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Page 1 Not InDavincible
A Review and Critique of The DaVinci Code
Copyright 2003 by James Patrick Holding, Tekton Apologetics Ministries
http://www.tektonics.org
A few inquires have come our way concerning Dan Brown’s best-selling work of fiction, The DaVinci Code. This book muscled its way onto the bestseller list, inspiring a lot of media attention, and questions and concerns from critical readers, including Christians, who find problems with the historical “facts” woven throughout the narrative. Recently, it was the topic of a prime time television news special on the ABC network,1 and it has been announced that Sony Pictures has acquired the film rights to the book.2 Sony has assembled a talented group to produce the film, which is said to include prominent director Ron Howard.
This review and critique is meant to examine the historical “facts” and conspiratorial leaps that permeate the story. It is important to remember, however, that the book is a work of fiction; as such, we will begin our critique with a short literary evaluation. The story of The DaVinci Code brings to mind the proverb about eating Chinese food and being hungry again later: Though weighing in at 450 pages, the tale simply doesn’t satisfy. It begins with a murder, and for the next 400 or so pages, the major characters scramble around France and England. The hero races from one cryptographical puzzle to the next, taking extraordinary time to figure out solutions to puzzles that most of us figured out the moment they were introduced. In the process of zipping around, these characters leave behind nearly all vestiges of unique personality. The reader is introduced to the typical hero, heroine, turncoat, righteous villain, and a plethora of other cardboard secondary characters, like the flat detective who is in pursuit of the “good guys.” Brown’s idea of giving dimension to a character seems to be either having them switch allegiances without warning, or endowing them with a disabling condition, like albinism or walking on crutches. (Improbably, Brown’s albino character seems to suffer none of the usual loss of visual acuity, which accompanies that condition in reality.3) The plot, though fast-paced and engaging on the surface level, is tiredly predictable. The most intriguing part of the book is the intermittent revelation of “facts” and conspiracies, the focus of this critique.
The narrative is driven by the ancient quest for the Holy Grail. It’s not the cup of the Last Supper most of the world pictures, but rather in Brown’s universe, shaped as it is by popular conspiracy-theory speculations rather than certified scholarship, it is a “royal bloodline” composed of descendants of Jesus Christ and (who else?) Mary Magdalene. This theory has been promoted without success before, most notably in the 1983 book Holy Blood, Holy Grail by Michael Baigent, Henry Lincoln, and Richard Leigh (New York: Dell). That book has been soundly critiqued by numerous scholars, historians, and fantasy debunkers. (See, for example, http://anzwers.org/free/posmis/ , http://www.alpheus.org/html/articles/esoteric_history/richardson1.html and http://www.anzwers.org/free/posdebunking/.) The book has been shown to be based on fraudulent manuscripts and poor scholarship. Why, then, does Brown use it as his primary source?
The quest for the Holy Grail in The DaVinci Code ends up being the search for Mary Magdalene’s tomb, in which are interred secret documents whose contents will wreck Christianity as we know it. These documents contain the “true” gospel—one whose foundation is the feminized divine known in goddess worship. If revealed to the world, these recovered “truths” will pave the way for us to return to a more enlightened spirituality centered on this divine feminine. In fact, however, the idea that religion was originally matriarchal (female centered) and then was changed to be patriarchal (male centered) by the Jews and perpetuated by later Christians is simply NOT true. There is no evidence that any significant religious movement, including early Christianity, had dominant female deities – they were always linked to their male counterparts, and usually in a subservient role. [See, for example, Tikva Frymer-Kensky’s In the Wake of the Goddesses (New York: Ballantine Books, 1993) and Craig Hawkins’ Goddess Worship, Witchcraft, and Neo-Paganism (Grand Rapids: Zondervan, 1998).]
In another cheap trick, Brown closes his novel with the lead character finding the location of Mary’s tomb, and instead of revealing the all important truths to the shock of the world, he decides to leave it alone and disclose nothing to anyone, thus perpetuating the “false” truths of Christianity and keeping secret the “real” truths of the goddess that have been hidden for generations. Why is the hero motivated to do this? What enlightenment does he undergo that causes him to cover-up the “truth” in the same way that Leonardo DaVinci and the museum curator and countless others did before him? Why do all of these enlightened people not want to inform the masses and get them back to worshipping the divine goddess? None of these questions is adequately addressed in the novel. One is left to conclude that like all great conspiracies, the discoverers of the cover-ups deem the truth too scary for the masses to calmly handle and the revealing of it would lead to scary, lethal consequences from “them.”
Prior to the uninspiring close of the novel, Brown litters his narrative with historical “facts,” and it is to these that we now turn our attention.
But It’s Just Fiction….
“Is this not a work of fiction? Why worry about a few misplaced facts?” I’ll tell you why. While waiting in line to purchase The DaVinci Code at the local Borders bookstore, I scanned a primary chapter of concern, having been informed by Bob Passantino of its historically inaccurate content. A woman behind me spoke up: “Oh! That’s a great book!” I looked back at her. “Not really,” I replied shortly. “It’s full of poor scholarship.” The woman was shocked. “But it’s just fiction,” she replied. Curious nevertheless, she asked for an example. So, I picked one. “Well, it has the date of the discovery of the Dead Sea Scrolls wrong.4 If the author cannot get something that elementary and fundamental right, it is reasonable to wonder what other historical “facts” presented in this text are wrong. And there are a lot of wrong “facts” presented as the historical background to this fiction book.” “Interesting,” she said, nodding. This is why it is important that someone worry about the historical inaccuracies that serve as the historical basis of this fiction book—because most people are not equipped to filter fact from fiction and they will absorb as truth whatever someone says is true.
Brown opens his novel with the words “FACT” in bold, capital letters and this statement:
All descriptions of artwork, architecture, documents, and secret rituals in this novel are accurate.
In terms of documents and rituals, however – and even artwork and architecture5 -- The DaVinci Code contains few “facts” and what few it does contain require serious qualification. All of this might be excused, except that Brown baptizes such aspects of the book with the brand of “FACT,” giving credence to his claims in the eyes of most readers. Also, he puts many of these “facts” into the mouth of a character named Teabing who is described as a reputable historian, which further encourages the reader to accept the historical “facts” in the novel as a factual backbone to the fictional story. I rather think if any genuine, academic historian made certain statements attributed to Teabing, he would be promptly demoted to janitorial duties and remanded for training in History 101. Sadly, Brown’s sleight-of-hand under the cloak of fact has tricked others, including the Book Review Editor of the New York Daily News, who commented naively that “his research is impeccable.”
A Review and Critique of The DaVinci Code
Copyright 2003 by James Patrick Holding, Tekton Apologetics Ministries
http://www.tektonics.org
A few inquires have come our way concerning Dan Brown’s best-selling work of fiction, The DaVinci Code. This book muscled its way onto the bestseller list, inspiring a lot of media attention, and questions and concerns from critical readers, including Christians, who find problems with the historical “facts” woven throughout the narrative. Recently, it was the topic of a prime time television news special on the ABC network,1 and it has been announced that Sony Pictures has acquired the film rights to the book.2 Sony has assembled a talented group to produce the film, which is said to include prominent director Ron Howard.
This review and critique is meant to examine the historical “facts” and conspiratorial leaps that permeate the story. It is important to remember, however, that the book is a work of fiction; as such, we will begin our critique with a short literary evaluation. The story of The DaVinci Code brings to mind the proverb about eating Chinese food and being hungry again later: Though weighing in at 450 pages, the tale simply doesn’t satisfy. It begins with a murder, and for the next 400 or so pages, the major characters scramble around France and England. The hero races from one cryptographical puzzle to the next, taking extraordinary time to figure out solutions to puzzles that most of us figured out the moment they were introduced. In the process of zipping around, these characters leave behind nearly all vestiges of unique personality. The reader is introduced to the typical hero, heroine, turncoat, righteous villain, and a plethora of other cardboard secondary characters, like the flat detective who is in pursuit of the “good guys.” Brown’s idea of giving dimension to a character seems to be either having them switch allegiances without warning, or endowing them with a disabling condition, like albinism or walking on crutches. (Improbably, Brown’s albino character seems to suffer none of the usual loss of visual acuity, which accompanies that condition in reality.3) The plot, though fast-paced and engaging on the surface level, is tiredly predictable. The most intriguing part of the book is the intermittent revelation of “facts” and conspiracies, the focus of this critique.
The narrative is driven by the ancient quest for the Holy Grail. It’s not the cup of the Last Supper most of the world pictures, but rather in Brown’s universe, shaped as it is by popular conspiracy-theory speculations rather than certified scholarship, it is a “royal bloodline” composed of descendants of Jesus Christ and (who else?) Mary Magdalene. This theory has been promoted without success before, most notably in the 1983 book Holy Blood, Holy Grail by Michael Baigent, Henry Lincoln, and Richard Leigh (New York: Dell). That book has been soundly critiqued by numerous scholars, historians, and fantasy debunkers. (See, for example, http://anzwers.org/free/posmis/ , http://www.alpheus.org/html/articles/esoteric_history/richardson1.html and http://www.anzwers.org/free/posdebunking/.) The book has been shown to be based on fraudulent manuscripts and poor scholarship. Why, then, does Brown use it as his primary source?
The quest for the Holy Grail in The DaVinci Code ends up being the search for Mary Magdalene’s tomb, in which are interred secret documents whose contents will wreck Christianity as we know it. These documents contain the “true” gospel—one whose foundation is the feminized divine known in goddess worship. If revealed to the world, these recovered “truths” will pave the way for us to return to a more enlightened spirituality centered on this divine feminine. In fact, however, the idea that religion was originally matriarchal (female centered) and then was changed to be patriarchal (male centered) by the Jews and perpetuated by later Christians is simply NOT true. There is no evidence that any significant religious movement, including early Christianity, had dominant female deities – they were always linked to their male counterparts, and usually in a subservient role. [See, for example, Tikva Frymer-Kensky’s In the Wake of the Goddesses (New York: Ballantine Books, 1993) and Craig Hawkins’ Goddess Worship, Witchcraft, and Neo-Paganism (Grand Rapids: Zondervan, 1998).]
In another cheap trick, Brown closes his novel with the lead character finding the location of Mary’s tomb, and instead of revealing the all important truths to the shock of the world, he decides to leave it alone and disclose nothing to anyone, thus perpetuating the “false” truths of Christianity and keeping secret the “real” truths of the goddess that have been hidden for generations. Why is the hero motivated to do this? What enlightenment does he undergo that causes him to cover-up the “truth” in the same way that Leonardo DaVinci and the museum curator and countless others did before him? Why do all of these enlightened people not want to inform the masses and get them back to worshipping the divine goddess? None of these questions is adequately addressed in the novel. One is left to conclude that like all great conspiracies, the discoverers of the cover-ups deem the truth too scary for the masses to calmly handle and the revealing of it would lead to scary, lethal consequences from “them.”
Prior to the uninspiring close of the novel, Brown litters his narrative with historical “facts,” and it is to these that we now turn our attention.
But It’s Just Fiction….
“Is this not a work of fiction? Why worry about a few misplaced facts?” I’ll tell you why. While waiting in line to purchase The DaVinci Code at the local Borders bookstore, I scanned a primary chapter of concern, having been informed by Bob Passantino of its historically inaccurate content. A woman behind me spoke up: “Oh! That’s a great book!” I looked back at her. “Not really,” I replied shortly. “It’s full of poor scholarship.” The woman was shocked. “But it’s just fiction,” she replied. Curious nevertheless, she asked for an example. So, I picked one. “Well, it has the date of the discovery of the Dead Sea Scrolls wrong.4 If the author cannot get something that elementary and fundamental right, it is reasonable to wonder what other historical “facts” presented in this text are wrong. And there are a lot of wrong “facts” presented as the historical background to this fiction book.” “Interesting,” she said, nodding. This is why it is important that someone worry about the historical inaccuracies that serve as the historical basis of this fiction book—because most people are not equipped to filter fact from fiction and they will absorb as truth whatever someone says is true.
Brown opens his novel with the words “FACT” in bold, capital letters and this statement:
All descriptions of artwork, architecture, documents, and secret rituals in this novel are accurate.
In terms of documents and rituals, however – and even artwork and architecture5 -- The DaVinci Code contains few “facts” and what few it does contain require serious qualification. All of this might be excused, except that Brown baptizes such aspects of the book with the brand of “FACT,” giving credence to his claims in the eyes of most readers. Also, he puts many of these “facts” into the mouth of a character named Teabing who is described as a reputable historian, which further encourages the reader to accept the historical “facts” in the novel as a factual backbone to the fictional story. I rather think if any genuine, academic historian made certain statements attributed to Teabing, he would be promptly demoted to janitorial duties and remanded for training in History 101. Sadly, Brown’s sleight-of-hand under the cloak of fact has tricked others, including the Book Review Editor of the New York Daily News, who commented naively that “his research is impeccable.”