Dismantling The Da Vinci Code
In the end, Dan
Brown has penned a poorly written, atrociously researched mess. So, why bother with such a close reading of a worthless novel?
The answer is simple: The Da Vinci Code takes esoterica mainstream.
by Leonardo da Vinci
“The Grail,” Langdon said, “is symbolic of the lost goddess. When Christianity
came along, the old pagan religions did not die easily. Legends of chivalric quests for the Holy Grail were in fact stories
of forbidden quests to find the lost sacred feminine. Knights who claimed to be “searching for the chalice” were
speaking in code as a way to protect themselves from a Church that had subjugated women, banished the Goddess, burned non-believers,
and forbidden the pagan reverence for the sacred feminine.” The Da Vinci Code
, pages 238-239)
The Holy Grail is a
favorite metaphor for a desirable but difficult-to-attain goal, from the map of the human genome to Lord Stanley's Cup. While
the original Grail — the cup Jesus allegedly used at the Last Supper — normally inhabits the pages of Arthurian
romance, Dan Brown's recent mega–best-seller, The Da Vinci Code, rips it away to the realm of esoteric history.
But his book is more
than just the story of a quest for the Grail — he wholly reinterprets the Grail legend. In doing so, Brown inverts
the insight that a woman's body is symbolically a container and makes a container symbolically a woman's body. And that container
has a name every Christian will recognize, for Brown claims that the Holy Grail was actually Mary Magdalene. She was the vessel
that held the blood of Jesus Christ in her womb while bearing his children.
Over the centuries,
the Grail-keepers have been guarding the true (and continuing) bloodline of Christ and the relics of the Magdalen, not
a material vessel. Therefore Brown claims that “the quest for the Holy Grail is the quest to kneel before the bones
of Mary Magdalene," a conclusion that would surely have surprised Sir Galahad and the other Grail knights who thought they
were searching for the Chalice of the Last Supper.
The Da Vinci Code opens with the grisly murder of the Louvre's curator inside the museum. The crime enmeshes
hero Robert Langdon, a tweedy professor of symbolism from Harvard, and the victim's granddaughter, burgundy-haired cryptologist
Sophie Nevue. Together with crippled millionaire historian Leigh Teabing, they flee Paris for London one step ahead of the
police and a mad albino Opus Dei "monk" named Silas who
will stop at nothing to prevent them from finding the "Grail."
But despite the frenetic
pacing, at no point is action allowed to interfere with a good lecture. Before the story comes full circle back to the Louvre,
readers face a barrage of codes, puzzles, mysteries, and conspiracies.
With his twice-stated
principle, "Everybody loves a conspiracy," Brown is reminiscent of the famous author who crafted her product by studying the
features of ten earlier best-sellers. It would be too easy to criticize him for characters thin as plastic wrap, undistinguished
prose, and improbable action. But Brown isn't so much writing badly as writing in a particular way best calculated to attract
a female audience. (Women, after all, buy most of the nation's books.) He has married a thriller plot to a romance-novel technique.
Notice how each character is an extreme type…effortlessly brilliant, smarmy, sinister, or psychotic as needed, moving
against luxurious but curiously flat backdrops. Avoiding gore and bedroom gymnastics, he shows only one brief kiss and a sexual
ritual performed by a married couple. The risqué allusions are fleeting although the text lingers over some bloody Opus Dei
mortifications. In short, Brown has fabricated a novel perfect for a ladies' book club.
Brown's lack of seriousness
shows in the games he plays with his character names — Robert Langdon, "bright fame long don" (distinguished and virile);
Sophie Nevue, "wisdom New Eve"; the irascible taurine detective Bezu Fache, "zebu anger."; The servant who leads the police
to them is Legaludec, "legal duce." The murdered curator takes his surname, Saunière, from a real Catholic priest whose occult
antics sparked interest in the Grail secret. As an inside joke, Brown even writes in his real-life editor (Faukman is Kaufman).
While his extensive
use of fictional formulas may be the secret to Brown's stardom, his anti-Christian message can't have hurt him in publishing
circles: The Da Vinci Code debuted atop the New York Times best-seller list. By manipulating his audience through
the conventions of romance-writing, Brown invites readers to identify with his smart, glamorous characters who've seen through
the impostures of the clerics who hide the "truth&"; about Jesus and his wife. Blasphemy is delivered in a soft voice
with a knowing chuckle: "[E]very faith in the world is based on fabrication."
even Brown has his limits. To dodge charges of outright bigotry, he includes a climactic twist in the story that absolves
the Church of assassination. And although he presents Christianity as a false root and branch, he's willing to tolerate it
for its charitable works.
(Of course, Catholic
Christianity will become even more tolerable once the new liberal pope elected in Brown's previous Langdon novel, Angels
& Demons, abandons outmoded teachings. "Third-century laws cannot be applied to the modern followers of Christ," says
one of the book's progressive cardinals.)
Is He Getting All of This?
Brown actually cites
his principal sources within the text of his novel. One is a specimen of academic feminist scholarship: The Gnostic Gospels
by Elaine Pagels. The others are popular esoteric histories: The Templar Revelation: Secret Guardians of the True Identity
of Christ by Lynn Picknett and Clive Prince; Holy Blood, Holy Grail by Michael Baigent, Richard Leigh, and Henry
Lincoln; The Goddess in the Gospels: Reclaiming the Sacred Feminine and The Woman with the Alabaster Jar: Mary Magdalen
and the Holy Grail, both by Margaret Starbird. (Starbird, a self-identified Catholic, has her books published by Matthew
Fox's outfit, Bear & Co.) Another influence, at least at second remove, is The Woman's Encyclopedia of Myths and Secrets
by Barbara G. Walker.
The use of such unreliable
sources belies Brown's pretensions to intellectuality. But the act has apparently fooled at least some of his readers —
the New York Daily News book reviewer trumpeted, "His research is impeccable."
despite Brown's scholarly airs, a writer who thinks the Merovingians founded Paris and forgets that the popes once lived in
Avignon is hardly a model researcher. And for him to state that the Church burned five million women as witches shows a willful
— and malicious—ignorance of the historical record. The latest figures for deaths during the European witch
craze are between 30,000 to 50,000 victims. Not all were executed by the Church, not all were women, and not all were burned.
Brown’s claim that educated women, priestesses, and midwives were singled out by witch-hunters is not only false, it
betrays his goddess-friendly sources.
Multitude of Errors
So error-laden is The
Da Vinci Code that the educated reader actually applauds those rare occasions where Brown stumbles (despite himself) into
the truth. A few examples of his "impeccable" research: He claims that the motions of the planet Venus trace a pentacle (the
so-called Ishtar pentagram) symbolizing the goddess. But it isn't a perfect figure and has nothing to do with the length of
the Olympiad. The ancient Olympic games were celebrated in honor of Zeus Olympias, not Aphrodite, and occurred every
that the five linked rings of the modern Olympic Games are a secret tribute to the goddess is also wrong — each set
of games was supposed to add a ring to the design but the organizers stopped at five. And his efforts to read goddess propaganda
into art, literature, and even Disney cartoons are simply ridiculous.
No datum is too dubious
for inclusion, and reality falls quickly by the wayside. For instance, the Opus Dei bishop encourages his albino assassin
by telling him that Noah was also an albino (a notion drawn from the non-canonical 1 Enoch 106:2). Yet albinism somehow fails
to interfere with the man's eyesight as it physiologically would.
But a far more important
example is Brown's treatment of Gothic architecture as a style full of goddess-worshipping symbols and coded messages to confound
the uninitiated. Building on Barbara Walker's claim that "like a pagan temple, the Gothic cathedral represented the body of
the Goddess," The Templar Revelation asserts: "Sexual symbolism is found in the great Gothic cathedrals which were
masterminded by the Knights Templar...both of which represent intimate female anatomy: the arch, which draws the worshipper
into the body of Mother Church, evokes the vulva." In The Da Vinci Code, these sentiments are transformed into a character's
description of "a cathedral's long hollow nave as a secret tribute to a woman's womb...complete with receding labial ridges
and a nice little cinquefoil clitoris above the doorway."
These remarks cannot
be brushed aside as opinions of the villain; Langdon, the book's hero, refers to his own lectures about goddess-symbolism
These bizarre interpretations
betray no acquaintance with the actual development or construction of Gothic architecture, and correcting the countless errors
becomes a tiresome exercise: The Templars had nothing to do with the cathedrals of their time, which were commissioned
by bishops and their canons throughout Europe. They were unlettered men with no arcane knowledge of "sacred geometry" passed
down from the pyramid builders. They did not wield tools themselves on their own projects, nor did they found masons' guilds
to build for others. Not all their churches were round, nor was roundness a defiant insult to the Church. Rather than being
a tribute to the divine feminine, their round churches honored the Church of the Holy Sepulchre.
looking at Gothic churches and their predecessors deflates the idea of female symbolism. Large medieval churches typically
had three front doors on the west plus triple entrances to their transepts on the north and south. (What part of a woman's
anatomy does a transept represent? Or the kink in Chartres's main aisle?) Romanesque churches — including ones that
predate the founding of the Templars — have similar bands of decoration arching over their entrances. Both Gothic
and Romanesque churches have the long, rectangular nave inherited from Late Antique basilicas, ultimately derived from Roman
public buildings. Neither Brown nor his sources consider what symbolism medieval churchmen such as Suger of St.-Denis or William
Durandus read in church design. It certainly wasn't goddess-worship.
If the above seems
like a pile driver applied to a gnat, the blows are necessary to demonstrate the utter falseness of Brown's material. His
willful distortions of documented history are more than matched by his outlandish claims about controversial subjects. But
to a postmodernist, one construct of reality is as good as any other.
Brown's approach seems
to consist of grabbing large chunks of his stated sources and tossing them together in a salad of a story. From Holy Blood,
Holy Grail, Brown lifts the concept of the Grail as a metaphor for a sacred lineage by arbitrarily breaking a medieval
French term, Sangraal (Holy Grail), into sang (blood) and raal (royal). This holy blood, according to
Brown, descended from Jesus and his wife, Mary Magdalene, to the Merovingian dynasty in Dark Ages France, surviving its fall
to persist in several modern French families, including that of Pierre Plantard, a leader of the mysterious Priory of Sion.
The Priory — an actual organization officially registered with the French government in 1956 — makes extraordinary
claims of antiquity as the "real" power behind the Knights Templar. It most likely originated after World War II and was first
brought to public notice in 1962. With the exception of filmmaker Jean Cocteau, its illustrious list of Grand Masters —
which include Leonardo da Vinci, Issac Newton, and Victor Hugo — is not credible, although it's presented as true by
Brown doesn't accept
a political motivation for the Priory's activities. Instead he picks up The Templar Revelation’s view of the
organization as a cult of secret goddess-worshippers who have preserved ancient Gnostic wisdom and records of Christ’s
true mission, which would completely overturn Christianity if released. Significantly, Brown omits the rest of the book’s
thesis that makes Christ and Mary Magdalene unmarried sex partners performing the erotic mysteries of Isis. Perhaps even a
gullible mass-market audience has its limits.
From both Holy Blood,
Holy Grail and The Templar Revelation, Brown takes a negative view of the Bible and a grossly distorted image of
Jesus. He's neither the Messiah nor a humble carpenter but a wealthy, trained religious teacher bent on regaining the throne
of David. His credentials are amplified by his relationship with the rich Magdalen who carries the royal blood of Benjamin:
"Almost everything our fathers taught us about Christ is false," laments one of Brown's characters.
Yet it's Brown's Christology
that's false — and blindingly so. He requires the present New Testament to be a post-Constantinian fabrication
that displaced true accounts now represented only by surviving Gnostic texts. He claims that Christ wasn't considered divine
until the Council of Nicea voted him so in 325 at the behest of the emperor. Then Constantine — a lifelong sun worshipper
— ordered all older scriptural texts destroyed, which is why no complete set of Gospels predates the fourth century.
Christians somehow failed to notice the sudden and drastic change in their doctrine.
But by Brown's specious
reasoning, the Old Testament can't be authentic either because complete Hebrew Scriptures are no more than a thousand years
old. And yet the texts were transmitted so accurately that they do match well with the Dead Sea Scrolls from a thousand
years earlier. Analysis of textual families, comparison with fragments and quotations, plus historical correlations securely
date the orthodox Gospels to the first century and indicate that they're earlier than the Gnostic forgeries. (The Epistles
of St. Paul are, of course, even earlier than the Gospels.)
Primitive Church documents
and the testimony of the ante-Nicean Fathers confirm that Christians have always believed Jesus to be Lord, God, and
Savior — even when that faith meant death. The earliest partial canon of Scripture dates from the late second century
and already rejected Gnostic writings. For Brown, it isn't enough to credit Constantine with the divinization of Jesus. The
emperor's old adherence to the cult of the Invincible Sun also meant repackaging sun worship as the new faith. Brown drags
out old (and long-discredited) charges by virulent anti-Catholics like Alexander Hislop who accused the Church of perpetuating
Babylonian mysteries, as well as 19th-century rationalists who regarded Christ as just another dying savior-god.
Brown misses no opportunity to criticize Christianity and its pitiable adherents. (The church in question is always the Catholic
Church, though his villain does sneer once at Anglicans — for their grimness, of all things.) He routinely and anachronistically
refers to the Church as "the Vatican," even when popes weren't in residence there. He systematically portrays it throughout
history as deceitful, power-crazed, crafty, and murderous: "The Church may no longer employ crusades to slaughter, but their
influence is no less persuasive. No less insidious."
Worship and the Magdalen
Worst of all, in Brown's
eyes, is the fact that the pleasure-hating, sex-hating, woman-hating Church suppressed goddess worship and eliminated the
divine feminine. He claims that goddess worship universally dominated pre-Christian paganism with the hieros gamos
(sacred marriage) as its central rite. His enthusiasm for fertility rites is enthusiasm for sexuality, not procreation. What
else would one expect of a Cathar sympathizer?
claims that Jews in Solomon's Temple adored Yahweh and his feminine counterpart, the Shekinah, via the services of sacred
prostitutes — possibly a twisted version of the Temple's corruption after Solomon (1 Kings 14:24 and 2 Kings 23:4-15).
Moreover, he says that the tetragrammaton YHWH derives from "Jehovah, an androgynous physical union between the masculine
Jah and the pre-Hebraic name for Eve, Havah."
But as any first-year
Scripture student could tell you, Jehovah is actually a 16th-century rendering of Yahweh using the vowels of Adonai ("Lord").
In fact, goddesses did not dominate the pre-Christian world — not in the religions of Rome, her barbarian subjects,
Egypt, or even Semitic lands where the hieros gamos was an ancient practice. Nor did the Hellenized cult of Isis appear
to have included sex in its secret rites.
Contrary to yet another
of Brown's claims, Tarot cards do not teach goddess doctrine. They were invented for innocent gaming purposes in the
15th century and didn't acquire occult associations until the late 18th. Playing-card suites carry no Grail symbolism. The
notion of diamonds symbolizing pentacles is a deliberate misrepresentation by British occultist A. E. Waite. And the number
five — so crucial to Brown's puzzles — has some connections with the protective goddess but myriad others besides,
including human life, the five senses, and the Five Wounds of Christ.
Brown's treatment of
Mary Magdalene is sheer delusion. In The Da Vinci Code, she's no penitent whore but Christ's royal consort and the
intended head of His Church, supplanted by Peter and defamed by churchmen. She fled west with her offspring to Provence, where
medieval Cathars would keep the original teachings of Jesus alive. The Priory of Sion still guards her relics and records,
excavated by the Templars from the subterranean Holy of Holies. It also protects her descendants — including Brown's
Although many people
still picture the Magdalen as a sinful woman who anointed Jesus and equate her with Mary of Bethany, that conflation is actually
the later work of Pope St. Gregory the Great. The East has always kept them separate and said that the Magdalen, "apostle
to the apostles," died in Ephesus. The legend of her voyage to Provence is no earlier than the ninth century, and her relics
weren't reported there until the 13th. Catholic critics, including the Bollandists, have been debunking the legend and distinguishing
the three ladies since the 17th century.
Brown uses two Gnostic
documents, the Gospel of Philip and the Gospel of Mary, to prove that the Magdalen was Christ's "companion," meaning sexual
partner. The apostles were jealous that Jesus used to "kiss her on the mouth" and favored her over them. He cites exactly
the same passages quoted in Holy Blood, Holy Grail and The Templar Revelation and even picks up the latter's
reference to The Last Temptation of Christ. What these books neglect to mention is the infamous final verse of the
Gospel of Thomas. When Peter sneers that "women are not worthy of Life," Jesus responds, "I myself shall lead her in order
to make her male.... For every woman who will make herself male will enter the Kingdom of Heaven."
certainly an odd way to "honor" one's spouse or exalt the status of women.
Brown likewise misrepresents
the history of the Knights Templar. The oldest of the military-religious orders, the Knights were founded in 1118 to protect
pilgrims in the Holy Land. Their rule, attributed to St. Bernard of Clairvaux, was approved in 1128 and generous donors granted
them numerous properties in Europe for support. Rendered redundant after the last Crusader stronghold fell in 1291, the Templars'
pride and wealth — they were also bankers — earned them keen hostility.
Brown maliciously ascribes
the suppression of the Templars to “Machiavellian” Pope Clement V, whom they were blackmailing with the Grail
secret. His "ingeniously planned sting operation" had his soldiers suddenly arrest all Templars. Charged with Satanism, sodomy,
and blasphemy, they were tortured into confessing and burned as heretics, their ashes "tossed unceremoniously into the Tiber."
But in reality, the
initiative for crushing the Templars came from King Philip the Fair of France, whose royal officials did the arresting in
1307. About 120 Templars were burned by local Inquisitorial courts in France for not confessing or retracting a confession,
as happened with Grand Master Jacques de Molay. Few Templars suffered death elsewhere although their order was abolished in
1312. Clement, a weak, sickly Frenchman manipulated by his king, burned no one in Rome inasmuch as he was the first pope to
reign from Avignon (so much for the ashes in the Tiber).
the mysterious stone idol that the Templars were accused of worshiping is associated with fertility in only one of
more than a hundred confessions. Sodomy was the scandalous — and possibly true — charge against the order, not
ritual fornication. The Templars have been darlings of occultism since their myth as masters of secret wisdom and fabulous
treasure began to coalesce in the late 18th century. Freemasons and even Nazis have hailed them as brothers. Now it's the
turn of neo-Gnostics.
Leonardo da Vinci
Brown's revisionist interpretations of da Vinci are as distorted as the rest of his information.
He claims to have first run across these views "while I was studying art history in Seville," but they correspond point for
point to material in The Templar Revelation
. A writer who sees a pointed finger as a throat-cutting gesture, who says
the Madonna of the Rocks was painted for nuns instead of a lay confraternity of men, who claims that da Vinci received "hundreds
of lucrative Vatican commissions" (actually, it was just one…and it was never executed) is simply unreliable.
Brown's analysis of
da Vinci's work is just as ridiculous. He presents the Mona Lisa as an androgynous self-portrait when it's widely known
to portray a real woman, Madonna Lisa, wife of Francesco di Bartolomeo del Giocondo. The name is certainly not — as
Brown claims — a mocking anagram of two Egyptian fertility deities Amon and L'Isa (Italian for Isis). How did he miss
the theory, propounded by the authors of The Templar Revelation, that the Shroud of Turin is a photographed self-portrait
of da Vinci?
of Brown's argument centers around da Vinci's Last Supper, a painting the author considers a coded message that reveals
the truth about Jesus and the Grail. Brown points to the lack of a central chalice on the table as proof that the Grail isn't
a material vessel. But da Vinci's painting specifically dramatizes the moment when Jesus warns, "One of you will betray me"
(John 13:21). There is no Institution Narrative in St. John's Gospel. The Eucharist is not shown there. And the person sitting
next to Jesus is not Mary Magdalene (as Brown claims) but St. John, portrayed as the usual effeminate da Vinci youth,
comparable to his St. John the Baptist. Jesus is in the exact center of the painting, with two pyramidal groups of three apostles
on each side. Although da Vinci was a spiritually troubled homosexual, Brown's contention that he coded his paintings with
anti-Christian messages simply can't be sustained.
In the end, Dan Brown
has penned a poorly written, atrociously researched mess. So, why bother with such a close reading of a worthless novel? The
answer is simple: The Da Vinci Code takes esoterica mainstream. It may well do for Gnosticism what The Mists of
Avalon did for paganism — gain it popular acceptance. After all, how many lay readers will see the blazing inaccuracies
put forward as buried truths?
What's more, in making phony claims of scholarship, Brown's book infects readers with a virulent
hostility toward Catholicism. Dozens of occult history books, conveniently cross-linked by Amazon.com, are following in its
wake. And booksellers' shelves now bulge with falsehoods few would be buying without The Da Vinci Code connection.
While Brown's assault on the Catholic Church may be a backhanded compliment, it's one we would have happily done without.
Sandra Miesel. "Dismantling The Da Vinci Code." Crisis (September 2003).
This article is reprinted with permission from the Morley Institute a non-profit education organization.
Sandra Miesel, medievalist and Catholic journalist, writes from Indianapolis.