Point of View in The Da Vinci Code A Stylistic Analysis of The Da Vinci Code part 3
Though marketed as fiction, The Da Vinci Code is clearly intended to present what Brown believes is factual material about the origins of the Christian church. “All descriptions of artwork, architecture, documents, and secret rituals in this novel,” the preface states, “are accurate.” Brown himself has said after a year and a half of research, he “became a believer” in the thesis that Mary Magdalene’s role in the church was purposefully obscured, as was her marriage to Jesus.
Many readers and reviewers of The Da Vinci Code unfortunately have reached the conclusion that Brown is presenting sound research. The New York Daily News, for example, described Brown’s research as “impeccable.” Critical investigation, however, reveals that Brown has simply accepted a tendentious and unsupportable version of history put together by nonscholars. He is able to do this by assuring himself, as do many readers of The Da Vinci Code and adherents to popular conspiracy theories, that the “truth” has been suppressed and that history has been “written by the winners” (the Christian church, p. 256), who felt free to distort the record. Such claims are mere contrivances, however, and are often circular in nature. Those who make such claims accept whatever evidence they can as positive and dismiss negative evidence or lack of evidence as further proof that the “winners” have been covering up the truth. Such theories are positioned to be unfalsifiable and therefore are critically worthless.
An Artful Conspiracy
A central theme of Brown’s work is that Leonardo da Vinci, as a former head of the Priory of Sion, left encoded messages in his art in order to direct seekers to the truth about Christian origins. Brown makes several highly questionable assertions about da Vinci’s work through the book’s characters. Langdon, for example, suggests that da Vinci’s most famous painting, the Mona Lisa, was meant to carry a “subtle message of androgyny” (120) and may have been intended to portray da Vinci as the woman; hence the Mona Lisa’s mysterious smile, which signifies “Da Vinci’s little secret” (121). This idea is further supported with the claim that the name “Mona Lisa” is an anagram for “Amon L’isa,” combining the names of the male Egyptian deity Amon and an alternate pictographic name for the female Egyptian deity Isis.
Analysis of The Da Vinci Code to be continued… (part 4).
Point of View in The Da Vinci Code A Stylistic Analysis of The Da Vinci Code (part 3)
Though marketed as fiction, The Da Vinci Code is clearly intended to present what Brown believes is factual material about the origins of the Christian church. “All descriptions of artwork, architecture, documents, and secret rituals in this novel,” the preface states, “are accurate.” Brown himself has said after a year and a half of research, he “became a believer” in the thesis that Mary Magdalene’s role in the church was purposefully obscured, as was her marriage to Jesus.
Many readers and reviewers of The Da Vinci Code unfortunately have reached the conclusion that Brown is presenting sound research. The New York Daily News, for example, described Brown’s research as “impeccable.” Critical investigation, however, reveals that Brown has simply accepted a tendentious and unsupportable version of history put together by nonscholars. He is able to do this by assuring himself, as do many readers of The Da Vinci Code and adherents to popular conspiracy theories, that the “truth” has been suppressed and that history has been “written by the winners” (the Christian church, p. 256), who felt free to distort the record. Such claims are mere contrivances, however, and are often circular in nature. Those who make such claims accept whatever evidence they can as positive and dismiss negative evidence or lack of evidence as further proof that the “winners” have been covering up the truth. Such theories are positioned to be unfalsifiable and therefore are critically worthless.
An Artful Conspiracy
A central theme of Brown’s work is that Leonardo da Vinci, as a former head of the Priory of Sion, left encoded messages in his art in order to direct seekers to the truth about Christian origins. Brown makes several highly questionable assertions about da Vinci’s work through the book’s characters. Langdon, for example, suggests that da Vinci’s most famous painting, the Mona Lisa, was meant to carry a “subtle message of androgyny” (120) and may have been intended to portray da Vinci as the woman; hence the Mona Lisa’s mysterious smile, which signifies “Da Vinci’s little secret” (121). This idea is further supported with the claim that the name “Mona Lisa” is an anagram for “Amon L’isa,” combining the names of the male Egyptian deity Amon and an alternate pictographic name for the female Egyptian deity Isis.
Analysis of The Da Vinci Code to be continued… (part 4).
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| Point of View in The Da Vinci Code A Stylistic Analysis of The Da Vinci Code (part 3) |
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