The Da Vinci Code, likemany international thrillers, operates in a world of extreme privilege.The characters’ interactions take place against grand backdrops.Langdon, who is cast as a modest schoolteacher, teaches at Harvardand stays in the Ritz while in Paris to give lectures to assembledcognoscenti. Sophie, a police inspector with a heart of gold, grewup in a big house in Paris—she remembers running from room to roomand up and down stairs looking for the clues her grandfather leftfor her in treasure hunts. Even the revelation of Sophie’s grandfather’sparticipation in the ritual of Hieros Gamos takes place in the basementof her grandfather’s chateau in Normandy—a rather exalted setting.Saunière is a curator at the Louvre and can bring his granddaughterto see the Mona Lisa when there are no pesky touriststo interfere. He is also friends with the head of the Zurich Bankin Paris, André Vernet. Several other highly influential men arealso members of the Priory of Sion. In the moral universe of TheDa Vinci Code, one can be rich and still be good, but oncea certain level of income is exceeded, greed sets in. Sir Leigh Teabing,who has all the money he could possibly want, and whose house isa study in overprivilege, can have anything that his heart desires.He can get across borders without passports and board planes atthe drop of a hat. All of this privilege, Brown implies, ruins Teabingmorally and makes it impossible for him to cope mentally with thefact that he can’t have the one thing he really wants: knowledgeof where the Grail is hidden. Similarly, Aringarosa, the head of OpusDei, is accustomed to the clout that excessive amounts of moneybuy for his order. When the Church says that the Pope has decidedto disassociate himself from Opus Dei, Aringarosa is shocked, becauseOpus Dei bailed the Vatican Bank out of trouble a few years earlier.Aringarosa confuses economic power with moral power. This confusionis his moral failing.

Additionally, In Brown’s world, people who simply preferriches, like Bishop Aringarosa, are morally inferior. The differencebetween crude rich people, like Aringarosa, and rich people withtaste, like Teabing, is that the tasteful rich can tell the differencebetween a good painting and a bad one.

How does thenovel’s drive to educate readers on the history, art history, andsymbology behind the mystery relate to its narrative flow?

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The Da Vinci Code is an action-adventure / puzzle game played from a third-person perspective. The aim of the game, as with both the book and the film, is to locate the Holy Grail. To achieve this goal, the player must gather clues, solve puzzles, and successfully evade or defeat enemies.

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Part of the thrill of The Da VinciCode is its string of revelations about the historicaltheories that propel the plot. Many of these revelations come tolight during a dramatic action. When, standing in front of Saunière’sbody, Langdon tells Fache about the significance of the pentacleto pagan worshippers, and makes the differentiation between paganismand devil worship, the fact that he is standing in front of a deadman who has drawn a pentacle on his chest with blood both holdsthe reader’s interest and makes his impromptu lecture seem unlikely—whoexplains pentacles in front of a corpse?. When Langdon tells Sophieabout the ancient view of sexual intercourse as a healthy expressionof the uniting of man and woman and the power of nature, the readeris interested because Sophie remembers seeing her grandfather participatein that ritual.

When Brown presents information without any dramatic counterpoint,the temptation to skip over paragraphs might set in. For example,Langdon’s explanation about Baphomet has little relevance to theplot and might cause impatience. And when the Temple Church is describedin detail, it is challenging to follow along, and in the end theclue leading the group there is a red herring.

Is TheDa Vinci Code objective about the mysteries it presents,or is this novel, as many have claimed, written as a diatribe againstthe Church?

The Da Vinci Code certainlycan be interpreted as an offense to the Roman Catholic Church. Inthe presentation of the themes that have been investigated by historians,such as the missing Gospels, the marriage of Jesus, and the killingof pagans by the Church, the novel examines issues that challengethe historical authority of the Church. Many issues that historiansconsider controversial are presented as fact. When Langdon and Teabingtell Sophie about the blood lines of Mary Magdalene, they do nottell her that it is merely a theory, not an accepted fact. At theend of the novel, Sophie discovers that she is a descendent of Jesus,a plot twist that suggests that every theory presented in the novelis true.

But The Da Vinci Code doesn’t paint acompletely negative picture of the Church. By the end of the novel,Brown has revealed that Teabing, who is not associated with theChurch, is responsible for the murders of the Priory brothers. Thisrevelation forces the reevaluation of many of the negative implicationsabout the Church that Brown makes at the beginning of the novel:Opus Dei did not order Silas to kill; Bishop Aringarosa feels terribleabout the murders of the Brotherhood and offers the victims’ familiesmoney; the Church itself was planning to separate from Opus Deiand bring its practices more up to date with modern society. Andbefore Silas dies, he feels immense peace thinking of God as a deityof forgiveness, a feeling of reassurance that Bishop Aringarosahas given him. Silas turns into an example of a person who has beenrescued by his faith.