THE DA VINCI
CODE
Welcome readers!
This blog is a part of the thinking activity which is assigned by professor Dr Dilip Barad Sir to ponder upon the postviewing questions mentioned in the worksheet. (Click here to navigate to the teacher's blog titled Worksheet: Screening Movie The Da Vinci Code based on a novel by Dan Brown.
1. Brown states on his website that his books are not anti-Christian, though he is on a 'constant spiritual journey' himself, and says that his book 'The Da Vinci Code' is simply "an entertaining story that promotes spiritual discussion and debate" and suggests that the book may be used "as a positive catalyst for introspection and exploration of our faith."
The plots of Dan Brown's novels play between science and Religion. His books blend historical themes with Christianity. Among the various aspects of his novels which includes characterization, plot, style of writing, subject matter, etc. one such aspect is the issue of conflicting values of faith and reason. Dan Brown refuses to accept the idea that faith in God is rooted in ignorance of the truth. Additionally, the meaning of faith is the belief in God or in the doctrines or teachings of religion. Brown, for a while, seems to play with this idea to lead his readers towards a clear vision. Meanwhile, he urges his readers to question the myths prevailing in Christianity. Brown states on his website that his books are not anti-Christian, as he is a Christian himself.
Brown attempts to generate the meaning of reason in the mind through his works. Brown identifies the gap in the interpretations of myths and searches for the truth and stories which surrounds the religion. He works on the thought, perception, consciousness, emotion which exists in the unconscious cognitive memory of the people. Brown states on his website that his books are not anti-Christian, though he is on a 'constant spiritual journey' himself. When Brown refers to a constant spiritual journey, his attempts may seem related to his faith. It can be interpreted that if he is working on faith, perhaps, he means to strengthen it or nurture it with the help of sceptical discourse. His sceptical discourse includes doubt and questioning which again are the contrasting forces of religiosity. The ties between faith and reason have hardly witnessed tranquillity, and have often resulted in controversy and conflicts. Brown provides a rational touch by merging the religious sentiments with the mental devotion with equal commitment which the individual assumes to be rational from the personal side which as a result creates inner turmoil when clashes with logic.
Brown says that his book 'The Da Vinci Code' is simply "an entertaining story that promotes spiritual discussion and debate" and suggests that the book may be used "as a positive catalyst for introspection and exploration of our faith." The text explores the dialectic faith and reason which remains open for discussion. The text 'The Da Vinci Code' takes people's imagination on fire. It helps in questioning that
"if truths are covered by religion,
Are we not living in covered truths?"
Hence, raising such questions enrages people as well as urges them to think, to be sceptical, to doubt the religion which they have been blindly following since their childhood. It can be concluded that one cannot ignore this work completely while one is engaged with religion and Brown himself
Hence as a theological fiction, it deconstructs the existing theological discourse and reconstructs the discourse by reinterpreting what has been existed to make the readers conscious about deconstructing it once again.
2. “Although it is obvious that much of what Brown presented in his novel as absolutely true and accurate is neither of those, some of that material is, of course, essential to the intrigue, and screenwriter Akiva Goldsman has retained the novel's core, the Grail-related material: the sacred feminine, Mary Magdalene's marriage, the Priory of Sion, certain aspects of Leonardo's art, and so on.” How far do you agree with this observation of Norris J. Lacy?
When we exactly understand the true wonders of fiction, we may find ourselves engaged with fiction in a curiously interesting manner. Gilbert K. Chesterton believes,
"Literature is a luxury; fiction is a necessity."
We can believe that fiction, if not necessarily presents the historical facts as it is, may present the reality or blends the realistically true elements in the form of fiction. As it is truly marked-
“That's what fiction is for. It's for getting at the truth when the truth isn't sufficient for the truth.”
― Tim O'Brien
It is also a fact that fiction can't be considered as a piece of factual evidence to prove historical episode. Similarly, Dan Brown through his fictional character Robert Langdon, is presenting in his novel the Grail-related material: the sacred feminine, Mary Magdalene's marriage, the Priory of Sion, certain aspects of Leonardo's art, etc. I agree with Norris J. Lacy's statement that though being presented as a real quest are infact untrue.
3. (If)You have studied ‘Genesis’ (The Bible), ‘Paradise Lost (John Milton) and ‘The Da Vinci Code (Dan Brown). Which of the narrative/s seem/s to be truthful? Whose narrative is convincing to the contemporary young mind?
The narrative of Genesis (The Bible) is God-centric narrative. The narrator regards god as the supreme entity and not as a character. Hence, the narrative of Genesis can be regarded as a biased narrative which never attempts to capture any different perspective. our mindsets while reading or watching are shaped from the narrator’s perspective; that always has a God-Centric world. The larger than life characters play a very vital role in constructing a supernatural figure which shapes our minds in such a way that it rarely seems easy to question their miracles. These voices later become the ‘divine voices of divinity’ resulting in divine perspectives which thoroughly ignores other rational ideology of common entities and goes with the flow of monopolistic notions. The world of the Bible is the perfect illustration of divine perspectives where the flow of narration goes with a sole and divine perspective of God. Theologically, if we read the bible it interprets stories glorifying the divine acts of God and making men understand the importance of praying and worshiping God in different ways. Contrary some chapters were also narrated in different style by not considering God as the ultimate creator. The main thing is a man’s character, in the study of theology, is expected to be obedient and should remain faithful as well as loyal to God.
Milton's epic poem 'Paradise Lost' provides a beautiful and rational voice to the first human beings. As it is rightly said that,
“Everything except God has some natural superiority”
So Milton’s “Paradise Lost” has penned this case with enthusiasm and had extended the story over ten books. Milton’s God is far from the God of popular belief or even far from theology. He is no Creator external to His Creation. He is ‘utterly non-manifested: as soon as the narration begins, the world of Milton speaks of the Son and no longer of the God, His descriptions and his voice to Eve reveals his pure human touch to the story. He portrays the character of Eve in such a way that Eve asks every question which normal human being has. As soon as the narration begins Milton speaks of Son and no longer continues the tradition of the Bible of glorifying God. By this Milton seems to convey that Son is the agent of creation which indirectly tells us that he writes in human perspectives and not in divine perspective. However, still the narrative fails to capture attention of younger generations who are in a constant quest with curiosity. What satisfies this curiosity is Dan Brown's narrative of 'The Da Vinci Code'.
In Brown's book, everything related to divinity is questioned and interpreted differently. A rational touch is provided in shaping of the myths. It can be said that 'The Da Vinci Code' is a rational corrective to Milton's 'Paradise Lost' or Genesis. Perhaps, this is why Brown's narrative is convincing to the contemporary young mind.
4. What harm has been done to humanity by the biblical narration or that of Milton’s in The Paradise Lose? What sort of damage does narrative like ‘The Vinci Code’ do to humanity?
As Literature all the three books shares equal right to exist in library for reading purpose but when the readers or mass considers one of it as a divine book, the holy book, they set particular standards for other human beings to be followed and practiced.
5. What difference do you see in the portrayal of 'Ophelia' (Kate Winslet) in Kenneth Branagh's Hamlet, 'Elizabeth' (Helena Bonham Carter) in Kenneth Branagh's Mary Shelley's Frankenstein or 'Hester Prynne' (Demi Moore) in Roland Joffé's The Scarlet Letter' or David Yates's 'Hermione Granger' (Emma Watson) in last four Harry Potter films - and 'Sophie Neuveu' (Audrey Tautau) in Ron Howard's The Da Vinci Code? How would justify your answer?
Objectifying women has become a natural cause for generating maximum audience.
Kenneth Branagh sexually objectified Kate Winslet by taking liberty with Ophelia's portrayal and showed her nude which we do not find in Shakespeare's Hamlet. Ron maintained sacredness in Sophie's portrayal in movie and thus, even if Dan's Sophie is kissed on lips, he do not show those scenes in movie.
Demi Moore as Hester Prynne has shown more of skin and sexually objectified her on screen. She is shown a woman of fiery passion in the movie. Ron did not take such liberty. In fact, he restrained.
Kenneth branagh in Frankenstein also, takes liberty with portrayal of Elizabeth on screen; whereas Ron Howard, remained faithful to the central theme of Feminine Sacredness in Sophie's portrayal.
Hermione Granger is also used as desired object of male-ego - the object to be owned to show superiority over the others. That is why she becomes bone of contention between Ron Weasley and Harry Potter.
Ron remained faithful to the central theme of the novel i.e. Feminine Sacredness' and thus did not objectify Audrey Tautau in Sophie's role. Ron presented her is a decent manner.
6. Do novel/film lead us into critical (deconstructive) thinking about your religion? Can we think of such a conspiracy theory about Hindu religious symbols/myths?
A major force in contemporary literary criticism is Jacques Derrida. Derrida plays constantly with this discovery that the sign marks a place of difference in his important theory - the theory of Deconstruction or Deconstructive Criticism.
"No meaning can be determined out of context..
but no context permits saturation."
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