International Journal Of Literature And Languages
122
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue03 2025
PAGE NO.
122-126
10.37547/ijll/Volume05Issue03-31
The intertextuality of symbols: water and fire from
“angels and demons” by dan brown
Sadikova Dildora Nizomovna
Assistant teacher of Navoi State University, Department of Practical subjects of English language, Uzbekistan
Received:
27 January 2025;
Accepted:
28 February 2025;
Published:
29 March 2025
Abstract:
This article investigates the intertextuality of the elemental symbols
—
water, fire, sand, and air
—
across
literary, mythical, and cultural sources. Examining their recurrent themes, altering connotations, and connectivity
helps the study show how these symbols go beyond personal stories to create a global language of human
experience. To show the continuing relevance of these symbols, the study uses instances from ancient stories,
religious writings, classical literature, and contemporary media.
Keywords:
Intertextuality, hypotextuality, hypertextuality, symbol, water, air, sand, fire.
Introduction:
The examination of intertextuality has
been greatly impacted by postmodernism, which
emphasizes the fluidity and diversity of meaning that
are present in texts. The concept of a singular entity is
rejected by postmodern theory.
The proposal is that the meaning of texts is formulated
through a network of references and citations from
other texts, rather than through an authoritative
interpretation. This perspective is consistent with Julia
Kristeva's concept of intertextuality, which regards
texts as "mosaics of quotations." (Kristeva, 1986)
The first category of transtextuality, intertextuality was
first studied by J. Kristeva and is a key component of his
transtextual theory. G. Genette talked about this idea.
According to the hypothesis, several elements or
entities interact in either ways. Genette describes it as
a "relationship of co-presence" amongst books. This
shows that it either directly or subtly involves the
cohabitation or presence of one text inside another.
The intertextuality builds the categories as follows:
quotation, allusion, plagiarism, pastiche. (Sadikova,
2024)
Symbols can evoke strong emotions by associating
characters or actions with broader emotional or
cultural
associations.Through
the
process
of
recontextualizing symbols like air, water, fire in new
works, intertextuality makes it possible to reignite the
significance of these symbols. As an illustration, a
contemporary novel can adopt the concept of air as a
symbol of environmental consciousness, borrowing
inspiration from ancient ecological writings or myths
concerning the harmony of nature. Through this
process, the symbol gets defamiliarized, which in turn
gives it fresh semantic vitality and relevance. In
D.Braun’s “Angels and Devels” tried to reveal unwritten
history by symbols. “Illuminati” the society
- group of
people who joined to develop the science behind the
cathedral in midevel periods. The symbol carries to how
renossance period was difficult to conduct any research
without permission of church, the hidden stike
between religious and science. (D.Sadikova, 2024)
The traditional elements
—
water, earth, fire, and
air
—
as prominent symbols in a story examining the
conflict between science and faith in Dan Brown's
Angels and Demons reflecting more general issues of
dualism, power, and ideological strife, this study
examines how each element is weaponized by the
Illuminati to stage ritualistic murders. By means of
ambigrams, historical references, and the storyline of
the book, these components act as analogues for the
conflict between spiritual faith and empirical reason.
Harvard symbologist Robert Langdon unravels an
Illuminati scheme in Angels and Demons to destroy
the Vatican by means of murders linked to the four
elements. These components
—
water, earth, fire, and
air
—
are symbols rich in philosophical and historical
relevance in addition to means of application. Through
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International Journal Of Literature And Languages (ISSN: 2771-2834)
each murder serving as a perversion of conventional
iconography to emphasize this clash, this thesis
contends that Brown used these aspects to
juxtaposition the Enlightenment-era values of science
against the orthodoxy of organized religion.
Each murder in the book corresponds to one of these
elements. The killer uses a specific method related to
each element to kill the cardinals. For example, the first
cardinal is drowned (water), then another is burned
(fire), one is suffocated or something related to air, and
the last one is buried (earth), the elements are Water,
Earth, Fire, Air, each associated with a specific church
or location.
DISCUSSION AND LITERATURE REVIEW
Symbol of WATER
In Angels and Demonsby D.Brown , Cardinal Vetra
drowns and the first murder takes place at the Fountain
of the Four Rivers in Piazza Navona. Traditionally a sign
of life and spiritual cleansing, water starts to be used as
a tool of death. The ambigram for "water" reflects its
dual character: destructive but life-giving. Framing
water as both a means of retribution and a source of
rejuvenation, this act emphasizes how the Illuminati
manipulates holy symbols to subvert Church authority.
The symbolism of water is significant, as it embodies
numerous thoughts and ideas deeply rooted in human
history. It serves as a fundamental symbol of life,
representing growth, vitality, and the essential energy
that sustains all living organisms. Moreover, water is
often linked to wisdom, enlightenment, and clarity,
indicating that it serves as a wellspring of awareness
and knowledge. Water symbolizes purity; it is often
employed in religious and spiritual ceremonies to
cleanse the div and soul, signifying rebirth and
renewal. Water is also considered a purifying substance
in Islam and is utilized in several rites. Muslims perform
ablutions, or ritual washing, before prayer to attain
cleansing. Water is associated with the prophet
Muhammad, who is believed to have performed
various miracles related to water. Additionally, the
Kaaba, the holiest site in Islam, contains a well known
as Zamzam, believed to have curative qualities.
(Wahrman, 2016)
According to the majority of faiths, water has cleansing
properties. Christian, Hindu, Islamic, Judaic, Rastafari,
Shinto, Taoist, and Wiccan ritual washings are all part
of the faith. (Wahrman,2016) Baptism, the Christian
sacrament of immersion, is practiced in many faiths
around the world. In Islam, it is called Ghusl, in Judaism,
it is called mikvah, and in Sikhism, it is called Amrit
Sanskar. Furthermore, several faiths, like Judaism and
Islam, observe a ceremonial washing of the deceased in
clean water. (Lippincott & Co,1870) Unless water is in
short supply, Muslims are required to perform the five
daily prayers after purifying specific areas of their
bodies with water (wudu) (Tayammum). Water is
utilized in nearly every Shinto ritual for the purpose of
cleansing, such as in the guzul ritual.
Water is also a symbol of cultural identity and
environmental interconnectedness. Festivals like Holi
in India celebrate its life-giving properties, while
modern environmental movements emphasize its
fragility and the need for conservation. This duality
highlights humanity’s deep bond with water, both as a
resource and a spiritual force.
For Christian purposes such as baptism, blessing
individuals, locations, or things, or as a defense against
evil, a priest can sanctify water. (Altman,2002)
Zoroastrianism reveres water (āb) as the wellspring of
all life. (ABI,2018)
Zoroastrians still show great respect for water, and in
traditional villages offerings are often presented to the
household well or adjacent stream. (Boyce, 1975)
Officially for the "strengthening of the waters," the ape
zaothra ceremony
—
the last rite of the Yasna service
—
is essentially the major act of worship.
Apas (/ˈɑːpəs, aep
-
/, Avestan: āpas) is the phrase in the
Avestan language for "the waters," which, in its various
forms, is embodied by the Apas, the hypostases of the
waters.
To this day, Zoroastrians maintain a profound regard
for water, and in orthodox communities, offerings are
routinely offered to the household well or adjacent
stream. The ape zaothra ceremony, the final rite of the
Yasna service, which is the primary act of worship, is
explicitly
for
the
"fortification
of
the
waters."(Boyce,1982)
Avestan apas (derived from the singular āpō) is
grammatically feminine, therefore the Apas are female
entities. The Middle Persian counterparts are
ābān/Ābān (alternatively āvān/Āvān), from which
Parsi
Gujarati āvā/Āvā (used solely in religious contexts) is
derived.
The Avestan common noun āpas is identical to Vedic
Sanskrit āpas, both originating from the same proto
-
Indo-Iranian root, stem *ap- meaning "water," which is
cognate with the British river Avon. In Avestan and
Vedic Sanskrit writings, the waters
—
whether as waves,
droplets, or collectively as streams, pools, rivers, or
wells
—
are personified by the Apas, the pantheon of
water deities. The association of divinity with
elemental substances is fully realized in both cultures:
in the Rig Veda, the deities are deemed beneficial for
consumption, while in the Avesta, the deities are
considered advantageous for bathing.
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International Journal Of Literature And Languages (ISSN: 2771-2834)
The Avestan language phrase for "the waters," Apas
(/ˈɑːpəs, aep
-/, Avestan:
āpas) is the Apas, the
hypostases of the waters in their countless aggregate
manifestations.
Avestan apas (from singular āpō) is linguistically
feminine; the Apas are female. From which Parsi
Gujarati āvā/Āvā (in religious use only) derive the
Middle
Per
sian
equivalents,ābān/Ābān
(alt:
āvān/Đvān).
From the same proto-Indo-Iranian word, stem *ap-*,
the Avestan common noun āpas exactly matches Vedic
Sanskrit āpas and is cognate with the British river Avon.
The Apas, the group of divinities of the waters,
represents the waters
—
whether as waves or droplets,
or generally as streams, pools, rivers or wells
—
in both
Avestan and Vedic Sanskrit writings. In both
civilizations the association of deity with element is
complete: in the Rig Veda the divinities are healthful to
drink; in the Avesta the divinities are excellent to bathe
in. (Boyce,1975)
Symbol of FIRE
Fire
is a complex symbol that drives the themes of
science versus religion, creation versus destruction,
and enlightenment versus dogma in Dan Brown's
Angels and Demons. Its function is intricately
interwoven with the story, the characters, and the
larger philosophical dispute.
Cardinal Baggia's immolation at St. Peter's Basilica
associates fire with both a destructive and a purifying
force. The Illuminati's branding of the flame ambigram
echoes past persecutions (such as heretic burnings),
but it is inverted to symbolize the vulnerability of the
Church. In addition, fire symbolizes the "spark" of
scientific innovation, which supports the Illuminati's
objectives of promoting intellectual freedom.The
climax forces science and religion to face their
interdependence by using fire as a literal and symbolic
catalyst for change.
Fire symbolizes the Holy Spirit in Christianity (e.g., the
tongues of fire at Pentecost). In the novel, this duality
is subverted
—
fire becomes a tool of violence (e.g.,
Cardinal Guidera’s immolation in Santa Maria della
Vittoria), juxtaposing divine purification with human
brutality. Biblical references like Moses’ burning bush
(Exodus 3:2) contrast with hellfire imagery (e.g.,
Dante’s Inferno). Brown repurposes these to reflect the
Illuminati’s wrath and the Church’s vulnerability,
framing fire as both sacred and destructive.By weaving
fire into the narrative’s fabric, Brown critiques
institutional corruption while celebrating humanity’s
relentless, often dangerous, pursuit of enlightenment.
Fire historically symbolizes the "light of reason" that
dispels ignorance. The Illuminati, as Enlightenment-era
rebels, use fire to metaphorically and literally challenge
the Church’s suppression of scientific progress.
The hypotextuality of the fire sign investigates its
complex meanings and intertextual connections among
art and literature. Often signifying destruction, rebirth,
passion, purification, and creation, fire, as a classical
element, has been a recurrent motif in many
philosophical and cultural traditions.According to
ancient Greek philosophy and science, fire is one of the
four classical elements. It was frequently linked to traits
like vigor, assertiveness, and passion. In one Greek
story, Prometheus was punished for his altruism in
saving the otherwise defenseless mankind by stealing
fire from the gods. (The elements of Fire, 2007)
Fire was one of the numerous archai that the pre-
Socratics presented. The majority of these archai were
of the opinion that the universe, or its genesis, could be
reduced to a singular component. Heraclitus, an
ancient Greek philosopher who lived between 535 BCE
and 475 BCE, held the belief that fire was the most
primordial of all elements. (D. Kranz 1970) He stated,
"All things are interchangeable with fire, and fire is
interchangeable with all things, just as goods are
interchangeable with gold and gold is interchangeable
with goods." He was of the opinion that fire was the
origin of the other three elements. He was known for
employing
philosophical
concepts
that
were
challenging to comprehend and for speaking in riddles.
He described the process by which fire emerged as the
"upward-
downward path" (ὁδὸς ἄvω κάτω), a "hidden
harmony" or a sequence of transformations that he
referred to as the "turnings of fire" (πυρὸς τρoπαὶ).
Fire was initially converted into the sea, followed by the
transformation of half of the sea into earth and the
remaining half into rarefied air. This concept
anticipates both the four classical components that
Empedocles proposed and the transformation of those
four elements into one another that Aristotle
proposed.
D.Kranz stated in his Freeman book …”This world,
which is the same for all, no one of gods or men has
made. But it always was and will be: an ever-living fire,
with measures of it kindling, and measures going out”
The chemical element of sulfur was frequently linked to
fire in alchemy, and its alchemical symbol was an
upward-pointing triangle. In alchemic tradition, metals
are incubated by fire in the Earth's bosom, and
alchemists merely expedite their development. (D.
Kranz, 40)
Agni, a fiery god, is a Hindu and Vedic deity. Agni is a
Sanskrit term that denotes fire (noun). It is cognate
with the Latin word ignis, which serves as the
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International Journal Of Literature And Languages (ISSN: 2771-2834)
foundation for the English term ignite, and the Russian
word oгoнќ, which is pronounced agon and means fire.
Fire, electricity, and the sun are the three
manifestations of Agni.
Agni is one of the most significant spirits in the Vedic
religion. He is the deity of fire and the one who accepts
sacrifices. The sacrifices that are offered to Agni are
instead presented to the gods, as he serves as a
messenger between the gods. He remains perennially
youthful despite his immortality, as the fire is rekindled
on a daily basis. In Indian tradition, flames are
associated with Surya, also known as the Sun, and
Mangala, also known as Mars, as well as the south-east
direction.
Teuk
āya ekendriya is one of the names that are
employed in Jain tradition. This name is a reference to
Jīvas who are believed to have reincarnated as fire.
RESULTS
The hypotextuality and hypertextuality study of the
elements of water and fire from the book Angels and
Demons (2000).
Fire is one of the five elements that are present in the
majority of Wiccan traditions that have been
influenced by the Golden Dawn system of magic, as
well as Aleister Crowley's mysticism, which was in turn
inspired by the Golden Dawn tradition. (Hutton, 17)
This is a recurring theme in the book “The Hidden
Messages in Water” by the esteemed Japanese
scientist Dr. Masaru Emoto. In his groundbreaking
work, Dr. Emoto presents his discovery that water
molecules are influenced by our thoughts, words, and
emotions, resulting in alterations to their molecular
structure. Compelling evidence indicates that our
fundamental structural components respond to both
known and unknown influences on a regular basis.
The main aim is to analyze of hypotextuality of the
symbol water.We can see various meanings in different
works. The works that presents the symbol of water
that T.S. Eliot’s The Waste Land.
In this work water
symbolize of spiritual renewal.
The Rime of the Ancient Mariner, written by Samuel
Taylor Coleridge can be another example to illustrate
the symbol. Water is shown by Taylor represents as
both a source of life and a destructive force.For
example; The cartoon Moana, The Shape of Water
stands for a symbol of connection and transformation.
Depending on the context and the texts it references, a
symbol such as "air" in semiotics can convey a variety
of meanings.
Depending on the context in which it is used, air usually
represents either freedom, vitality, or the intangible.
Air, for instance, can be interpreted in literature as
either the breath of life or the unseen forces that
contribute to the existence of things. Not only does its
meaning change with time, but it also changes
depending on how it is related to other signs and the
social setting in which it is employed. In modern media
water is one of major symbol in the cartoon ,especially.
Each murder in the book Angels and Demons
corresponds to one of these elements. The killer uses a
specific method related to each element to kill the
cardinals. For example, the first cardinal is drowned
(water), then another is burned (fire), one is suffocated
or something related to air, and maybe the last one is
buried or something with earth.
CONCLUSION
The four elements in Angels and Demons transcend
their literal roles, emdiving the ideological battle
between science and religion. Water, earth, fire, and air
are perverted from life-sustaining forces into tools of
vengeance, reflecting t
he Illuminati’s critique of the
Church’s hegemony. Through ambigrams and ritualistic
murders, Brown underscores the duality of symbols
—
their capacity to inspire and destroy
—
while
questioning whether science and faith can coexist.
Ultimately, the novel suggests that both realms rely on
the same elemental truths, even as they clash.
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https://symbolismguide.com/symbolism-of-water/
