. She does it because Teabing does not deserve to get
it and it is her responsibility to protect the cryptex though her soul is the exact
price to pay. It is said by following quotation:
(Brown, 2003: 422)
Sophie Neveu is a smart person. As stated by Oxford Advanced Learner’s
Dictionary (Homby, 1995), smart is “having or showing intelligence.” Sophie
Neveu knows the way how to solve problems even in difficult situation. She takes
the right way to solve problems. She can take an advantage from things around
her. She can learns something quickly even in hard condition. In some situation,
her intelligence helps Robert Langdon to escape from hard condition. It can be
seen through several quotation and description below.
A security guard comes when Neveu and Langdon try to find next clue
from Jacques Sauniere. Langdon is captured by the security guard and Neveu tries
to find a way to help him. Her intelligence is shown when she used her
grandfather’s love toward one of Da Vinci’s work, Madonna of the Rocks, to
threat the security guard. She knows it will well work out than the other way. The
security guard will not have enough courage not doing what she asked because
Madonna of the Rocks is one of precious painting of Da Vinci and her
grandfather’s favorite. It is stated by following quotation:
"Set down your gun and radio," the woman said in calm
French, "or I'll put my knee through this painting. I think you
know how my grandfather would feel about that."
Grouard felt dizzy. "Please... no. That's Madonna of the
Rocks!" He dropped his gun and radio, raising his hands over
his head.
"Thank you," the woman said. "Now do exactly as I tell you,
and everything will work out fine."
(Brown, 2003: 133-134)
Neveu and Langdon do not have much time when they were in Depository
Bank of Zurich. They only have one shot to take the deposit box of her
grandfather. If they enter wrong account number, they will lose their chance to
take it. Neveu shows her intelligence by following her grandfather’s mind and
love toward codes and symbolism. She feels unsure toward the account number
she typed in the first time is the right account number. She knows how her
grandfather’s love toward codes and symbolism and the first account number does
not reflect her grandfather’s love and interest toward sort of thing. So she decides
to erase the first account number and rearrange it to make Fibonacci sequences,
one of the most famous mathematical progressions. It is the perfect reflection of
her grandfather’s love toward codes and symbolism. It can be seen from
Sophie was at the keypad again, entering a different number, as

if from memory. "Moreover, with my grandfather's love of
symbolism and codes, it seems to follow that he would have
chosen an account number that had meaning to him, something
he could easily remember." She finished typing the entry and
gave a sly smile. "Something that appeared random... but was
not." Langdon looked at the screen.
ACCOUNT NUMBER:
1123581321
It took him an instant, but when Langdon spotted it, he knew
she was right.
(Brown, 2003:188-189)
Neveu is smart because she learns so fast even she is in difficult situation.
She shows it when Langdon was at gunpoint and he did not have any idea of their
second clue. She can decipher the second clue by herself. Anagram is still the key
of the second clue. Anagram is rearranging the letters to create new word and get
new meaning. She remembers it and does not want to miss it from the first clue.
Anagram is also the way how Langdon and she decipher the first clue. It really
shows her grandfather’s love for the work of Da Vinci. It can be proved by
"You chose a valuable hostage," he said as they ran.

"Madonna of the Rocks," she replied. "But I didn't choose it,
my grandfather did. He left me a little something behind the
painting."
Langdon shot her a startled look. "What!? But how did you
know which painting? Why Madonna of the Rocks?"
"So dark the con of man." She flashed a triumphant smile. "I
missed the first two anagrams, Robert. I wasn't about to miss
the third."
(Brown, 2003: 134)
Sophie Neveu described as a firm person. Based on Oxford Advanced
Learner’s Dictionary (Homby, 1995), firm means “strong and consistent in
attitude and behavior.” She is always sure about her feeling. If she feels there is
something unfix, she will not continue to do it. But, if she feels she does the right
thing she will straight forward to continue. No matter what will happen, she will
always in her decision. This characteristic of her can be seen in some different
situation.
Sophie Neveu faces difficult situation. She should find the next clue or
message that her grandfather left behind Madonna of the Rocks and she also
should help Langdon from gunpoint of the security guard. She should do the two
things well. She is firm because she is so sure if her grandfather left something
behind the painting. She feels certain if she has already deciphered the previous
clue rightly. She attempts to find it first than helping Langdon. She does it
because she is sure if the security guard will not shoot them. It will easy for her to
help Langdon if she has already found what her grandfather left behind Madonna
of the Rocks. It can be seen from following quotation:
Across the room, Sophie Neveu felt a cold sweat breaking

across her forehead. Langdon was still spread-eagle on the
floor. Hold on, Robert. Almost there. Knowing the guard would
never actually shoot either of them, Sophie now turned her
attention back to the matter at hand, scanning the entire area
around one masterpiece in particular—another Da Vinci. But
the UV light revealed nothing out of the ordinary. Not on the
floor, on the walls, or even on the canvas itself.
There must be something here!
Sophie felt totally certain she had deciphered her grandfather's
intentions correctly.
What else could he possibly intend?
(Brown, 2003: 131)
Their time to find the correct account number is limited. Vernet, the night
manager of Depository Bank of Zurich will come soon to make sure if they has
already got their deposit box. Neveu’s firmness is shown when she postponed her
finger to press ENTER key to confirm the account number she typed. She feels if
there is something incorrect with the account number. It looks to coincidental if
the first account number can be arranged to form Fibonacci sequences. She does
not listen to Langdon who insists her to hurry. She still in her decision not to press
the ENTER key and chooses to erase all the account number she typed before.
She does not want limited time makes her lose her single chance to get something
that her grandfather left for her. It can be proved by following quotation:
Sophie extended her index finger toward the keypad, but

hesitated, an odd thought now hitting her.
"Go ahead," Langdon urged. "Vernet will be back soon."
"No." She pulled her hand away. "This isn't the right account
number."
"Of course it is! Ten digits. What else would it be?"
"It's too random."
Too random? Langdon could not have disagreed more. Every
bank advised its customers to choose PINs at random so
nobody could guess them. Certainly clients here would be
advised to choose their account numbers at random.
Sophie deleted everything she had just typed in and looked up
at Langdon, her gaze self-assured. "It's far too coincidental that
this supposedly random account number could be rearranged to
form the Fibonacci sequence."
(Brown, 2003: 188)
Langdon and Neveu have arrived in Rosslyn Chapel. Though she is
uncertain to the sanctuary, she is firm if she has ever visited Rosslyn Chapel when
she was young with her grandfather. Rosslyn Chapel looks familiar in her eyes.
She scans to remind her and two pillars in front of the sanctuary make her sure if
she has ever visited Rosslyn Chapel. It is stated by quotation below:
"I hadn't..." She scanned the sanctuary, looking uncertain. "My

grandfather must have brought me here when I was very
young. I don't know. It feels familiar." As her eyes scanned the
room, she began nodding with more certainty. "Yes." She
pointed to the front of the sanctuary. "Those two pillars... I've
seen them."
(Brown, 2003: 435)
Neveu shows her firmness, believing her feeling if she has really ever
visited Rosslyn Chapel and two pillars she is watching now are the two pillars she
saw some years ago when she visited Rosslyn Chapel with her grandfather. She
does not listen to Langdon’s explanation about the two pillars that are the
duplicate from those in Masonic Temple because she never visited Masonic
Temple. She keeps searching to find something that can remind her of ever being
in Rosslyn Chapel. It can be proved by following quotation:
"I've never been in a Masonic temple," Sophie said, still eyeing

the pillars. "I am almost positive I saw these here." She turned
back into the chapel, as if looking for something else to jog her
memory.
(Brown, 2003: 436)
Sophie Neveu also described as an emotional person. She is easily driven
by her emotion to do something that can make her feels better without thinking it
is right to do or not. She cannot think clearly and logically. Her emotion drives
her suddenly to do something without thinking, calculating the risk, and predict
the impact.
First happens in spring, when she came back to Paris earlier than before.
She sees sex rites that she never saw before. It hurts her because her grandfather
becomes the main actor of the sex rites. Her grandfather never tells her about the
rites. She feels if her grandfather betrays and lie to her. Drove by feeling of being
betrayed and disappointed, she packs all of her belonging and leaves Paris in a
second without asking explanation of what she saw to her grandfather. Writes a
short message warning her grandfather not trying to reach her, she drives herself
away from her grandfather. It can be seen from following quotation:
The chanting grew steady again. Accelerating. Thundering

now. Faster. The participants took a step inward and knelt. In
that instant, Sophie could finally see what they all were
witnessing. Even as she staggered back in horror, she felt the
image searing itself into her memory forever. Overtaken by
nausea, Sophie spun, clutching at the stone walls as she
clambered back up the stairs. Pulling the door closed, she fled
the deserted house, and drove in a tearful stupor back to Paris.
That night, with her life shattered by disillusionment and
betrayal, she packed her belongings and left her home. On the
dining room table, she left a note.
I WAS THERE. DON'T TRY TO FIND ME.
Beside the note, she laid the old spare key from the château's
woodshed.
(Brown, 2003: 143)
Her grandfather died and he left four line messages beside his naked body.
Neveu looks at the picture and feels upset. She is disappointed. The
disappointment in her heart successfully makes her leaves the office without a
word or command from her director. Her director does not ask a question to her
because she looks really upset. She leaves her team in a big question mark and no
one knows where she goes. It can be seen from following quotation:
"According to the director, at my orders he paged his entire

team to look at the images I'd wired him. When Agent Neveu
arrived, she took one look at the photos of Saunière and the
code and left the office without a word. The director said he
didn't question her behavior because she was understandably
upset by the photos."
(Brown, 2003: 81)
Sophie Neveu is a person who likes to risk her life. Without thinking and
calculating the risk she does something she thought right. She will try to find a
way to do it safely even it is done in not a good way.
Neveu knows if Langdon is not the murderer. She should help Langdon to
escape. She takes a big risk to help Langdon. She leaves her office and goes to
Louvre to meet Bezu Fache without any order from her director. She tells to Bezu
Fache if she has already deciphered the code and lies to him that she has an urgent
message from U.S. Embassy to Langdon. She does not care what will happen to
her if Fache knows she lie to him. The most important to her now is to save
Langdon. It can be seen from following quotation:
"Captain," she said, turning quickly and beating him to the

punch, "please excuse the interruption, but—"
"Ce n'est pas le moment!" Fache sputtered.
"I tried to phone you." Sophie continued in English, as if out of
courtesy to Langdon. "But your cell phone was turned off."
"I turned it off for a reason," Fache hissed. "I am speaking to
Mr. Langdon."
"I've deciphered the numeric code," she said flatly.
Langdon felt a pulse of excitement. She broke the code?
Fache looked uncertain how to respond.
"Before I explain," Sophie said, "I have an urgent message for
Mr. Langdon."
Fache's expression turned to one of deepening concern. "For
Mr. Langdon?"
She nodded, turning back to Langdon. "You need to contact the
U.S. Embassy, Mr. Langdon. They have a message for you
from the States."
(Brown, 2003: 51)
Running away from Louvre with Langdon as primary suspect of the
murder is a big risk that Neveu takes to save Langdon and reveal what her
grandfather tried to tell her. Now, she and Langdon are the fugitives. She does
everything to make herself and Langdon still out of reach from the DCPJ that
wants to arrest them. Without thinking the impact of her action, she dares to point
taxi driver using a pistol when she saw the taxi driver is about to speak through
his radio. She commands the taxi driver to go out of his taxi and commands
Langdon to drive the taxi away from there, leaving the taxi driver in forest. She
does not want to hear any excuse. It is proved by quotation below:
Sophie turned now and plunged her hand into the pocket of
Langdon's tweed jacket. Before Langdon knew what had
happened, she had yanked out the pistol, swung it around, and
was pressing it to the back of the driver's head. The driver
instantly dropped his radio, raising his one free hand overhead.
"Sophie!" Langdon choked. "What the hell—"
"Arrêtez!" Sophie commanded the driver.
(Brown, 2003: 164)
"Descendez," Sophie demanded.

The trembling driver kept his arms over his head as he got out
of his taxi and took several steps backward.
Sophie had rolled down her window and now aimed the gun
outside at the bewildered cabbie. "Robert," she said quietly,
"take the wheel. You're driving."
Langdon was not about to argue with a woman wielding a gun.
He climbed out of the car and jumped back in behind the
wheel. The driver was yelling curses, his arms still raised over
his head.
"Robert," Sophie said from the back seat, "I trust you've seen
enough of our magic forest?"
He nodded. Plenty.
"Good. Drive us out of here."
Langdon looked down at the car's controls and hesitated. Shit.
He groped for the stick shift and clutch.
"Sophie? Maybe you—"
"Go!" she yelled.
(Brown, 2003: 164-165)
Neveu is in difficult situation. Teabing has already known if she and
Langdon has been the fugitive of her grandfather murder. She does not have any
option. She takes a risk by telling, showing, and giving the cryptex to Teabing,
though she is not yet believe in Teabing, in hope that Teabing can help them to
open it and safe them from the DCPJ. She also takes a risk by trusting Teabing, a
person who she has already known in a moment, to keep protecting the cryptex
from the police enforcement. It is proved by following quotation:
Teabing sat on the divan, cradling the wooden box on his lap
and admiring the lid's intricate inlaid Rose. Tonight has
become the strangest and most magical night of my life.
"Lift the lid," Sophie whispered, standing over him, beside
Langdon.
(Brown, 2003: 273)
From the explanation above, it can be concluded that Sophie Neveu as one
of character in Brown’s The Da Vinci Code, belongs to round character. It can be
seen through her characteristic. Neveu has some of positive characteristic, such as
wise, smart, firm and responsible, but she also has some of the opposition.
Despite described as a wise woman, she is also described as an emotional woman.
It happens when she chose to leave her grandfather alone after seeing him doing
sex rites. She does not want to hear or even ask the explanation to her grandfather.
Next is she is also a risk taking woman. She does something in an unsafe way.
She does not think long enough or calculate the risk that may happen to her.
4.2. Conflict
Conflict in fiction may not be a fighting or a battle between two people or
groups. According to the theory of literature on Chapter III, conflict is a clash of
idea, desires and will. It can happen because of external or internal factor or both
of them. Conflict that happens because of external factor is called external
conflict. Thus, the opposite is called internal conflict. Both of external conflict
and internal conflict happen in Brown’s The Da Vinci Code.

4.2.1. Internal Conflict
Internal conflict experienced by Sophie Neveu happens since she saw
something, secret ritual, she never expected done by his grandfather. She feels
that she has been betrayed by his grandfather. She feels that his grandfather has
lied to her. It is difficult for her to accept what she saw. It is unbelievable if her
grandfather involved in the ritual and becomes the centre of it. Anger, betrayal,
and disappointment are emotions she felt in that time. Driven by all of emotions,
she decides to go to London with tears and without waiting the explanation from
his grandfather, or even asking her grandfather to explain. Through a short letter,
Neveu tells her grandfather not to try to reach her. It can be seen by following
quotation:
The chanting grew steady again. Accelerating. Thundering

now. Faster. The participants took a step inward and knelt. In
that instant, Sophie could finally see what they all were
witnessing. Even as she staggered back in horror, she felt the
image searing itself into her memory forever. Overtaken by
nausea, Sophie spun, clutching at the stone walls as she
clambered back up the stairs. Pulling the door closed, she fled
the deserted house, and drove in a tearful stupor back to Paris.
That night, with her life shattered by disillusionment and
betrayal, she packed her belongings and left her home. On the
dining room table, she left a note.
I WAS THERE. DON'T TRY TO FIND ME.
Beside the note, she laid the old spare key from the château's
woodshed.
(Brown, 2003: 143)
Neveu is too ashamed about the secret ritual done by his grandfather. Until
now, it is hard to believe if her grandfather did it. She is too ashamed toward what
her grandfather did in the secret ritual. She chooses to leave her home in France
and stay in London vowing that she will not let her grandfather to explain of all
she saw that night. It is too pain for her to forgive her grandfather and let him
explain about the ritual. She does not want to be more disappointed by hearing his
grandfather’s explanation that she thinks it can be more terrifying. It can be
proved by following quotation:
Ten years ago. Sophie had come home a few days early from
graduate university in England and mistakenly witnessed her
grandfather engaged in something Sophie was obviously not
supposed to see. It was an image she barely could believe to
this day.
If I hadn't seen it with my own eyes...
Too ashamed and stunned to endure her grandfather's pained
attempts to explain, Sophie immediately moved out on her
own, taking money she had saved, and getting a small flat with
some roommates. She vowed never to speak to anyone about
what she had seen. Her grandfather tried desperately to reach
her, sending cards and letters, begging Sophie to meet him so
he could explain. Explain how!? Sophie never responded
except once—to forbid him ever to call her or try to meet her in
public. She was afraid his explanation would be more
terrifying than the incident itself.
(Brown, 2003: 75)
Her grandfather has died. She feels guilty and sad for staying away from
him and not let him to explain. Neveu tries hard to reveal what her grandfather is
trying to tell her by the ten years. She needs a help from someone who is master in
Holy Grail and the person is Teabing, but she feels unsure to let Teabing in. Her
grandfather did not say anything about Teabing. She is also uncertain to tell him
about the cryptex. But, finally she decides to trust Langdon’s judgment about him
since she believes Langdon like her grandfather believes him and will not let her
falls with the wrong man, and also they need a place to hide. It is proved by
quotation below:

judgment.
(Brown, 2003: 227)
After listening to Teabing’s explanation and relates it to the last message
of her grandfather who wants to tell her about her true family, Neveu feels sure
and hopes if her family is still alive until today. It makes her thinking that she is
not alone after her grandfather death. But it seems a fantasy to her knowing there
is no one of her members of her family has name of Plantard or Saint-Clair. Her
hope is gone. Disappointed is she feels now. She feels so close to the truth that her
grandfather tries to tell when she was in Louvre, but now it looks so far. She
hopes if her grandfather never mentions her family. It opens the old wound she
has buried. She convinces herself if her family has already death in car accident
when she was a girl. She should accept if now she is on her own, alone without
her family and her grandfather who has been always with her for all this time. It is
stated by following quotation:
Sophie repeated the names silently in her mind and then shook
her head. There was no one in her family named Plantard or
Saint-Clair. A weary undertow was pulling at her now. She
realized she was no closer than she had been at the Louvre to
understanding what truth her grandfather had wanted to reveal
to her. Sophie wished her grandfather had never mentioned her
family this afternoon. He had torn open old wounds that felt as
painful now as ever. They are dead, Sophie. They are not
coming back. She thought of her mother singing her to sleep at
night, of her father giving her rides on his shoulders, and of her
grandmother and younger brother smiling at her with their
fervent green eyes. All that was stolen. And all she had left was
her grandfather.
And now he is gone too. I am alone.
(Brown, 2003: 260)
After ten years, avoid his grandfather and not let him to explain, Neveu
finally gets the explanation about what she saw from Langdon. She feels guilty
because she has misunderstood toward the ritual done by his grandfather. She
blames her grandfather, leaves him, tell him not to reach her and the worse she
does not want to meet her grandfather and does not give him a chance to explain
until the night he died. She feels a deep regret in her heart toward her grandfather.
It is stated by the quotation below:
Sophie's forehead felt cold as she pressed it against the plane's

window and stared blankly into the void, trying to process what
Langdon had just told her. She felt a new regret well within
her. Ten years. She pictured the stacks of unopened letters her
grandfather had sent her.
(Brown, 2003: 310)
It is hard for Sophie Neveu to believe that Teabing is the person behind
her grandfather’s death. She is too surprised with the fact. She has believed in him
but now, he betrays her. She cannot understand why Teabing could do that. She
thinks his reason is unacceptable, blames her grandfather because he has sold the
truth to the Church. He hides the truth and does not reveal it. It makes her
grandfather deserves to be killed. Neveu cannot accept the reason because she
knows how her grandfather is. It is proved by following quotation:
"You?" Sophie declared, glancing up now, her green eyes

boring into him with rage and realization. "You are the one
responsible for my grandfather's murder?"
Teabing scoffed. "Your grandfather and his sénéchaux were
traitors to the Grail."
Sophie felt a fury rising from deep within. He's lying!
Teabing's voice was relentless. "Your grandfather sold out to
the Church. It is obvious they pressured him to keep the truth
quiet."
Sophie shook her head. "The Church had no influence on my
grandfather!"
(Brown, 2003: 407)
Neveu is very hesitant. She does not know which one is the fact and which
one is the lie. It has been told by her grandfather if her family has died in car
accident but now, she doubts it. She never truly knows about the car accident that
took her family. She only knows a little detail. Her mind is full of question about
what the truth of her family that her grandfather wants reveal to her. Her mind
starts questioning about the real story behind her family death. Everything in her
mind about her grandfather over-protectiveness seems to be more fit that her
family died is not because of car accident, but murdering. It can be seen from
quotation below:
In the echoes of Teabing's words, Sophie heard another voice

speaking. Sophie, I must tell you the truth about your family.
She realized she was trembling. Could this possibly be that
truth her grandfather had wanted to tell her? That her family
had been murdered? What did she truly know about the crash
that took her family? Only sketchy details. Even the stories in
the newspaper had been vague. An accident? Bedtime stories?
Sophie flashed suddenly on her grandfather's
overprotectiveness, how he never liked to leave her alone when
she was young. Even when Sophie was grown and away at
university, she had the sense her grandfather was watching
over. She wondered if there had been Priory members in the
shadows throughout her entire life, looking after her.
(Brown, 2003: 408)
Confused, disbelief and happy are all Neveu feels now. Arriving in
Rosslyn Chapel has led her find her family. A family she thinks has died some
years ago. A family she thinks will never come back again. This journey has been
surprised her. It makes her find his grandmother and brother. She tries to speak
but she finds nothing even it is hard for her to breathe. She can only speak in
whisper. The tears in her eyes tell how happy she is now. A couple days ago, she
was alone in a sadness of her grandfather death and guilty of avoiding her
grandfather who tried to explain everything to her, but now she gets her family
and no longer alone. It is stated in quotation below:
Although Sophie did not recognize her, she knew who this
woman was. She tried to speak but found she could not even
breathe.
"Sophie," the woman sobbed, kissing her forehead.
Sophie's words were a choked whisper. "But... Grand-père said
you were..."
"I know." The woman placed her tender hands on Sophie's
shoulders and gazed at her with familiar eyes.
"Your grandfather and I were forced to say so many things. We
did what we thought was right. I'm so sorry. It was for your
own safety, princess."
(Brown, 2003: 440)
Sophie and her grandmother were seated on the porch stairs in

a tearful hug when the young docent dashed across the lawn,
his eyes shining with hope and disbelief
"Sophie?"
Through her tears, Sophie nodded, standing. She did not know
the young man's face, but as they embraced, she could feel the
power of the blood coursing through his veins... the blood she
now understood they shared.
(Brown, 2003: 441)
4.2.2. External Conflict
External conflict happens when the character experience conflict with the
other character, environment or nature. In Brown’s The Da Vinci Code, external
conflict experienced by Sophie Neveu as the character is person against person.
4.2.2.1 Sophie Neveu against Jacques Sauniere

Neveu’s relationship with her grandfather, Jacques Sauniere has fallen
since ten years ago. Neveu saw something she never expected to see, a secret
ritual, done by her grandfather in spring. Feels so angry, she left the house,
packed her suitcase and went to London. Her grandfather trying so bad to reach
her, but Neveu still does not want to let him explain everything to her. Neveu
really stay away from her grandfather. She stands firm on her decision not to meet
with her grandfather anymore. Avoid everything that her grandfather sends to her.
It can be seen from the quotation below:
Ten years ago. Sophie had come home a few days early from
graduate university in England and mistakenly witnessed her
grandfather engaged in something Sophie was obviously not
supposed to see. It was an image she barely could believe to
this day.
If I hadn't seen it with my own eyes...
Too ashamed and stunned to endure her grandfather's pained
attempts to explain, Sophie immediately moved out on her
own, taking money she had saved, and getting a small flat with
some roommates. She vowed never to speak to anyone about
what she had seen. Her grandfather tried desperately to reach
her, sending cards and letters, begging Sophie to meet him so
he could explain. Explain how!? Sophie never responded
except once—to forbid him ever to call her or try to meet her in
public. She was afraid his explanation would be more
terrifying than the incident itself.
(Brown, 2003: 75)
4.2.2.2 Sophie Neveu against Langdon
Robert Langdon is a professor of religious symbology graduated from
Harvard University. He is the expert in symbol and icon or any sort of thing
especially that related to the religion. He is also the author of some books that
discuss about his field. Author and professor are not the only profession of Robert
Langdon. Because of his expertise in religious symbology, he also gives lecturer
about it to the university student. It can be seen from following quotation:
THE AMERICAN UNIVERSITY OF PARIS

proudly presents
AN EVENING WITH ROBERT LANGDON
PROFESSOR OF RELIGIOUS SYMBOLOGY,
HARVARD UNIVERSITY
(Brown, 2003: 7)
"Ladies and gentlemen..." the hostess had announced to a full

house at the American University of Paris's
Pavilion Dauphine, "Our guest tonight needs no introduction.
He is the author of numerous books: The Symbology of Secret
Sects, The Art of the Illuminati, The Lost Language of
Ideograms, and when I say he wrote the book on Religious
Iconology, I mean that quite literally. Many of you use his
textbooks in class."
(Brown, 2003: 8)
It is the first time for Neveu and Langdon meet. Neveu, who has already
made Langdon escape from being tracked of DCPJ, changes her direction. At the
beginning she wants to take Langdon to embassy but feels sure if her grandfather
left something in Mona Lisa, she decides to go to Mona Lisa to find it. Their
conflict happens since Langdon wants to accompany Neveu to the Mona Lisa but
Neveu rejects it. She worries about Langdon safety. She does not want if Fache
captures him again. For his own safety, Neveu asks him to go to embassy finding
protection. She promises to Langdon that they will meet again in U.S. Embassy
and Langdon only have one condition to agree in Neveu’s decision that is not to
call him Mr. Langdon. It is stated in quotation below:
"As strange as it may sound," Sophie said, "I think he wants

me to get to the Mona Lisa before anyone else does."
"I'll come."
"No! We don't know how long the Grand Gallery will stay
empty. You have to go."
Langdon seemed hesitant, as if his own academic curiosity
were threatening to override sound judgment and drag him
back into Fache's hands.
"Go. Now." Sophie gave him a grateful smile. "I'll see you at
the embassy, Mr. Langdon."
Langdon looked displeased. "I'll meet you there on one
condition," he replied, his voice stern.
She paused, startled. "What's that?"
"That you stop calling me Mr. Langdon."
Sophie detected the faint hint of a lopsided grin growing across
Langdon's face, and she felt herself smile back. "Good luck,
Robert.
(Brown, 2003: 102)
Neveu and Langdon are arguing whether it is safe or not to let Teabing
join with them. Neveu is worried of involving Teabing because it is hard for her
to believe if Teabing will not take her information she got for his own benefit and
turn them to the police. She does not know Teabing before, and she thinks that
involving him is unsafe for them. Different with Neveu, Langdon is sure if
Teabing is the right person to help them considering that Teabing has spent his
life for Holy Grail and he knows Teabing well. Neveu tries to convince herself if
Teabing is the right and trustworthy person. She asks Langdon several times
about his relation with Teabing, and how much he knows about Teabing. She
proposes some probability that may happen if Teabing join with them. Langdon,
who knows her apprehension, convinces Neveu that Teabing is the best person for
asking help. He will not waste his time to think if it is about The Priory and Holy
Grail. He will help them right away. He will give much help rather than turn them
to the police. Nothing can make Teabing in favor of the Paris Police. It can be
seen from following quotation:
Sophie's eyes were wary. "Can you trust him?"

"Trust him to what? Not steal the information?"
"And not to turn us in."
"I don't intend to tell him we're wanted by the police. I'm
hoping he'll take us in until we can sort all this out."
"Robert, has it occurred to you that every television in France
is probably getting ready to broadcast our pictures? Bezu Fache
always uses the media to his advantage. He'll make it
impossible for us to move around without being recognized.”
Terrific, Langdon thought. My French TV debut will be on
"Paris's Most Wanted." At least Jonas Faukman would be
pleased; every time Langdon made the news, his book sales
jumped.
"Is this man a good enough friend?" Sophie asked.
Langdon doubted Teabing was someone who watched
television, especially at this hour, but still the question
deserved consideration. Instinct told Langdon that Teabing
would be totally trustworthy. An ideal safe harbor. Considering
the circumstances, Teabing would probably trip over himself to
help them as much as possible. Not only did he owe Langdon a
favor, but Teabing was a Grail researcher, and Sophie claimed
her grandfather was the actual Grand Master of the Priory of
Sion. If Teabing heard that, he would salivate at the thought of
helping them figure this out.
"Teabing could be a powerful ally," Langdon said. Depending
on how much you want to tell him.
"Fache probably will be offering a monetary reward."
Langdon laughed. "Believe me, money is the last thing this guy
needs." Leigh Teabing was wealthy in the way small countries
were wealthy. A descendant of Britain's First Duke of
Lancaster, Teabing had gotten his money the old-fashioned
way—he'd inherited it. His estate outside of Paris was a
seventeenth-century palace with two private lakes.
(Brown, 2003: 216-217)
It is not enough for Neveu asking about Langdon’s relationship with
Teabing for one time. Her anxiousness is not ended up easily. She asks Langdon
with the same question, but this time she emphasizes it. It is still hard for her
involving Teabing in this case since her grandfather does not say anything about
involving Teabing to help her. Langdon is also still sure in his decision. He is sure
Teabing will help them because Teabing is the person outside the brotherhood,
who knows the Priory well. It is proved by their conflict of interest. Teabing will
not have in mind to help French authorities. He has taxes problem with the
French. It can be proved by following quotation:
"Robert," Sophie asked, "you're certain we can trust this man?"

"Absolutely. We're colleagues, he doesn't need money, and I
happen to know he despises the French authorities. The French
government taxes him at absurd rates because he bought a
historic landmark. He'll be in no hurry to cooperate with
Fache."
Sophie stared out at the dark roadway. "If we go to him, how
much do you want to tell him?"
Langdon looked unconcerned. "Believe me, Leigh Teabing
knows more about the Priory of Sion and the Holy than anyone
on earth."
Sophie eyed him. "More than my grandfather?"
"I meant more than anyone outside the brotherhood."
"How do you know Teabing isn't a member of the
brotherhood?"
"Teabing has spent his life trying to broadcast the truth about
the Holy Grail. The Priory's oath is to keep its true nature
hidden."
"Sounds to me like a conflict of interest."
(Brown, 2003: 218)
Neveu is in danger with a gun is pointing to her. Langdon tries to find a
way to save Neveu. Their conflict happens since Langdon wants Neveu to leave
but Neveu does not want to do it. He negotiates with Teabing. He will help him if
he releases Neveu and lets Neveu go. Neveu hears the negotiation and she does
not agree with it. She does not agree with Langdon’s idea. She does not want to
leave the cryptex alone. She will always with the cryptex since it is hers and only
she who deserves to open it. Neveu is also angry to Langdon. She does not
understand why and how Langdon can get the idea since she and her grandfather
has trusted him. Langdon is confused by Neveu’s decision that still does not want
to leave unless he gives the cryptex to her or smashed it. It is proved by quotation
below:
"No games," Langdon said. "Let her go. Then I'll take you to
Newton's tomb. We'll open the cryptex together."
"I'm not going anywhere," Sophie declared, her eyes narrowing
with rage. "That cryptex was given to me by my grandfather. It
is not yours to open."
Langdon wheeled, looking fearful. "Sophie, please! You're in
danger. I'm trying to help you!"
"How? By unveiling the secret my grandfather died trying to
protect? He trusted you, Robert. I trusted you!" Langdon's blue
eyes showed panic now, and Teabing could not help but smile
to see the two of them working against one another. Langdon's
attempts to be gallant were more pathetic than anything. On the
verge of unveiling one of history's greatest secrets, and he
troubles himself with a woman who has proven herself
unworthy of the quest.
"Sophie," Langdon pleaded. "Please... you must leave."
(Brown, 2003: 422)
A fond of memories in the past suddenly appears in Neveu’s mind when
she arrives in Rosslyn Chapel. The two pillars in front of the sanctuary raise her
memory if she has ever been here in the past. Langdon thinks that it is no doubt if
she ever seen those two pillars. Langdon only doubts if the pillars Neveu ever
seen are not the pillars in Rosslyn but Neveu is certain of it. They are the pillars
she saw when she was child and they are really in Rosslyn Chapel. Langdon tries
to convince her by explaining if the pillars in Rosslyn Chapel are the duplicate of
those in Masonic Temple. But the explanation does not make Neveu hesitate. She
is still sure if she sees the pillar in Rosslyn Chapel not in Masonic temple. She
tells that she never been in Masonic Temple and she keeps trying to find
something that can remind her about Rosslyn Chapel. It is proved by quotation
below:
Sophie was already moving toward them. Langdon hurried

after her, and as they reached the pillars, Sophie was nodding
with incredulity. "Yes, I'm positive I have seen these!"
"I don't doubt you've seen them," Langdon said, "but it wasn't
necessarily here."
She turned. "What do you mean?"
"These two pillars are the most duplicated architectural
structures in history. Replicas exist all over the world."
"Replicas of Rosslyn?" She looked skeptical.
"No. Of the pillars. Do you remember earlier that I mentioned
Rosslyn itself is a copy of Solomon's Temple?
Those two pillars are exact replicas of the two pillars that stood
at the head of Solomon's Temple." Langdon pointed to the
pillar on the left. "That's called Boaz—or the Mason's Pillar.
The other is called Jachin—or the Apprentice Pillar." He
paused. "In fact, virtually every Masonic temple in the world
has two pillars like these." Langdon had already explained to
her about the Templars' powerful historic ties to the modern
Masonic secret societies, whose primary degrees—Apprentice
Freemason, Fellowcraft Freemason, and Master Mason—
harked back to early Templar days. Sophie's grandfather's final
verse made direct reference to the Master Masons who adorned
Rosslyn with their carved artistic offerings. It also noted
Rosslyn's central ceiling, which was covered with carvings of
stars and planets.
"I've never been in a Masonic temple," Sophie said, still eyeing
the pillars. "I am almost positive I saw these here." She turned
back into the chapel, as if looking for something else to jog her
memory.
(Brown, 2003: 435-436)
4.2.2.3 Sophie Neveu against Sir Leigh Teabing
Sir Leigh Teabing is a Grail researcher. He spends his life to find the Holy
Grail. He knows well everything about the Grail and the Priory. He is trustworthy
person in that case. But different with Langdon who also knows about the Grail
actually in its symbols, Teabing attempts to broadcast the truth about the Grail. It
can be seen from following quotation:

Instinct told Langdon that Teabing would be totally
trustworthy. An ideal safe harbor. Considering the
circumstances, Teabing would probably trip over himself to
help them as much as possible. Not only did he owe Langdon a
favor, but Teabing was a Grail researcher, and Sophie claimed
her grandfather was the actual Grand Master of the Priory of
Sion. If Teabing heard that, he would salivate at the thought of
helping them figure this out.
(Brown, 2003: 217)
Langdon paused. "I'll tell you at Teabing's. He and I specialize

in different areas of the legend, so between the two of us, you'll
get the full story." Langdon smiled. "Besides, the Grail has
been Teabing's life, and hearing the story of the Holy Grail
from Leigh Teabing will be like hearing the theory of relativity
from Einstein himself."
(Brown, 2003: 219)
Her conflict against sir Leigh Teabing happens because she has already
knew if Teabing was a person behind her grandfather death. She is so surprised
and cannot find the reason why Teabing do that. Teabing makes his alibi that is
Jacques Sauniere has betrayed by hiding the truth all this time, obeying the
Church not to reveal the truth to the world. Neveu does not believe it. She is
certain that the Church has nothing to do toward her grandfather murder and the
Church does not influence her grandfather or the worst threats him. She believes
if Teabing only tries to find a reason to justify what he has done. It is stated by
quotation below:
"You?" Sophie declared, glancing up now, her green eyes

boring into him with rage and realization. "You are the one
responsible for my grandfather's murder?"
Teabing scoffed. "Your grandfather and his sénéchaux were
traitors to the Grail."
Sophie felt a fury rising from deep within. He's lying!
Teabing's voice was relentless. "Your grandfather sold out to
the Church. It is obvious they pressured him to keep the truth
quiet."
Sophie shook her head. "The Church had no influence on my
grandfather!"
(Brown, 2003: 407)
Surprise for Neveu from Teabing has not ended yet. Teabing knows if her
grandfather tries hard to tell the truth of her family to her. Neveu cannot believe
this. She does not know how Teabing can know it. He only says if the death of her
family was not because of car accident. It was the Church. Neveu who hears it,
does not believe it. It is so surprised her. Teabing convinces her that The Church
attempted to keep the truth still hidden by murdering all her family. No matter
what Teabing is trying to tell, Neveu does not trust him. All the reason he made is
just lie. Neveu thinks that Teabing is only attempting to justify what he has done.
He is trying to ensure Neveu if the Church behind all that has happened to her
family, but everything is in vain. Neveu does not believe him even in a single
word. It can be seen from following quotation:
He paused, as if to punctuate his next point. "Miss Neveu, for

some time now your grandfather has wanted to tell you the
truth about your family."
Sophie was stunned. "How could you know that?"
"My methods are immaterial. The important thing for you to
grasp right now is this." He took a deep breath.
"The deaths of your mother, father, grandmother, and brother
were not accidental."
The words sent Sophie's emotions reeling. She opened her
mouth to speak but was unable.
Langdon shook his head. "What are you saying?"
"Robert, it explains everything. All the pieces fit. History
repeats itself. The Church has a precedent of murder when it
comes to silencing the Sangreal. With the End of Days
imminent, killing the Grand Master's loved ones sent a very
clear message. Be quiet, or you and Sophie are next."
"It was a car accident," Sophie stammered, feeling the
childhood pain welling inside her. "An accident!"
"Bedtime stories to protect your innocence," Teabing said.
"Consider that only two family members went untouched—the
Priory's Grand Master and his lone granddaughter—the perfect
pair to provide the Church with control over the brotherhood. I
can only imagine the terror the Church wielded over your
grandfather these past years, threatening to kill you if he dared
release the Sangreal secret, threatening to finish the job they
started unless Saunière influenced the Priory to reconsider its
ancient vow."
(Brown, 2003: 407-408)
Teabing is begging to Langdon and Neveu to open the cryptex. He says
that the Grail is asked to be revealed to the world. He asks Langdon and Neveu to
take this opportunity and swear to broadcast the truth to the world. Neveu refuses
it. She does not want to swear to broadcast the truth. She does not want to
cooperate with Teabing, the murderer of her grandfather. She only wants to make
an oath to make him go to the prison. It can be proved from following quotation:
He spoke to them in a whisper now. "Listen. Can you hear it?

The Grail is speaking to us across the centuries.
She is begging to be saved from the Priory's folly. I implore
you both to recognize this opportunity. There could not
possibly be three more capable people assembled at this
moment to break the final code and open the cryptex." Teabing
paused, his eyes alight. "We need to swear an oath together. A
pledge of faith to one another. A knight's allegiance to uncover
the truth and make it known."
Sophie stared deep into Teabing's eyes and spoke in a steely
tone. "I will never swear an oath with my grandfather's
murderer. Except an oath that I will see you go to prison."
Teabing's heart turned grave, then resolute. "I am sorry you
feel that way, mademoiselle." He turned and aimed the gun at
Langdon. "And you, Robert? Are you with me, or against me?"
(Brown, 2003: 412-413)
4.3. Setting
Based on the previous theory in Chapter III, setting is classified into three
those are setting of place, time and social.

Setting in Brown’s The Da Vinci Code will be discussed on this following
sub chapter.
4.3.1. Setting of Place
Setting of place refers to the place or area where the event happens. There
are several places in different countries become setting of place in Brown’s The
Da Vinci Code.
Grand Gallery in Louvre Museum, France is one of setting of place when
the story happens in France. Grand Gallery is a section in Louvre Museum where
the art work of most famous Italian artist is housed. Grand Gallery is a long deep
canyon with collection painting of Da Vinci, Titans and Caravaggio is hung on
either side of the wall by cables. The most interesting part of this section is its
parquet floor. It gives the visitor sensation if they are floating when they walk
through this section. It is stated by following quotation:
Having squeezed beneath the security gate, Robert Langdon

now stood just inside the entrance to the Grand Gallery. He
was staring into the mouth of a long, deep canyon. On either
side of the gallery, stark walls rose thirty feet, evaporating into
the darkness above. The reddish glow of the service lighting
sifted upward, casting an unnatural smolder across a staggering
collection of Da Vinci’s, Titian’s, and Caravaggio’s that hung
suspended from ceiling cables. Still lifes, religious scenes, and
landscapes accompanied portraits of nobility and politicians.
Although the Grand Gallery housed the Louvre's most famous
Italian art, many visitors felt the wing's most stunning offering
was actually its famous parquet floor. Laid out in a dazzling
geometric design of diagonal oak slats, the floor produced an
ephemeral optical illusion—a multi-dimensional network that
gave visitors the sense they were floating through the gallery
on a surface that changed with every step.
(Brown, 2003: 32)
Salle des Etats is one room in Grand Gallery where the Mona Lisa is
placed. It is the room where Jacques Sauniere places his next clue for Neveu and
Langdon. It can be proved by quotation below:
Sophie arrived breathless outside the large wooden doors of the

Salle des Etats—the room that housed the Mona Lisa.
(Brown, 2003: 108)
Depository Bank of Zurich is the next place. A Swiss bank opens twenty
four hours and serves as a vault. It is well known of its secrecy. There is no name
but only an account number. The bank does not know what the account number is
and what thing is saved in it, only client knows it. The job of the bank is to
guarantee the anonymity of its client. It can be seen from this following quotation:
The Depository Bank of Zurich was a twenty-four-hour

Geldschrank bank offering the full modern array of anonymous
services in the tradition of the Swiss numbered account.
Maintaining offices in Zurich, Kuala Lumpur, New York, and
Paris, the bank had expanded its services in recent years to
offer anonymous computer source code escrow services and
faceless digitized backup.
The bread and butter of its operation was by far its oldest and
simplest offering—the anonyme Lager—blind drop services,
otherwise known as anonymous safe-deposit boxes. Clients
wishing to store anything from stock certificates to valuable
paintings could deposit their belongings anonymously, through
a series of high-tech veils of privacy, withdrawing items at any
time, also in total anonymity.
(Brown, 2003: 176)
The journey is continued to Château Villette. A historical mansion, built in
1668, inside the estate of la Petite Versailles is more appropriate to called it as a
castle since it is completed by two rectangular lakes and garden. It is stated by
The Sprawling 185-acre estate of Château Villette was located

twenty-five minutes northwest of Paris in the environs of
Versailles. Designed by François Mansart in 1668 for the
Count of Aufflay, it was one of Paris's most significant
historical châteaux. Complete with two rectangular lakes and
gardens designed by Le Nôtre, Château Villette was more of a
modest castle than a mansion. The estate fondly had become
known as la Petite Versailles.
(Brown, 2003: 220)
Newton’s tomb is one of tombs in Westminster Abbey which Neveu and
Langdon look for. A tomb made by massive black marble with Sir Isaac Newton
wearing classical costume and leaning against his works. A hard pyramid rises up
behind him. It is proved by this quotation below:
Newton's tomb consisted of a massive black-marble

sarcophagus on which reclined the sculpted form of Sir Isaac
Newton, wearing classical costume, and leaning proudly
against a stack of his own books—Divinity, Chronology,
Opticks, and Philosophiae Naturalis Principia Mathematica.
At Newton's feet stood two winged boys holding a scroll.
Behind Newton's recumbent body rose an austere pyramid.
Although the pyramid itself seemed an oddity, it was the giant
shape mounted halfway up the pyramid that most intrigued the
Teacher.
(Brown, 2003: 397-398)
Seven miles south of Edinburgh, Scotland, stands a chapel built by the
Knights Templar Rosslyn Chapel. Carved with symbols from Jewish, Christian,
Egyptian, Masonic, and pagan traditions. Located on north south meridian, Rose
Line, this chapel gets its name. It can be proved by following quotation:
Rosslyn Chapel—often called the Cathedral of Codes—stands

seven miles south of Edinburgh, Scotland, on the site of an
ancient Mithraic temple. Built by the Knights Templar in 1446,
the chapel is engraved with a mindboggling array of symbols
from the Jewish, Christian, Egyptian, Masonic, and pagan
traditions.
The chapel's geographic coordinates fall precisely on the north-
south meridian that runs through Glastonbury.
This longitudinal Rose Line is the traditional marker of King
Arthur's Isle of Avalon and is considered the central pillar of
Britain's sacred geometry. It is from this hallowed Rose Line
that Rosslyn—originally spelled Roslin—takes its name.
(Brown, 2003: 434)
4.3.2. Setting of Time
Setting of time refers to “when” the events happen in fiction. In this story,
the series of events happens within in a day. Night has been the majority of time
when important events happen.
Starting at night, 10:46 P.M. when the Jacques Sauniere is trapped in
Grand Gallery, trying to escape and separate himself from his murder by pulling
down the Caravaggio’s work and make him sealed in Grand Gallery. It can be
Louvre Museum, Paris

10:46 P.M.
(Brown, 2003: 3)
Neveu and Langdon are greeted by the host of Depository Bank of Zurich
as soon as they out of elevator, by saying “Bonsoir” or good evening in English. It
is stated by quotation below:
"Bonsoir," the man said. "Good evening. Would you be so kind

as to follow me, s'il vous plait?" Without waiting for a
response, he spun on his heel and strode briskly down a narrow
metal corridor.
(Brown, 2003: 179)
A little luck still in Neveu and Langdon side when they arrive in Château
Villette, the host, Sir Leigh Teabing has been sleep in the time Neveu and
Langdon arrived but he wants to get up and greet them after Langdon insists to
meet him. It is proved by following quotation:
"This is Robert Langdon," Langdon called out, sprawled across

Sophie's lap. "I'm a friend of Sir Leigh
Teabing. I need his help."
"My master is sleeping. As was I. What is your business with
him?"
"It is a private matter. One of great interest to him."
"Then I'm sure he will be pleased to receive you in the
morning."
Langdon shifted his weight. "It's quite important."
"As is Sir Leigh's sleep. If you are a friend, then you are aware
he is in poor health."
(Brown, 2003: 220-221)
It is in the morning of April, when Neveu and Langdon arrive in
Westminster Abbey. The weather is not good too. It is raining in the outside. No
crowds are visiting alcove. All they can see only silent corridor. It can be seen
from quotation below:
Today was a rainy April morning. Rather than crowds and

shimmering stained glass, all Langdon saw was acres of
desolate floor and shadowy, empty alcoves.
(Brown, 2003: 396)
Evening has come when Neveu and Langdon arrive in Rosslyn Chapel.
The spires long shadow of Rosslyn Chapel greets them. It is stated by following
quotation:
Rosslyn's rugged spires were casting long evening shadows as

Robert Langdon and Sophie Neveu pulled their rental car into
the grassy parking area at the foot of the bluff on which the
chapel stood.
(Brown, 2003: 432)
4.3.3. Setting of Social
Setting of social refers to the background of character in a fiction. It tells
how the character raised up and which environment they live on. It can be divided
into three classes; they are low class, middle class, and upper class.
Neveu,s family consists of her father, mother, brother, grandfather, and
grandmother. But one day, an accident took them all from Neveu when they were
travelling. It was a car accident that happened when Sophie Neveu was only four
years old. There is only Neveu and her grandfather who survive from that
accident. It can be seen from the following quotation:
Sophie suddenly could hear her own heart. My family? Sophie's

parents had died when she was only four. Their car went off a
bridge into fast-moving water. Her grandmother and younger
brother had also been in the car, and Sophie's entire family had
been erased in an instant. She had a box of newspaper
clippings to confirm it.
(Brown, 2003: 76)
Neveu’s grandparents are the curator of Louvre Museum and Rosslyn
Chapel. Jacques Sauniere is the curator of Louvre Museum, the most famous art
museum in the world, for twenty years. He has completed Louvre Museum by a
mass collection of goddess art. It is because his passion in goddess. While her
grandmother, Marie Chauvel, is the curator of Rosslyn Chapel and also as the
head of Rosslyn Trust. She lives in the chapel rectory near the Rosslyn Chapel. It
can be seen from the following quotation:
Langdon sensed Fache did not see at all. Jacques Saunière was
considered the premiere goddess iconographer on earth. Not
only did Saunière have a personal passion for relics relating to
fertility, goddess cults, Wicca, and the sacred feminine, but
during his twenty-year tenure as curator, Saunière had helped
the Louvre amass the largest collection of goddess art on
earth…
(Brown, 2003: 23)
He nodded, also looking puzzled that Sophie was going down

there. "That's the chapel rectory. The chapel curator lives there.
She also happens to be the head of the Rosslyn Trust." He
paused. "And my grandmother."
(Brown, 2003: 439)
After the accident, Neveu lives with her grandfather in France. She was
raised by her grandfather. There is a rule for Neveu from her grandfather that is
she must speak English in home. She only speaks French when she was in school.
It is stated by quotation below:
"Sophie, please listen." He was speaking English to her, as he

always did when she was a little girl. Practice French at
school. Practice English at home.
(Brown, 2003: 76)
Jacques Sauniere raised Neveu by his interest in codes, puzzles, and word
games. It has influenced Neveu’s life so much. It makes Neveu has a passion in
cryptography. She goes to Royal Holloway, one of university in England to study
about cryptography. She went to the Royal Holloway; one of university in
England. It can be seen by following quotation:
Sophie Neveu was one of DCPJ's biggest mistakes. A young

Parisian déchiffreuse who had studied cryptography in England
at the Royal Holloway, Sophie Neveu had been foisted on
Fache two years ago as part of the ministry's attempt to
incorporate more women into the police force.
(Brown, 2003: 49)
Jacques Sauniere has raised Neveu in different way. He introduces and
familiarizes codes, puzzles and word games to Neveu since she was a child. He
does it through crossword, cryptogram, Mathematical puzzle, and substitution
cipher. It makes Neveu has passion in cryptography and she makes it as her
profession when she has graduated from university. She works for Judicial Police
in France as code breaker. It can be proved by following quotation:
Sophie's passion and aptitude for cryptography were a product

of growing up with Jacques Saunière—a fanatic himself for
codes, word games, and puzzles. How many Sundays did we
spend doing the cryptograms and crosswords in the
newspaper?
At the age of twelve, Sophie could finish the Le Monde
crossword without any help, and her grandfather graduated her
to crosswords in English, mathematical puzzles, and
substitution ciphers. Sophie devoured them all. Eventually she
turned her passion into a profession by becoming a
codebreaker for the Judicial Police.
(Brown, 2003: 77)
Neveu is also raised up by her grandfather interest in art. Her grandfather
introduced her about art since she was a child. He introduced her to some of
famous Italian artist and their works. He brings Neveu when he worked and
introduced her to some of their art work. One of them is Mona Lisa, the painting
of Da Vinci. He brings Neveu to visit Salle des Etats, a private viewing chamber
where the Mona Lisa is housed. He asks her opinion about Mona Lisa and
explains her about the style of painting of Da Vinci. It can be seen from following
quotation.
"So what do you think?" her grandfather whispered, arriving

behind her. "Beautiful, yes?"
"She's too little."
Saunière smiled. "You're little and you're beautiful."
I am not beautiful, she thought. Sophie hated her red hair and
freckles, and she was bigger than all the boys in her class. She
looked back at the Mona Lisa and shook her head. "She's even
worse than in the books. Her face is...brumeux."
"Foggy," her grandfather tutored.
"Foggy," Sophie repeated, knowing the conversation would not
continue until she repeated her new vocabulary word.
"That's called the sfumato style of painting," he told her, "and
it's very hard to do. Leonardo da Vinci was better at it than
anyone."
(Brown, 2003: 101)
Though Neveu does not like Mona Lisa, one of Da Vinci painting, but
Neveu likes the other work of Da Vinci. It is Vitruvian Man, a spread eagle
position naked man inside a circle. It can be seen from the quotation below:
"The Vitruvian Man," she said flatly. "That particular sketch

has always been my favorite Da Vinci work.
Tonight he used it to catch my attention."
"Hold on. You're saying the curator knew your favorite piece of
art?"
(Brown, 2003: 69)
Jacques Sauniere also introduces art to Neveu through a treasure hunt. He
makes it as a challenge for Neveu to find her gift. Cryptex is one piece of art that
Jacques Sauniere has ever used in his treasure hunt. Cryptex is one of Da Vinci
invention. It serves as a vault to stores secret information. Jacques Sauniere ever
made the cryptex for a couple times to be involved in his treasure hunt when
Neveu’s birthday. The riddle that is told by Jacques Sauniere is the key to open
the crytex. Once she can open the cryptex, a new riddle is waiting to be solved. It
can be proved by following quotation:
Now there was a glint in Sophie's eye. "My grandfather used to

craft these as a hobby. They were invented by
Leonardo da Vinci."
Even in the diffuse light, Sophie could see Langdon's surprise.
"Da Vinci?" he muttered, looking again at the canister.
"Yes. It's called a cryptex. According to my grandfather, the
blueprints come from one of Da Vinci's secret diaries."
"What is it for?"
Considering tonight's events, Sophie knew the answer might
have some interesting implications. "It's a vault," she said. "For
storing secret information."
(Brown, 2003: 198)
"Some smaller ones, yes. A couple times for my birthday, he

gave me a cryptex and told me a riddle. The answer to the
riddle was the password to the cryptex, and once I figured it
out, I could open it up and find my birthday card."
"A lot of work for a card."
"No, the cards always contained another riddle or clue. My
grandfather loved creating elaborate treasure hunts around our
house, a string of clues that eventually led to my real gift. Each
treasure hunt was a test of character and merit, to ensure I
earned my rewards. And the tests were never simple."
(Brown, 2003: 200)
For everyday transportation, Neveu always rides her own car. That is
SmartCar. The color is red. SmartCar is a snub-nosed two seater car. It is stated by
quotation below:
She handed Langdon her car keys. "Mine is the red SmartCar
in the employee lot. Directly outside this bulkhead. Do you
know how to get to the embassy?"
(Brown, 2003: 102)
"That's it there," Sophie called, pointing to a red snub-nosed

two-seater parked on the plaza.
She's kidding, right? The vehicle was easily the smallest car
Langdon had ever seen.
"SmartCar," she said. "A hundred kilometers to the liter."
(Brown, 2003: 137)
From the quotation and explanation above, it can be said if Neveu is
from middle class. It can be seen from some aspects. The first is the family
background. Neveu’s family consists of father, mother, little brother, grandfather
and grandmother. They are travelling when an accident happened. It is only
Neveu and her grandfather who survive from the accident. Next is the
transportation they used. Both Sophie Neveu and her family used car as their
transportation. Nveu uses her SmartCart as her daily transportation and her family
died in a car accident when they were travelling. Next is her family relation.
Neveu’s grandparents are the curator. Her grandfather is the curator of Louvre
Museum, the most well known art museum in world and her grandmother is the
curator of Rosslyn Chapel and as the head of Rosslyn trust. They are not ordinary
people considering to their job as curator. Their knowledge about art is needed for
their job. It also can be seen from her education, job, and interest. Raised up by
her grandfather, makes Neveu has passion in cryptography and she makes it as
her profession. She leaves France and goes to Royal Holloway, a university in
England, to study about cryptography. After graduating from there, she backs to
France and works for Judicial Police, a police enforcement in France, as code
breaker. Not only that, Neveu also has a favorite piece of art. It happens because
her grandfather introduces her to some of famous Italian artist, one of them is
Leonardo Da Vinci. The Mona Lisa, cryptex, and The Vitruvian Man are the work
of Da Vinci that ever be introduced to Sophie Neveu and The Vitruvian Man is
her favorite. The other proof is Sophie Neveu also capable to speak in two
languages, French and English. Her grandfather teaches her to speak English
when she is in home and French when she is in school.
4.4. Symbol
In this sub chapter the writer discusses the symbols that appear in The Da
Vinci Code especially that relate to the Sacred Feminine. According to the theory
of literature on Chapter III, there are some definitions of symbol. But, the writer
chooses to use the definition of symbol according to Sebeok. Based on his
definition of symbol in Nöth (1990:108), symbol is a sign that has a conventional
link between the signifier and signified. All the symbol of Sacred Feminine in
Brown’s The Da Vinci Code appears in different forms. It can appear in a form of
name, thing or picture. The sacred feminine symbol help Sophie Neveu to solve
her problem and reveal some truth that her grandfather wants to tell. The truth can
only be revealed if Sophie Neveu can solve every riddle made by her grandfather
and sacred feminine symbol appears as the key to finish it.
4.4.1. Sophie Neveu
Sophie Neveu is Jacques Sauniere’s granddaughter who tries to reveal the
secret that her grandfather wants to tell to her before he died. Her name has its
root from one name of Greek Goddess, that is Sophia. Sophia means wisdom and
she is the goddess of wisdom. It can be seen from following quotation:
Langdon was nodding enthusiastically. "Yes! Sophia literally

means wisdom in Greek. The root of your name, Sophie, is
literally a 'word of wisdom.' “
(Brown, 2003: 320)
4.4.2. Holy Grail
In society, Holy Grail is known as The Cup of Christ. A cup that is used to
share wine when Last Supper, the last dining of Jesus and His disciple. It is also
the cup that is used by Joseph Arimathea to catch the blood of Jesus when
crucifixion. But in The Da Vinci Code novel, Holy Grail is literal meaning of
Sangreal. It is a collection of document that reveals some dark secret. Its word
derives from the French, Sangraal that then evolves to Sangreal and split into two
words, San Greal. It can be seen from the quotation below:
Langdon nodded, his expression serious. "Holy Grail is the

literal meaning of Sangreal. The phrase derives from the
French Sangraal, which evolved to Sangreal, and was
eventually split into two words, San Greal."
Holy Grail. Sophie was surprised she had not spotted the
linguistic ties immediately. Even so, Langdon's claim still
made no sense to her. "I thought the Holy Grail was a cup. You
just told me the Sangreal is a collection of documents that
reveals some dark secret."
(Brown, 2003: 162)
The true nature of the Grail? Sophie felt even more lost now.
The Holy Grail, she had thought, was the cup that Jesus drank
from at the Last Supper and with which Joseph of Arimathea
later caught His blood at the crucifixion. "The Holy Grail is the
Cup of Christ," she said. "How much simpler could it be?"
(Brown, 2003: 162)
Holy Grail is the symbol of sacred feminine and goddesses. The link
between them is chalice. Holy Grail and sacred feminine consist of two words,
Holy and Grail, sacred and feminine. Holy synonymous with sacred that means
related with God, and Grail is the symbol of womanhood. Womanhood is
associated with feminity or everything that is feminine or related to woman.
Chalice comes between Holy Grail and sacred feminine as a link because chalice
is the ancient symbol of female. It resembles cup or vessel, or more important it
resembles the shape of womb. It is because the picture of chalice likes letter of
“V”. Womb can only be found in a woman and it has always been associated with
woman. From womb, man is born to the world. Because of her role, giving birth,
once in the past time woman is considered as holy. Woman can give a man life by
giving a man birth to the world like God can do in the first time when the world is
created. It can be proved by quotation below:
"Exactly." Langdon smiled. "The Grail is literally the ancient

symbol for womanhood, and the Holy Grail represents the
sacred feminine and the goddess, which of course has now
been lost, virtually eliminated by the Church. The power of the
female and her ability to produce life was once very sacred, but
it posed a threat to the rise of the predominantly male Church,
and so the sacred feminine was demonized and called unclean.
(Brown, 2003: 238)
Langdon winced. "Moving on, the female symbol, as you
might imagine, is the exact opposite." He drew another symbol
on the page. "This is called the chalice."
Sophie glanced up, looking surprised.

Langdon could see she had made the connection. "The
chalice," he said, "resembles a cup or vessel, and more
important, it resembles the shape of a woman's womb. This
symbol communicates femininity, womanhood, and fertility."
Langdon looked directly at her now.
(Brown, 2003: 238)
4.4.3. Rosa Rugosa
Rosa Rugosa is five petal rose, one of the oldest species of rose. It is the
symbol of Holy Grail. Womanhood is link that connects them. It is because the
five petals in Rosa Rugosa create pentagonal symmetry and pentagonal symmetry
or also known as pentacle is the symbol of Venus. Not only it, the five petals also
represent the five stages in women’s life in the past. They are birth, menstruation,
motherhood, menopause, and death. In modern times, the blossoming rose
represents female genitalia from which a man enters the world. It can be seen
from following quotation:
Langdon stared in wonderment at the lid's hand-carved inlay—

a five-petal rose. He had seen this type of rose many times.
"The five-petal rose," he whispered, "is a Priory symbol for the
Holy Grail."
(Brown, 2003:190)
Rosa rugosa, one of the oldest species of rose, had five petals
and pentagonal symmetry, just like the guiding star of Venus,
giving the Rose strong iconographic ties to womanhood.
(Brown, 2003: 202)
"The Rose has always been the premiere symbol of female

sexuality. In primitive goddess cults, the five petals represented
the five stations of female life—birth, menstruation,
motherhood, menopause, and death. And in modern times, the
flowering rose's ties to womanhood are considered more
visual." He glanced at Robert. "Perhaps the symbologist could
explain?"
Robert hesitated. A moment too long.
"Oh, heavens!" Teabing huffed. "You Americans are such
prudes." He looked back at Sophie. "What Robert is fumbling
with is the fact that the blossoming flower resembles the
female genitalia, the sublime blossom from which all mankind
enters the world.
(Brown, 2003: 255)
Another link that connects The Rose to Holy Grail is secrecy and
guidance. Secrecy because rose has been used in Roman times to be hung on the
door over a meeting to indicate that the meeting was a secret. It was known as sub
rosa. It means everything under the rose had to remain secret. It can be seen from
"Sub rosa," Langdon said. "The Romans hung a rose over

meetings to indicate the meeting was confidential. Attendees
understood that whatever was said under the rose—or sub
rosa—had to remain a secret."
(Brown, 2003: 201)
Compass Rose and Rose Line are reasons why the symbol of rose is
associated with guidance. Rose Line is longitudinal line on map and Compass
Rose is a compass that denotes four winds-North, South, West and East. It is
originated from Wind Rose that denotes to thirty two winds. The thirty two points
of winds resembles a traditional petal rose bloom. Both Compass Rose and Rose
Line always help travelers to find the true way and to navigate them in proper
direction or in one way. It is stated by quotation below:
For centuries, the symbol of the Rose had been associated with
maps and guiding souls in the proper direction. The Compass
Rose—drawn on almost every map— indicated North, East,
South, and West. Originally known as the Wind Rose, it
denoted the directions of the thirty two winds, blowing from
the directions of eight major winds, eight half-winds, and
sixteen quarter-winds. When diagrammed inside a circle, these
thirty-two points of the compass perfectly resembled a
traditional thirty-two petal rose bloom.
(Brown, 2003: 106)
In addition, the Rose had close ties to the concept of "true

direction" and navigating one's way. The Compass Rose helped
travelers navigate, as did Rose Lines, the longitudinal lines on
maps.
(Brown, 2003: 202)
Because of those reason, The Rose speaks the Grail on many level. They
are secrecy, womanhood, and guidance. The woman that leads in true direction to
the truth that remains secret. It can be proved by following quotation:
For this reason, the Rose was a symbol that spoke of the Grail
on many levels—secrecy, womanhood, and guidance—the
feminine chalice and guiding star that led to secret truth
(Brown, 2003: 202)
4.4.4. The Mona Lisa
The Mona Lisa is one of famous painting in world. It is work of Leonardo
Da Vinci, one of famous Italian artist. Name of Mona Lisa is an anagram of
Egyptian god and goddess, the unification of their names. Amon is the Egyptian
god of fertility and his equal partner is Isis, the Egyptian goddess of fertility. Isis
in ancient pictogram has also called L’ISA. When their name is written, AMON
L’ISA, it creates perfect anagram of name MONA LISA. It can be seen from the
"And do you know who Amon's counterpart was? The Egyptian goddess
of fertility?"
The question met with several seconds of silence.
"It was Isis," Langdon told them, grabbing a grease pen. "So
we have the male god, Amon." He wrote it down. "And the
female goddess, Isis, whose ancient pictogram was once called
L'ISA."
Langdon finished writing and stepped back from the projector.
AMON L'ISA
"Ring any bells?" he asked.
"Mona Lisa... holy crap," somebody gasped.
Langdon nodded. "Gentlemen, not only does the face of Mona
Lisa look androgynous, but her name is an anagram of the
divine union of male and female.
(Brown, 2003: 120-121)
4.4.5. Hermaphrodite
Hermaphrodite is nicknaming for animal that has two organs both male
and female. According to Oxford Advance Learner’s Dictionary (Homby, 1995),
hermaphrodite means “a person or an animal that has both male and female
organs and characteristics.” Etymologically, the word hermaphrodite comes from
name of Greek god and goddess, Hermes and Aphrodite. It can be seen from
quotation below:
This elicited a hearty round of laughs. Langdon considered

offering an etymological sidebar about the word
hermaphrodite and its ties to Hermes and Aphrodite, but
something told him it would be lost on this crowd.
(Brown, 2003: 120)
4.4.6. Pentacle
Pentacle is five pointed star that formed from five lines that are intersected
each other.
In society, pentacle is always related to pagan religion or usually known as
devil worship. But in The Da Vinci Code novel, pentacle is a pre-Christian symbol
relates to Nature worship in which the ancients dream about the harmony of the
world through balance of masculine and feminine. The word itself is rooted from
Latin, paganus. It means country dwellers, the people who live in village or
country. So, pagan religion is a religion of Nature worship which grows within the
people who live in rural area. But it turns to have bad meaning because of
Church’s fear toward the people who live in rural area. Villes which once is nice
nicknaming for “villagers” turns out to mean wicked soul. The meaning is rooted
from the word villain. It can be seen from the following quotation:
Saunière had drawn a simple symbol on his flesh—five straight

lines that intersected to form a five-pointed star.
The pentacle.
(Brown, 2003: 35)
"Symbols carry different meanings in different settings,"

Langdon said. "Primarily, the pentacle is a pagan religious
symbol."
Fache nodded. "Devil worship."
"No," Langdon corrected, immediately realizing his choice of
vocabulary should have been clearer.
Nowadays, the term pagan had become almost synonymous
with devil worship—a gross misconception. The word's roots
actually reached back to the Latin paganus, meaning country-
dwellers. "Pagans" were literally unindoctrinated country-folk
who clung to the old, rural religions of Nature worship. In fact,
so strong was the Church's fear of those who lived in the rural
villes that the once innocuous word for "villager"—villain—
came to mean a wicked soul.
(Brown, 2003: 35-36)
A Pentacle is the symbol of sacred feminine or divine goddess and more
specific it is the symbol of Venus, the goddess of sexual love and beauty. It can be
Langdon motioned to Saunière'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.' Saunière, of all people, would know this."
"Saunière 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, 2003:36)
The link between the pentacle and the goddess is perfection and beauty.
Goddess is always associated with perfection and beauty, no goddess who were
born imperfect and ugly, and so does the pentacle. It happens because the ratio of
each line segment in pentacle is equal to PHI, 1.618. PHI is a fundamental
building block in nature that can be found in animal, plant or even human.
Because the Creator is the one who create the world and all in its inside, so the
ancients assume that The Creator is the one who made the PHI then the scientists
called it as Divine Proportion. Everything is made by the Creator is perfect and
beautiful. It can be seen from the quotation below:
PHI was its role as a fundamental building block in nature.

Plants, animals, and even human beings all possessed
dimensional properties that adhered with eerie exactitude to the
ratio of PHI to 1.
"PHI's ubiquity in nature," Langdon said, killing the lights,
"clearly exceeds coincidence, and so the ancients assumed the
number PHI must have been preordained by the Creator of the
universe. Early scientists heralded onepoint- six-one-eight as
the Divine Proportion."
(Brown, 2003: 94)
Langdon gave the kid a proud nod. "Nice job. Yes, the ratios of
line segments in a pentacle all equal PHI, making this symbol
the ultimate expression of the Divine Proportion. For this
reason, the five-pointed star has always been the symbol for
beauty and perfection associated with the goddess and the
sacred feminine."
(Brown, 2003: 96)
It is more specific that the pentacle is the symbol of Venus because of its
graphic origin. Every eight years, the planet of Venus leaves a perfect a pentacle
across the elliptic sky. No one knows how it can happen and no one can explain
how it happens. Everyone who knows and learns it, are astonished with the
phenomenon. It is stated by quotation below:
Langdon decided not to share the pentacle's most astonishing

property—the graphic origin of its ties to Venus. As a young
astronomy student, Langdon had been stunned to learn the
planet Venus traced a perfect pentacle across the ecliptic sky
every eight years.
(Brown, 2003: 36)
4.4.7. The Vitruvian Man
The Vitruvian Man is one of Da Vinci’s works. It is a picture of a naked
man in spread eagle position inside perfect circle. The circle around the man is
feminine symbol of protection.
Those two elements, a naked man and the circle, give an intend message,
that is male and female are in harmony. They unite to create harmony in world. It
is stated by quotation below:
Considered the most anatomically correct drawing of its day,

Da Vinci's The Vitruvian Man had become a modern-day icon
of culture, appearing on posters, mouse pads, and T-shirts
around the world. The celebrated sketch consisted of a perfect
circle in which was inscribed a nude male... his arms and legs
outstretched in a naked spread eagle.
(Brown, 2003: 45)
The circle had been the missing critical element. A feminine

symbol of protection, the circle around the naked man's body
completed Da Vinci's intended message—male and female
harmony.
(Brown, 2003: 45)
4.4.8. The Star of David
The Star of David or the seal of Solomon is the perfect example of
unification between male and female. Its picture comes from the unification of
blade and chalice. Blade is the symbol of masculine and chalice is the symbol of
feminine. They are fuse as one to create balance and harmony. It is stated by
quotation below:
The blade and chalice.

Fused as one.
The Star of David... the perfect union of male and female...
Solomon's Seal... marking the Holy of Holies, where the male
and female deities—Yahweh and Shekinah—were thought to
dwell.
(Brown, 2003: 446)
4.4.9. Left
Left usually used to show directions. It is the opposite of right. In The Da
Vinci Code novel, left always has bad meaning. The word “left” in France and
Italy is gauche and sinistra. Those words also have deep negative meaning. It
always relates to evil. It can be seen from the quotation below:
Not even the feminine association with the left-hand side could
escape the Church's defamation. In France and Italy, the words
for "left"—gauche and sinistra—came to have deeply negative
overtones, while their right-hand counterparts rang of
righteousness, dexterity, and correctness. To this day, radical
thought was considered left wing, irrational thought was left
brain, and anything evil, sinister.
(Brown, 2003: 125)
Sacred feminine is everything relates to women and their role that has not
been acknowledge or honored by people. From that definition, we can conclude

that there are many symbol of sacred feminine in the novel. All of the sacred
feminine symbols will be as follows:
First is Sophie Neveu. Sophie Neveu is one of character in The Da Vinci
Code novel. She is granddaughter of Jacques Sauniere, the curator of Louvre
Museum. She belongs to sacred feminine symbol because her name is rooted from
the goddess of wisdom, Sophia.
Next is Holy Grail. Holy Grail is one of sacred feminine symbols. It is
because Holy Grail, based on the novel, is a woman. It is related with its symbol.
The symbol of Holy Grail is a chalice, an ancient feminine symbol that shapes
like “V” letter. It represents the woman’s womb. The role of a woman as a life
giver, give a man birth to world, is same as like God’s power that create man and
give him life in world. Her role once is considered as sacred.
The other symbol of sacred feminine is Rosa Rugosa. This rose has five
petal and they create pentagonal symmetry. The pentagonal symmetry or known
as pentacle is the symbol of Venus, the goddess of sexual love and beauty. The
Rose also represents the woman’s genitalia, where a man enters the world for the
first time he was born.
The unification of male and female is represented by the Mona Lisa. Its
name was the anagram of Egyptian god and goddess. They are Amon and Isis, the
god and goddess of fertility. Once, Isis’ pictogram was L’isa.
The unification of male and female can also be seen in word
Hermaphrodite. The word comes from the name of Greek god and goddess, they
are Hermes and Aphrodite.

Next symbol is pentacle. Pentacle is symbol of sacred feminine and most
specific is the symbol of Venus. Venus is the goddess of sexual love and beauty.
Not only that, pentacle is also related to pagan religion which has been known in
society as devil worship, but in the novel The Da Vinci Code, pagan religion is an
ancient religion before Christian that worship Mother Nature.
The Vitruvian Man is one of other sacred feminine symbol. It is the
picture of naked man in spread eagle inside a circle. Circle is the symbol of
feminine symbol. This picture shows how male and female are in balance to
create harmony in world.
Blade and chalice, the ancient feminine and masculine symbol, are fused
together. They form The Star of David or the Seal of Solomon. It represents the
unification of male and female to create harmony in world.
The last symbol of sacred feminine is left. Left is considered as everything
related to evil. It also happens to sacred feminine. It is considered as unclean
because it has been banished by the Church.
4.5 Contribution of Sacred Feminine Symbols to Sophie Neveu’s Conflict
and Setting
Sophie Neveu is a woman with many conflicts both external and internal.
It is started when she has not yet ready to see sex rite that was done by her
grandfather. She does not have enough knowledge about it. She blames her
grandfather that her grandfather lies to her. It makes her decides to keep her
distance away from him.

After her grandfather died, she starts her journey to reveal what her
grandfather wants to tell her. It started with four lines message beside her
grandfather corpse. Sacred feminine symbols are the key of her journey to solve
her problems. They make her meet with Robert Langdon, a professor of religious
symblogy, who has same interest with her grandfather in feminine. Langdon and
Neveu meet in Grand Gallery where the corpse of Jacques Sauniere is located.
Langdon has become the primary suspect of Jacques Sauniere murder because his
name is written in the last message. From him, she learns about Priory of Sion,
the guardian of Holy Grail and her grandfather is one of four top members in the
society. She also gets a different point of view about sex rites. Sex rite that her
grandfather did is a rite to honor the unification of male and female, the thing that
once is very sacred and the way to learn fully about God. Indirectly, it makes her
knows her grandfather well and she can fix her mistake in past time toward her
grandfather. It also makes her knows how much her grandfather loves her. It can
be proved from following quotation:
"So you shared interests with him?" Fache asked.

"Yes. In fact, I've spent much of the last year writing the draft
for a book that deals with Mr. Saunière's primary area of
expertise. I was looking forward to picking his brain."
Fache glanced up. "Pardon?"
The idiom apparently didn't translate. "I was looking forward
to learning his thoughts on the topic."
"I see. And what is the topic?"
Langdon hesitated, uncertain exactly how to put it.
"Essentially, the manuscript is about the iconography of
goddess worship—the concept of female sanctity and the art
and symbols associated with it."
(Brown, 2003: 23)
Sacred feminine symbols are the reason why she meets Sir Leigh Teabing.
Sir Leigh Teabing is a person who devotes his life to find Holy Grail and attempts
to broadcast the truth of Holy Grail to world. After getting the cryptex that has
been saved in Depository Bank of Zurich, Langdon asks Neveu to go to Leigh
Teabing house because he is sure that the cryptex is the keystone to find Holy
Grail. Considering Teabing passion in Holy Grail, Langdon thinks that Teabing is
the right person to help them and he is so sure that Teabing will help them
without thinking twice. But unfortunately, Sir Leigh Teabing is the person behind
Jacques Sauniere death. He did this because according to him her grandfather has
betrayed the Holy Grail by hiding the truth of Holy Grail for a long time.
Langdon sighed. "I was hoping you would be kind enough to

explain to Ms. Neveu the true nature of the Holy Grail."
Teabing looked stunned. "She doesn't know?"
Langdon shook his head.
The smile that grew on Teabing's face was almost obscene.
"Robert, you've brought me a virgin?"
Langdon winced, glancing at Sophie. "Virgin is the term Grail
enthusiasts use to describe anyone who has never heard the true
Grail story."
(Brown, 2003: 229)
Neveu thinks that she is alone in the world after her grandfather died. Her
family has died in a car accident some years ago. It took her mother, father,
grandmother, and little brother. Sacred feminine symbols lead her to the truth that
she still has her grandmother and little brother. They live in Scotland, beside The
Rosslyn Chapel. After Neveu and Langdon are success to open the second
cryptex, they go to the Rosslyn Chapel like has been said in their next clue that is
nested inside the second cryptex. And unpredictably, makes Neveu meets with her
grandmother and her little brother. Not only make Neveu meets with her
grandmother and little brother, sacred feminine symbols also reveal the truth of
her and her family. She and her family are the part of the secret truth that has been
kept for a long time and hidden from the world. It can be proved from following
quotation:
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: 447)
Sophie and her grandmother were seated on the porch stairs in

a tearful hug when the young docent dashed across the lawn,
his eyes shining with hope and disbelief.
"Sophie?"
Through her tears, Sophie nodded, standing. She did not know
the young man's face, but as they embraced, she could feel the
power of the blood coursing through his veins... the blood she
now understood they shared.
(Brown, 2003: 441)
Unconsciously, sacred feminine symbol is a familiar thing for her since
she was a child. Everything that has ever taught by her grandfather is related to
sacred feminine. The example of it is art, especially Da Vinci work. The Vitruvian
Man, her favorite work is a sacred feminine symbol and so does The Mona Lisa,
the painting of Da Vinci that she dislikes. The other is pentacle that appears in
Tarot card. Neveu and her grandfather like to play Tarot for fun and pentacle is
their special symbol.
"Yes. I didn't get a chance to tell you, but the pentacle was a
special symbol between my grandfather and me when I was
growing up. We used to play Tarot cards for fun, and my
indicator card always turned out to be from the suit of
pentacles. I'm sure he stacked the deck, but pentacles got to be
our little joke."
(Brown, 2003: 92)
Setting of place is one of important element in a story. It tells us where the
event takes place. Setting of place of The Da Vinci Code novel is begun in Grand
Gallery, Louvre Museum. It is the place where Jacques Sauniere corpse is found
in position of The Vitruvin Man and picture of pentacle in his stomach.
He writes four lines message beside his body that point to The Mona Lisa
painting in Salle des Etats. In The Mona Lisa painting, Neveu gets another
message formed in anagram. The anagram is pointed to another Da Vinci work
that is Madonna of the Rocks painting.
The journey is not ended up yet, it continues to Depository Bank of
Zurich. In this place Neveu and Langdon get a cryptex that is laid in rosewood
box with The Rose craved in its lid. Cryptex is a tool to store secret information.
Because Neveu and Langdon cannot open the cryptex, they go to Teabing
house, Chȃteau Villette. In Teabing house, Neveu learns the nature of Holy Grail
which is in fact is a woman. It is because the symbol that is used to represent
Holy Grail is same as the ancient symbol of woman that is a chalice. It represents
the woman’s womb. To open the cryptex, Neveu and Langdon need five letters
that become the key to open it. Like what ancient Romans usually did, sub Rosa,
Jacques Sauniere places the clue to open the cryptex is under The Rose in
rosewood box lid. Sub Rosa is a way of ancient Romans to indicate that
something is confidential. The thing that makes Neveu is surprised, is the key to
open the cryptex is the roots of her name, Sophia. She is the goddess of wisdom.
When they open the cryptex, there is another cryptex nested inside and a
sheet of vellum as their clue to open it. The clue points to Westminster Abbey,
exactly in Newton’s tomb. He is one of members in Priory of Sion. Newton’s
tomb gives Langdon the key to open the second cryptex.
After the second cryptex is opened, Neveu and Langdon go to Scotland,
precisely in The Rosslyn Chapel. Rosslyn Chapel is a chapel of codes and
symbols from many religions. It is the first place where Neveu learns her first
codes when she was a child. There is a symbol engraved in its floor that is Star of
David. It is a symbol of unification between male and female to create balance in
world.
From those explanations above, it can be said that The Da Vinci Code
novel is a treasure hunt novel to find the truth secret that has been kept for a long
time. The truth secret relates to the sacred feminine that has been banished to
create man’s power in world. Their role that once is sacred also considered as
unclean. It includes some of Leonardo Da Vinci work which in this novel is
believed contains of sacred feminine symbols. Leonardo Da Vinci, in this novel is
told as one of top member in Priory of Sion. And as one of top member in Priory
of Sion, he knows where the location of the secret truth. It also happens to
Jacques Sauniere. He is also the one of top members in Priory of Sion.
Jacques Sauniere makes a series of riddle before he died to tell the truth to
her granddaughter, Sophie Neveu. Jacques Sauniere, likes Leonardo Da Vinci
who has passion in feminine symbols, includes some sacred feminine symbols in
his riddle. It becomes the clue or even the key to solve his riddle. Those sacred
feminine symbols help her to go to the next place that she should visit. In every
place that she visits, it is always hidden the next clue or something that has been
left by Jacques Sauniere for Sophie Neveu. Those symbols of sacred feminine are
the key for Sophie Neveu to know and learn what she does not know before.
They help her to fix her mistake toward her grandfather in past time. All the
symbols of sacred feminine in every riddle show how much her grandfather loves
her and his hard efforts to tell the truth to her. The riddle is the last message of her
grandfather when he was dying. By solving it, Sophie Neveu can cure her regret
toward what she has done to her grandfather. Those symbols also lead Neveu to
reveal who she is and the truth of her family. It teaches her about her family that
she believed is only ordinary family. She never heard the truth of her family
before. When Jacques Sauniere wants to tell her, she always keeps her distance
from him. And from her journey and all the symbols of sacred feminine which
helps her to solve every riddle, finally she knows if she is the part of secret truth
that has been kept for a long time. Her family is one of descendants of secret truth
that still survives to this day.

CHAPTER V
CONCLUSION
5.1. Conclusion
Based from the analysis provided in Chapter IV, it may be concluded as
follows:
Sophie Neveu as a character in Brown’s The Da Vinci Code belongs to
round character. It is because she has both positive and negative sides. She is an
orphan who has raised by her grandfather, Jacques Sauniere. She described as
middle aged woman who is wise, responsible, smart, firm, emotional, and risk
taking. Her positives sides appear when she shows her responsibility toward
something that she has done. She keeps the cryptex that her grandfather gave to
her and attempts to reveal the message that her grandfather wants to tell. She does
it because she wants to fix her mistake and her relationship with her grandfather.
While her negatives sides appear when she does something based on her feeling.
She is driven by her feeling to do something that she thinks it is right to do.
Although it is really right to do, she does it without calculating the risk that she
will get.
Sophie Neveu experiences external and internal conflict. Her internal conflict
happens after she saw sex rite in spring some years ago. This internal conflict
creates external conflict with her grandfather. She feels disappointed to her
grandfather because she feels that her grandfather has lie to her. It makes her
decides to leave her grandfather and not let him to reach her. The other Neveu’s
external conflict is she against Langdon and Teabing. Her conflict with Langdon
is happened because of different idea. Langdon and Neveu always have different
idea to solve the problem and riddle. While her conflict with Teabing is happened
after she knows that Teabing is the person behind her grandfather murder.
The journey to solve Jacques Sauniere happens in several locations. It is
started in Louvre Museum of France especially in Grand Gallery and Salle des
Etats. The next place in France is Depository Bank of Zurich. After in France the
journey is continued in London especially in Newton’s tomb, Westminster Abbey.
It is the resting home for the great person. After in London, Neveu and Langdon
go to Scotland. They go to Rosslyn Chapel, chapel of codes and symbol from
many religions. Most of events in Brown’s The Da Vinci Code happen in night.
Sophie Neveu belongs to middle high class. It can be seen from some aspects
of her life. She was raised by her grandfather, Jacques Sauniere who is a curator
of Louvre Museum. She was raised in the way of Jacques Sauniere’s interests.
Since she was a child, Jacques Sauniere has introduced her to codes, word games,
puzzle, and art, especially Da Vinci’s work. Her favorite’s work of Da Vinci is
The Vitruvian Man. In fact her grandmother, Marie Chauvel is also a curator of
Rosslyn Chapel. Her grandfather teaches her to speak in two languages, French
and English. She graduates from Royal Holloway University of England and
works for DCPJ as a code-breaker. She uses car as her daily transportation, and so
does her family when the accident happened.
Brown’s The Da Vinci novel contains many symbols, especially sacred
feminine symbols. It is related to woman and their role that has not been
acknowledge or honored by people. The symbols are, Sophie Neveu, Holy Grail,
Rosa Rugosa, The Mona Lisa, Hermaphrodite, Pentacle, The Vitruvian Man, The
Star of David and Left. Those symbols are the key of the story. They helps Neveu
to solve her problem and indirectly those symbols meet Neveu with Robert
Langdon, a professor of religious symbology, to explain her about everything
relates to Holy Grail, including sex rite that has made her keep her distance from
her grandfather. Those symbols also meet her with Teabing, a grail seeker, who is
in fact is a person behind her grandfather’ death. Not only that, those symbols
reveal the truth of her, that is the part of the secret truth and so does her family.
She meets again with her grandmother and little brother that is believed has died
in a car accident when she was a child.
5.2. Suggestion
To conduct this thesis, the writer uses structural approach to analyze the
intrinsic element of Brown’s The Da Vinci Code novel. The writer analyses
character, conflict and setting that belong to intrinsic element. The other approach
that the writer used to conduct this thesis is semiotic approach. She uses semiotic
approach to analyze symbols, especially sacred feminine symbols that are found
in the novel. It is suggested to the next researcher to analyze Brown’s The Da
Vinci Code novel using another approach such as psychological approach
especially in motives. It is because every character in Brown’s The Da Vinci Code
has a motive to do what they want to do especially Sophie Neveu. After ten years
she had not met with her grandfather, she fulfills her grandfather last dying
message without knowing anything what her grandfather wants to tell her.
BIBLIOGRAPHY
Brown, Dan. 2003. The Da Vinci Code. New York: Double Day
Harsono, Siswo. 1999. Metodologi Penelitian Sastra. Semarang:

Deaparamartha Desktop Publishing
Hudson, William Henry. 1913. An Introduction to The Study of Literature.

London: George G. Harrap & Company
Klarer, Mario. 1999. An Introduction to Literary Studies. London and New

York: Routledge
Nöth, Winfried. 1995. Handbook of Semiotic. Bloomington and Indianapolis:

Indiana University Press
Homby, A S. (Ed) 1995. Oxford Advanced Learner’s Dictionary of Current

English. Oxford: Oxford University Press
Perrine, Laurence. 1984. Literature, Structure and Sense. United States of

America: Harcourt Brace and Company
Peck, Amy. 1996. What is the Sacred Feminine essay downloaded at

http://www.goddess-studio.com/pdf_flyers/What-is-the-Sacred-Feminine_
essay_c1996_rev_4-20-12_by_Amalya.pdf)
Reaske, Christoper Russel. 1966. How to Analyze Drama. New York:

Monarch Press
http://www.annebaring.com/anbar06_div-fem.htm
http://secretsbehindthedavincicode.wetpaint.com/page/The+Sacred+Feminine

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SACRED FEMININE SYMBOL DESCRIBED IN

DAN BROWN’S THE DA VINCI CODE

Submitted in partial fulfillment of the requirements for the completion for

I certify that this thesis is absolutely my own work. I am completely responsible

with respect to ethical standard.

Semarang, August 2013

because every things in this world has many sides to be seen.

This thesis is dedicated to:

- My University, Dian Nuswantoro University

At this happiest moment, I would like to wish a prayer to my Lord, Jesus

Christ who has blessed me during writing this thesis.

Furthermore, I would like to express my sincere thanks to:

1. Mr. Achmad Basari, S.S., Dean of Faculty of Humanities of Dian

Nuswantoro University, who gave me permission to conduct this thesis.

2. Mr. Sunardi, S.S., M.Pd., The head of English Department of Strata 1

Program, Faculty of Humanities, Dian Nuswantoro University, who gave me

permission to conduct this thesis.

3. Ms. Valentina Widya, S.S., M.Hum., my adviser, for her continuous an

valuable guidance, advice, and encouragement in completing and finishing

4. Mrs. Haryati Sulistyorini, M.Hum., who has help me by giving me references

about semiotic research and how to do semiotic research.

book of theories of semiotic.

6. All lectures at the English Department of Faculty of Humanities of Dian

Nuswantoro Unversity, who have taught, motivated, given guidance and a

chance to get more experience and develop my skill in English language

during studying in English Department of Faculty of Humanities of Dian

Nuswantoro University for her permission to me for using some valuable

references to write this thesis.

when I thought I cannot do it.

10. All my friends in English Department of Faculty of Humanities of Dian

Nuswantoro University, especially Ima and Ajeng who have given me

support during writing this thesis.

shortcoming. For this I welcome any suggestions and critics.

Semarang, August 2013

Keywords: character, conflict, riddle, sacred feminine symbols, semiotic

STATEMENT OF ORIGINALITY........................................................ iii

1.1. Background of the Study...................................................... 1

1.2. Statement of the Problem...................................................... 3

1.3. Scope of the Study................................................................ 4

1.4. Objective of the Study.......................................................... 4

1.5. Significance of the Study...................................................... 4

1.6. Method of the Study............................................................. 5

1.6.1. Research Design........................................................... 5

1.6.2. Unit of Analysis........................................................... 5

1.6.3. Source of Data............................................................. 5

1.6.4. Technique of Data Collection...................................... 5

1.6.5. Technique of Data Analysis......................................... 6

1.6.5.1. Structural Approach......................................... 6

1.7 Thesis Organization .............................................................. 7

CHAPTER II AUTHOR AND SYNOPSIS

2.1. Dan Brown and His Work ................................................... 9

2.2. Synopsis of The Da Vinci Code .......................................... 11

CHAPTER III REVIEW OF RELATED LITERATURE

3.2. Conflict ................................................................................ 15

3.3. Setting ................................................................................. 17

3.4. Semiotic ............................................................................... 20

3.4.1. Symbol ........................................................................ 21

3.4.2. Sacred Feminine Symbol ............................................ 23

4.1. General Description and Characterization of