yǐngpiān《 dá · fēn qí mì mǎ》 gēn jù měi guó zuò jiā dān · bù lǎng de tóng míng xuán yí xiǎo shuō gǎi biān。 hā fó dà xué de fú hào xué zhuān jiā luó bó tè · lán dēng《 dá fēn qí mì mǎ》 ( tānɡ mǔ · hàn kè sī shì ) zài fǎ guó bā lí chūchāi qī jiān de yī gè wǔ yè jiē dào yī gè jǐn jí diàn huà， dé zhī lú fú gōng bó wù guǎn nián mài de guǎn cháng bèi rén shā hài zài lú fú gōng de bó wù guǎn lǐ， rén men zài tā de shī tǐ bàng biān fā xiàn liǎo yī gè nán yǐ zhuō mō de mì mǎ。
lán dēng yǔ fǎ guó yī wèi pō yòu tiānfèn de mì mǎ pò yì zhuān jiā suǒ fěi · nài fú ( ào dài lì · tǎ tú shì )， zài duì yī dà duī guài yì de mì mǎ jìn xíng zhěng lǐ de guò chéng dāng zhōng， jū rán fā xiàn yī lián chuàn de xiàn suǒ jiù yǐn cáng zài dá · fēn qí de yì shù zuò pǐn dāng zhōng。 zhè xiē xiàn suǒ， dà jiādōu qīng chǔ kě jiàn， rán 'ér què bèi huà jiā qiǎo miào dì yǐn cáng qǐ lái。
lán dēng wú yì zhōng fēi cháng zhèn jīng dì fā xiàn， yǐ gù de bó wù guǎn guǎn cháng（ yě jiù shì nài fú de zǔ fù） jìng rán shì xún shān yǐn xiū huì（ PrioryofSion） de zhòng yào chéng yuán。 xún shān yǐn xiū huì shì yī gè zhēn shí cún zài de mì mì zǔ zhì， qí chéng yuán bāo kuò niú dùn、 wéi kè duō · yǔ guǒ yǔ dá · fēn qí děng duō wèi lì shǐ míng rén。 lán dēng de zhí jué gào sù tā， tā hé nài fú shì zài zhǎo xún yī gè shí pò tiān jīng de lì shǐ mì mì ……
《 dá fēn qí mì mǎ》 - jù qíng
bā lí shēn yè， luó fú gōng dé gāo wàng zhòng de guǎn cháng， zài guǎn nèi bèi rén shā sǐ， bàng biān xiě liǎo yī chuàn rén jiā kàn bù dǒng de zì。 yī chuàn zì lǐ wéi yī kàn dé dǒng de shì luó bó tè · lán dēng zhè gè rén míng， zhè rén shì hā fó dà xué lì shǐ jiào shòu， yě shì yī wèi fú hào xué jiā， guǎn cháng yǔ tā sù wèi móu miàn， dàn yuē hǎo dì 'èr tiān jiàn miàn。 jǐng chá jú zhǎo dào liǎo zhè wèi jiào shòu zhù de lǚ guǎn， bìng dài dào luó fú gōng mìng 'àn xiàn chǎng。
qí zhōng yòu yī míng nǚ jǐng xiàng jiào shòu tōu tōu tòu lù zì jǐ shì guǎn cháng de sūn nǚ shēn fèn， tā men jīng jǐ fān cāi cè， liǎng rén zuì hòu zài dá · fēn qí《 méng nà lì suō de wēi xiào》 bèi hòu， zhǎo dào liǎo guǎn cháng shēng qián liú xià de zhǐ tiáo， shì yī shǒu yǔ yì hán hú de shī。 hòu lái bèi diào chá yuán jǐng fā xiàn qíng kuàng bù duì， jiào shòu dài zhe guǎn cháng de sūn nǚ táo páo， zhè yī duì nán nǚ bù dàn chéng liǎo tōng ji fàn， lìng yī gè yán xù liǎo jiāng jìn qiān nián de mì mì zǔ zhì， yě kāi shǐ zhuī zhú tā men。 gù shì jiù zhè yàng zhǎn kāi xù mù……
chàng xiāo 500 wàn běn de xiǎo shuō， dāng rán bù zhǐ shì dān chún de tuī lǐ gù shì， zhēn zhèng yǐn rén rù shèng de， shì bèi hòu suǒ chuán dì de xìn xī ～ yán xù liǎng qiān nián de zōng jiào zhēng yì， yòu guān chuán shuō yé sū qǔ qī shēng zǐ。 yé sū chéng wéi “ jī dū ”， shì zài gōng yuán sān bǎi duō nián yǐ hòu de shì， zǎo qī de jiào huì chóng bài“ wěi dà de mǔ qīn”， ér dài biǎo de nǚ xìng， què shì yín dàng huǐ gǎi、 yǐ hòu gēn suí yé sū de mǒ dà lā de mǎ lì yà， tā tóng shí yě bèi rèn wéi shì yé sū de qī zǐ， wéi yé sū shēng yù， xiàng zhǐ“ shèng bēi”。
“ shèng bēi” chuán shuō shì yé sū zài zuì hòu wǎn cān yòng de jiǔ bēi， tóng shí yě shì bèi dīng zài shí zì jià shàng jiē shèng yé sū de xiān xuè de jiǔ bēi， zhè zhèng shì zhè běn xiǎo shuō de zhù zhóu， gè lù rén mǎ zhēng duó“ shèng bēi” zhī zhàn。
《 dá fēn qí mì mǎ》 - yǎn yuán jiè shào
tānɡ mǔ · hàn kè sī shì měi guó yǎn yuán， lián xù liǎng jiè yǐ《 fèi chéng》 hé《 ā gān zhèng chuán》 róng huò 'ào sī kǎ yǐng dì， zì 90 nián dài zhōng qī yǐ lái jīng rén dì bǎo chí zhāoshù yī shù 'èr de jiāng hú dì wèi。 6 suì shí fù mǔ lí yì， suí zhe chú shī fù qīn gè chù páo， gāo zhōng shí kāi shǐ zháomí yǎn xì， dà xué niàn dào yī bàn gān cuì chuò xué quán shēn tóu rù yǎn yì juàn。
1979 nián shǒu cì yǎn chū diàn yǐng xiǎo jiǎo sè， jiē zhe jìn rù diàn shì juàn yǎn chū yī duī xǐ jù。 1984 nián tā yǐ《 měi rén yú》 zhǎn lòutóu jiǎo， sì nián hòu yīn《 fēi jìn wèi lái》 shǒu dù rù wéi 'ào sī kǎ zuì jiā nán zhùjué。 1992 nián《 hóng fěn lián méng》 hé 1993 nián《 xī yǎ tú yè wèi mián》 shǐ tā chéng wéi piào fáng jù xīng， zhēn zhèng de tū pò shì《 fèi chéng》。 shàn cháng biǎo xiàn píng fán rén de bù píng fán yī miàn。
zì pāi bà《 xìng fú zhōng diǎn zhàn》 hòu， tānɡ mǔ · hàn kè sī yǐ xiǎnyòu dà zuò liǎo， zhī hòu jiē pāi de《 shī nǎi shā shǒu》 yīn piào fáng cǎn dàn 'ér ràng zhè wèi yǐng dì lüè xiǎn tuí shì。 2006 nián yòu zài lǎng · huò huá dé dǎo yǎn de yǐngpiān《 dá fēn qí mì mǎ》 zhōng chū yǎn nán zhùjué。 suī rán jìn jǐ nián lái hàn kè sī méi yòu gěi yǐng mí dài lái zú gòu zhèn hàn de zuò pǐn， dàn tā zài yǐng mí xīn mù zhōng de dì wèi què shì nán yǐ dòng yáo de。
《 dá fēn qí mì mǎ》 - yǐngpiān píng jià
《 dá fēn qí mì mǎ》 shì yī bù zhōng yú yuán zhù de diàn yǐng， dàn shì hěn kě xī， yǐngpiān méi yòu dài gěi guān zhòng rèn hé jīng xǐ。
héng héng USAToday
diàn yǐng hěn píng yōng， méi yòu xuán niàn yě méi yòu làng màn， gèng zhòng yào de shì méi yòu qù wèi。
héng héng《 bō shì dùn xiān qū bào》
jìn guǎn shòu dào liǎo bù tóng de píng jià， dàn shì zhè bù yǐngpiān yǐ rán néng gòu zài quán qiú yòu yī gè shèng dà de piào fáng kāi jú。 yīn wéi quán shì jiè yòu wú shù shuāng hǎo qí de yǎn jīng děng zhe kàn zhè bù yōng yòu sì qiān wàn dú zhě de xiǎo shuō gǎi biān chéng diàn yǐng huì shì shénme yàng zǐ。
héng héng lù tòu shè
《 dá fēn qí mì mǎ》 - guān yú zhù tí
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
yīn shè jí mǐn gǎn de zōng jiào tí cái，《 dá · fēn qí mì mǎ》 zì kāi pāi yī shǐ biàn fēng bō bù duàn， tiān zhù jiào lián méng hé shì gōng huì tuán tǐ de fēn zhì tà lái de kàng yì hé fǎn duì xìn jiàn shǐ gāi piàn chéng wéi 2005-2006 nián dù zuì jù zhēng yì de yǐngpiān。 tiān zhù shì gōng huì céng xī wàng yǐngpiān yǐn qù zǔ zhì míng chēng， zài zhè yī yào qiú zāo dào jù jué hòu， shì gōng huì fā qǐ liǎo yī xiàng wéi zì jǐ zhèng míng de yùn dòng， tōng guò gè zhǒng méi tǐ dà zuò xuān chuán， yòng gè zhǒng fāng shì shuō míng xiǎo shuō yòng cuò wù de fāng shì miáo xiě qí zǔ zhì。 luó mǎ yī mù shī shèn zhì tuī chū liǎo zì jǐ de bó kè， fǎn bó《 dá · fēn qí mì mǎ》 de“ bù shí zhī cí”。 kàng yì de chéng dù suí zhe diàn yǐng shàng yìng de bī jìn 'ér jiā jù， dàn yòu guān zhuān jiā què hào zhào suǒ yòu de tiān zhù jiào tú dū yìng qù kàn zhè bù miù wù bǎi chū de diàn yǐng， zhǐ yòu zhè yàng cái néng fā xiàn qí zhōng de cuò wù。
suī rán bù lǎng de yuán zhù xù yán xuān chēng“ běn shū zhōng guān yú yì shù pǐn、 jiàn zhù、 wén xiàn hé mì mì yí shì de suǒ yòu miáo shù quándōu què yòu qí shì”， dàn dǎo yǎn lǎng · huò huá dé zé yī zhí míng zhì dì gāo jǔ“ xū gòu” dà qí：“ yǐngpiān bù huì zài zōng jiào wèn tí shàng guò dù jiū chán。 dān · bù lǎng shì yī gè chéng gōng de zuò jiā 'ér fēi zōng jiào hé lì shǐ xué jiā。 wǒ men zhī suǒ yǐ pāi zhè bù diàn yǐng shì yīn wéi wǒ xǐ huān zhè gè gù shì。” bìng tǎn yán， yǐngpiān de zhòng diǎn shì jīng sǒng xuán yí de qíng jié。 zhì piàn fāng gē lún bǐ yà de fā yán rén yě wèicǐ zhèng shí：“ wǒ men xiǎng zuò de zhǐ shì pāi yī bù zōng jiào sè cǎi bù huì guò yú míng xiǎn de hǎo piānzǐ。”
wéi dá jīng sǒng mùdì， ràng guān zhòng dà hū guò yǐn，“ hé kàn xiǎo shuō yī yàng dài jìn”， lǎng · huò huá dé zuò zú gōng kè， zhòng kàn liǎo xǔ duō bāo kuò《 qū mó rén》、《 luó sī mǎ lì de yīng 'ér》 děng zài nèi de jīng diǎn jīng sǒng piàn。 zài bǎo chí xiǎo shuō gù shì kuàng jià de qián tí xià， yóu jīn pái biān jù 'ā qí wǎ · gāo sī màn cāo dāo， duì xiǎo shuō zhōng de“ fǎn tiān zhù jiào zhù tí” zuò liǎo gǎi dòng， dàn“ qí zhōng zuì wéi jīng cǎi zhī chù jué duì yào biǎo xiàn chū lái”。
《 dá fēn qí mì mǎ》 - guān yú yǎn yuán
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
《 dá · fēn qí mì mǎ》 de yǎn yuán zhèn róng chāo jí háo huá。 yòu zhe guò yìng yǎn jì què rì jiàn fā fú de tānɡ mǔ · hàn kè sī suī zài wài biǎo shàng bìng bù fú hé jí jù mèi lì de luó bó tè · lán dēng jiào shòu， dàn yòng lǎng · huò huá dé de huà lái shuō lǎo tānɡ gē shǔ yú“ zuì quán miàn de yǎn yuán”， ér“ yī gè zhēn zhèng yōu xiù de yǎn yuán kě shèng rèn yī qiē biǎo yǎn”； zhù yǎn guò《 tiān shǐ 'ài měi lì》 de fǎ guó nǚ xīng 'ào dài lì · duō dù chū rèn gànliàn de suǒ fěi · nài fú， duì qí yǐ wǎng de yī guàn chún zhēn líng dòng jìn xíng liǎo chè dǐ diān fù， ràng lǎng · huò huá dé“ zhī qián de dān xīn wán quán duō yú”； ér yòu zhe“ quán shì jiè zuì kù de fǎ guó nán rén” tóu xián fǎ guó yǐng tán yìng hàn shàng · léi nuò chū yǎn jiǎo huá yán kù fǎ shè tàn cháng； zài yīng guó xì jù jiè yòu“ suō wēng zhuān yè hù” zhī chēng、 bìng zài bólín huò dé zhōng shēn chéng jiù jiǎng de chuán qí xìng yǎn yuán yī 'ēn · mài kè lāi 'ēn jué shì chū yǎn tí bīn jué shì； bèi měi guó méi tǐ yù wéi zì xiū · gé lán tè yǐ lái zuì shòu huān yíng de yīng guó yǎn yuán bǎo luó · bèi tǎ ní bàn yǎn bái huà bìng rén sài lā sī xiū shì， bèi zhì piàn rén bù lāi 'ēn · gé léi zé chēng wéi yǐngpiān“ jīng sǒng qì fēn de zuì hǎo fǎ mǎ”。
《 dá fēn qí mì mǎ》 - wài jǐng dì
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
《 dá · fēn qí mì mǎ》 zhàn jìn dì lì， lián lián dé shǒu yú shì jiè shàng zuì zhù míng de bó wù guǎn hé jiào táng。
wéi dá wán měi de zhēn shí xiào guǒ， shǐ xiǎo shuō zhōng de qíng jǐng bèi bǎi fēn zhī bǎi hái yuán， néng fǒu zài yuán zhù kāi tóu chù de fǎ guó lú fú gōng shí dì pāi shè chéng wéi guān jiàn。 2004 nián 12 yuè， huò huá dé hé zhì piàn rén zài bā lí tiǎo xuǎn nǚ yǎn yuán shí yì wài jiē dào fǎ guó zǒng tǒng xī lā kè bàn gōng shì dǎ lái de diàn huà， tóng xī lā kè de yī xiǎo shí huì wù yán tán shèn huān， suì qīng yì dì qiāo dìng rù zhù lú fú gōng pāi shè de tè xǔ， cóng 'ér chéng wéi jì《 lú fú mèi yǐng》 hòu dì 'èr bù jìn rù lú fú gōng qǔ jǐng de diàn yǐng。 zài yī zhōu de pāi shè qī jiān， jù zǔ zhǐ néng zài wǎn shàng yǐ jí měi zhōu 'èr bó wù guǎn guān bì rì pāi shè。 yòu yì sī de shì， zì 2005 nián 5 yuè yǐngpiān kāi pāi hòu， lú fú gōng suī jiāng piào jià shàng diào， dàn yǐngpiān de zǒu hóng què dài gěi lú fú gōng chuàng xià lì shǐ xīn gāo de 700 wàn rén cì。
xiǎo shuō zhòng tóu xì zhī yī de wēi sī mǐn sī tè jiào táng duàn rán jù jué liǎo zhì piàn fāng rù nèi pāi shè de qǐng qiú， bìng fā biǎo shēng míng：“ suī rán zhè shì yī běn jīng cǎi de xiǎo shuō， dàn wǒ men jué bù zàn tóng shū zhōng shè jí de yòu zhēng yì de、 jí dù zhù guān de 'àn shì xìng nèi róng， yě bù tóng yì tā duì yú jī dū jiào hé《 xīn yuē》 de guān diǎn。”
xiāng duì yú wēi sī mǐn sī tè jiào táng de jiān jué shuō“ bù”， xiū jiàn yú gōng yuán 11 shì jì、 qí nèi bù jié gòu yǔ wēi sī mǐn sī tè jiào táng shí fēn xiāng jìn de lín kěn dà jiào táng què chǎng kāi dà mén。 ér tóng yǐngpiān dá chéng pāi shè xié yì de hái yòu 'ài dīng bǎo fù jìn de jiàn yú 15 shì jì de luó sī lín dà jiào táng， zài xiǎo shuō zhōng luó sī lín dà jiào táng hé yī dù qiáng shèng de“ shèng diàn qí shì tuán” yòu guān lián， yīn cǐ zhè gè zhàn dì bù dà de zhōng shì jì jiào táng liǎng nián lái de yóu kè shù jù zēng wéi yǐ qián de sān bèi。 jù zǔ wéi lín kěn dà jiào táng hé luó sī lín dà jiào táng fēn bié zhī fù liǎo 10 wàn yīng bàng de gāo 'é zū yòng fèi。
cóng zhōng yú lì de hái yòu céng xiàng kāi fàng de yīng gé lán nán bù de wēn chè sī tè dà jiào táng。 cǐ jiào táng bù jǐn zuàn dé 2 wàn yīng bàng de chū zū fèi， qiě jiào táng guǎn lǐ rén yuán chèn zhe yǐngpiān rì jiàn gāo zhǎng de rén qì jué dìng yú 2006 nián 3 yuè 1 rì qǐ duì měi wèi fǎng kè qiáng zhì shōu qǔ 4 yīng bàng de rù chǎng fèi， yǐ zhī fù bù duàn zēng jiā de yíng yùn fèi yòng。
《 dá fēn qí mì mǎ》 - mù hòu huā xù
· lú fú gōng de zhèn guǎn zhī bǎo《 méng nà lì suō》 shì yī gè jí qí zhòng yào de dào jù， dàn yīn pāi diàn yǐng de dēng guāng huì duì zhè fú míng huà zào chéng sǔn hài， yīn cǐ， chū yú 'ān quán hé bǎo hù de yīn sù， jù zǔ zhǐ dé tuì 'ér qiú qí cì dì shǐ yòng liǎo yī gè bǐ lì jīng què de fù zhì pǐn。 zhè yī mì mì de xiè lù ràng huò huá dé gǎn dào tòng kǔ：“ wǒ shí fēn tǎo yàn bié rén wèn wǒ zhè yàng de wèn tí， dàn shì……” tā tíng dùn liǎo jǐ miǎo zhōng，“ bì jìng zhè fú huà shì wú jià zhī bǎo！” lìng rén 'ān wèi de shì， yǐngpiān zhōng bǎo cún《 méng nà lì suō》 zhè fú yóu huà de fáng jiān shì zhēn de。
· zài lú fú gōng pāi diàn yǐng jiù xiàng zài zuò mèng。 yóu yú zhé fú yú lú fú gōng de yì shù mèi lì， tānɡ mǔ · hàn kè sī jiāng qí fáng chē tíng zài tíng zài lú fú gōng wài miàn de jiē dào shàng， lǎo tānɡ gē měi cì qián wǎng pāi shè dì diǎn dū bì xū chuān guò wú shù huà láng：“ zhè lǐ míng zuò zhòng duō， mù bù xiá jiē --《 yuē sè fēn huáng hòu jiā miǎn》、《 léi 'ào ní dá zài wēn quán guān》， cóng zhè lǐ zǒu zhe qù gōng zuò de gǎn jué shí zài bàng jí liǎo！”
· bēifù jù dà yú lùn yā lì de tānɡ mǔ · hàn kè sī wéi zài wài xíng shàng xiàng juésè kào lǒng， yī miàn jī jí jiǎn féi， yī miàn jiāng cháng nián de bǎn shuà tóu biàn chéng liǎo“ piāo yì” de cháng fā， dàn kàn guò《 dá · fēn qí mì mǎ》 shì piàn de guān zhòng yǐ rán duì lǎo tānɡ gē de fǎng xué zhě fàxíng chuī máo qiú cī， jiāng qí yù wéi“ qián 'é guāng tū， hòu nǎo sháo yī gè yā wěi bā”！
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
· xiǎo shuō tí jí de wéi léi tè chéng bǎo yě shì yǐngpiān pāi shè dì zhī yī。 zhè zuò jiàn yú 1668 nián de chéng bǎo zhuān wéi lù yì shí sì zhù yì dà lì dà shǐ suǒ jiàn， xiàn zài de zhù rén shì měi guó fáng chǎn dà hēng。 jù xī， jù zǔ cóng 17 jiān fáng zhōng bì chū 6 jiān zhuān gōng yǎn yuán shǐ yòng， dàn lǎo tānɡ gē fàng qì liǎo xiǎng shòu guì zú dài yù de jī huì， xuǎn zé hé qī zǐ hái zǐ zhù zài yǎn yuán táng nà dé · sà sè lán bā lí de jiā zhōng， jìn xiǎng píng mín zhī lè。
· wéi gèng hǎo bàn yǎn bái huà shā shǒu sài lā sī， bǎo luó · bèi tǎ ní bù mǎn zú yú huà zhuāng shí cái yòu de bái huà bìng rén dú yòu de cǎn bái pí fū， hái bù xī jiāng yī tóu jīn fā rǎn chéng bái sè， jiāng shēn lán de yǎn jīng gǎi wéi xuè hóng。 dàn zhè yī xíng xiàng què yǐn qǐ měi guó bái huà bìng hé sè sù chén diàn zǔ zhì de jí dà fèn kǎi， gāi zǔ zhì rèn wéi rú cǐ miáo xiě shì yán xí hǎo lāi wù xǔ duō diàn yǐng duì bái huà bìng tóng xìng liàn de chǒu huà。
· yī 'ēn · mài kè lāi 'ēn xìn yǎng jī dū jiào， dāng jù zǔ zài yīng gé lán de lín kěn jùn pāi shè zāo yù yīng guó zōng jiào rén shì de lǚ lǚ kàng yì shì wēi shí， mài kè lāi 'ēn shù cì chū tóu， hào zhào rén men de tài dù bù kě tài guò piān jī， ér yìng yǐ quán xīn de jiǎo dù shěn shì yī guàn jiān chí de xìn yǎng。
·2005 nián 8 yuè 16 rì， jiù zài《 dá · fēn qí mì mǎ》 pāi dé rè huǒ cháo tiān zhī jì， wéi kàng yì lín kěn dà jiào táng duì jù zǔ xíng fāng biàn zhī shì， yī lái zì“ hé píng yǔ rén cí” fù nǚ xié huì de mǎ lì · mài kè 'ěr guì zài lín kěn dà jiào táng de tái jiē qián， shǐ dé dà jiào táng de fù zé rén nài tè bù dé bù ràng bù， shuō xiǎo shuō“ fēi cháng qiānqiǎng、 chōng mǎn yì duān”。
《 dá fēn qí mì mǎ》 - xīn piàn kàn diǎn
1. dà wàn yún jí
tānɡ mǔ · hàn kè sī de cháng fā zào xíng jué wú jǐn yòu；“ tiān shǐ 'ài měi lì” ào dài lì · tǎ tú yáo shēn biàn chéng shēn chén、 guǒ gǎn、 zhì huì de mì mǎ zhuān jiā；“ jǐng chá zhuān yè hù”“ shā shǒu lāi 'áng” ràng · léi nuò zhè huí yì zhèng yì xié； cǐ wài hái yòu《 zhī zhū xiá 2》 zhāng yú bó shì、《 zhǐ huán wáng》 gān dào fū、《 fáng huǒ qiáng》 lǐ de bǎng fěi。
2. biāo xīn lì yì
《 zuì hòu de wǎn cān》 lǐ de yé sū mén tú yòu yī gè shì nǚ rén； yé sū jié guò hūn， yòu liǎo hái zǐ， bìng qiě xuè mài yán xù dào xiàn dài； niú dùn hé dá · fēn qí dū dān rèn guò yǐn xiū huì huì cháng…… diàn yǐng biān pái liǎo xǔ duō qíng jié lái zhèng míng shàng shù guān diǎn。
3. nán qiāng běi diào
luó bó tè · lán dēng de měi shì yīng yǔ， suǒ fěi de fǎ yǔ qiāng yīng yǔ， léi · tí bīn de chún zhèng lún dūn qiāng， yǎn yuán shēn fèn hé juésè shè dìng wán quán fú hé， suǒ yǐ wǒ men yòu jī huì tīng dào yǎn yuán zì jǐ de qiāng diào。
4. yīnyuè jīng cǎi
rú hé yòng shēng huà biǎo xiàn rén wù xīn lǐ，《 dá · fēn qí mì mǎ》 gǎi biān diàn yǐng bì xū guò zhè dào kǎn 'ér。 tā de bàn fǎ shì： yīnyuè。 pò yì mì mǎ shí， cóng yī tóu wù shuǐ dào máosè dùn kāi de xīn lǐ biàn huà guò chéng， diàn yǐng yīnyuè jiāng qí xì nì、 zhǔn què 'ér fù gǎn rǎn lì dì zhǎn xiàn chū lái。
5. zhēn guì yǐng xiàng
《 méng nà lì suō》《 yán jiān shèng mǔ》《 zuì hòu de wǎn cān》 děng chuán shì huà zuò de yuán zuò chū xiàn zài jìng tóu lǐ。 lú fú gōng shí jǐng pāi shè， guān zhòng fǎng fó shí dì lì xiǎn。 sài nà hé、 bù luò niè sēn lín、 luó sī lín jiào táng dū chū xiàn zài piàn lǐ。 zuì lìng rén nán wàng de hái shì gè zhǒng fēng gé de 'ōu zhōu gǔ dài jiào táng。
1. zuì yì wài de pò yì
lán dēng gēn jù suǒ ní 'āi liú xià de mì mǎ， yī lù pò yì xià qù， jū rán zài《 méng nà lì suō》 hòu miàn zhǎo dào yī bǎ yàoshì。 zhěng gè pò yì guò chéng yì wài dié chū、 jīng cǎi fēn chéng。
2. zuì jīng xiǎn de dàochē
lán dēng hé suǒ fěi bèi jǐng chá fā xiàn， tā men lái bù jí diào zhuǎn chē tóu， zhǐ hǎo dàochē táo páo。 zài chē shuǐ mǎ lóng de dà jiē shàng， dǎo zhe kāi de xiǎo qì chē jū rán páo yíng liǎo yíng tóu zhuī shàng lái de jǐng chē。
3. zuì gǎo xiào de jí zhì
yínháng xíng cháng mào chōng kǎ chē sī jī， chàdiǎn bèi jǐng chá shí pò。 jǐng chá kàn dào sī jī shǒu wàn shàng de láo lì shì jīn biǎo， hěn shì nà mèn。 xíng cháng pō yòu jí zhì， chèn jī xiàng jǐng chá dōu shòu：“ mào pái huò！ nǐ xiǎng yào？ gěi nǐ， 35 kuài…… bù xíng？ nà 30 kuài？” bù nài fán de jǐng chá fàng zǒu liǎo kǎ chē。
4. zuì hài rén tīng wén de
léi · tí bīn duì zhe《 zuì hòu de wǎn cān》 kǎn kǎn 'ér tán： shèng bēi qí shí shì yī gè nǚ rén， ér zhè gè nǚ rén zhèng shì yé sū de qī zǐ…… zhè gè chǎng miàn hěn píng jìng， dàn léi · tí bīn de zhù zhāng， shí zài ràng rén nǎo dài“ wēng wēng wēng”。
5. zuì yì zhēn yì huàn de
lán dēng hé suǒ fěi xiàng niú dùn mù dì zǒu qù。 niú dùn shēng huó shí dài de lún dūn jiē jǐng yǔ xiàn dài de lún dūn jiē jǐng zài yín mù shàng zhòng dié qǐ lái， qián zhě shì cū kē lì、 gāo fǎn chā de huà miàn， hòu zhě shì zhèng cháng sè cǎi hái yuán de huà miàn， yī shí jiān ràng rén chǎn shēng bù zhī“ jīn xī hé xī” de chāo xiàn shí gǎn。
6. zuì jī dòng rén xīn de
yǐngpiān zuì hòu， lán dēng guā hú zǐ shòu shāng， shòu dào shuǐ chí lǐ xuè xiàn de qǐ fā， xiǎng dào mǒ dà lā yí hái de cáng shēn zhī dì。 tā lái dào lú fú gōng， dì xià jìng jìng tǎng ?? dài， jiàn rèn hé shèng bēi yī qǐ kānhù zhe tā de mén wài， tā tǎng zài dà shī men lìng rén zhōng 'ài de jié zuò de huái bào zhōng， zài fán xīng shǎn shuò de tiān kōng xià zhōng yú dé dào liǎo 'ān xī。” suí zhe jìng tóu， mí yǔ bèi wán měi pò jiě。
《 dá fēn qí mì mǎ》 - gǎi biān liàng diǎn
1. kè fú kǒng jù
lán dēng yīn wéi 7 suì de shí hòu diào jìn jǐng zhōng， yīn cǐ duì mì bì de huán jìng fēi cháng jǐn zhāng， bù shí biǎo xiàn chū kǒng jù de gǎn jué。 piàn zhōng yě zhuólì biǎo xiàn， chú liǎo yī kāi shǐ tā yǔ fǎ xī jìn rù lú fú gōng zuò diàn tī shì yuán shū yǐ yòu qíng jié wài， lìng zēng jiā liǎo yī gè xì jié： tā hé suǒ fěi cóng sū lí shì cún tuō yínháng chū lái， wéi bì jǐng fāng zhuī bǔ， jìn rù zhuāng jiá yùn chāo chē zhè yàng yī gè mì bì de kōng jiān， duǒ zài chē xiāng nèi jǐn zhāng dé fā dǒu。 suǒ fěi yòng xiǎo shí hòu mā mā 'ān fǔ tā de fāng fǎ héng héng héng héng héng bǎ shuāng shǒu cuō rè liǎo， wǔ zài lán dēng de liǎng biān tài yáng xué shàng， tóng shí róu shēng 'ān wèi gǔ lì。
2. mì mǎ tǒng
yuán zhe zhōng de mì mǎ tǒng yòu liǎng gè， dì yī gè dǎ kāi shì yī gè gèng xiǎo de mì mǎ tǒng。 piàn zhōng zhǐ chū xiàn yī gè mì mǎ tǒng， jiù shì yuán zhe zhōng de dì 'èr gè mì mǎ tǒng jí tí shì yǔ jù， bì miǎn liǎo qíng jié de chóngfù。
3. fǎ xī shēn fèn
yuán zhe fǎ xī shì yī gè hàodàxǐgōng de jǐng chá， ér zài piàn zhōng， tā chéng wéi shì gōng huì de jiào tú。 shì gōng huì de zhù jiào 'ā rùn shā（ yuán zhe yì wéi 'ā lín jiā luò shā） gào sù fǎ xī， tā tīng dào luó bó tè · lán dēng de chàn huǐ， zhèng shì lán dēng shā liǎo lú fú gōng bó wù guǎn guǎn cháng yǎ kè · suǒ ní 'āi， yīn cǐ， fǎ xī jiāng lán dēng suǒ dìng wéi xiōng shǒu， bìng qiě jiāng 'àn qíng jìn zhǎn suí shí bào gào gěi 'ā rùn shā。 dàn shì zuì hòu guān tóu， tā kàn chū liǎo pò zhàn， fā xiàn 'ā rùn shā biān zào liǎo huǎng yán， yīn 'ér bù zài huái yí lán dēng。
4. shèng bēi mì mì
shèng bēi de mì mì wèihé bù xiàng shì rén gōng kāi， zhè shì gǎi biān de zuì dà liàng diǎn。 yuán zhe zhōng， suǒ fěi yǔ nǎi nǎi、 dì dì xiāng rèn， dé zhī huán shān yǐn xiū huì gēn běn bù dǎ suàn xiàng shì rén jiē kāi shèng bēi de mì mì， yú shì jué dìng fàng qì xiàng shì rén jiē shì zhè yī zú yǐ cuī huǐ jī dū jiào quán wēi de mì mì， zhì shǐ yǐngpiān yī kāi shǐ huán shān yǐn xiū huì de 4 míng shǒu hù zhě nìngsǐ bù shuō chū shèng bēi de mì mì xiǎn dé duō yú， quán shū bù miǎn yòu hǔ tóu shé wěi zhī gǎn。 ér zài piàn zhōng， lán dēng yǔ suǒ fěi zài luó sī lín jiào táng méi yòu zhǎo dào mǒ dà lā mǎ lì yà de shí guān， wù yǐ wéi yǐ jīng bèi suǒ ní 'āi huǐ diào， ér suǒ fěi yào zhèng míng zì jǐ shí wéi yé sū de hòu dài quē shǎo DNA shí zhèng。 zhèng huī xīn zhī jì， lán dēng tū rán fā xiàn lú fú gōng bō lí jīn zì tǎ de shè jì 'àn hé shèng bēi cún fàng dì de tí shì yǔ， jiē zhe jìng tóu zhuǎn rù lú fú gōng bō lí jīn zì tǎ dǐ xià， zhèng shì mǒ dà lā mǎ lì yà de shí guān， yǐngpiān zài zhè lǐ jié shù。 zhè yàng de jié jú， shǐ dé quán piàn qián hòu hū yìng， gèng néng zì yuán qí shuō。
《 dá fēn qí mì mǎ》 - xīn piàn kuài píng
jīng sǒng xuán yí bù shū yuán zhù
diàn yǐng《 dá · fēn qí mì mǎ》 de jǐn zhāng jīng sǒng qì fēn、 huán huán xiāng kòu gù shì、 gāo cháo dié qǐ qíng jié， sī háo bù bǐ yuán zhe xùn sè。
dǎo yǎn wèile zhì zào jǐn zhāng jīng sǒng， dà liàng yùn yòng guǐ mì yīn chén de bèi jǐng yīnyuè。 cǐ wài， dà liàng xiělínlín de jìng tóu xià dé guān zhòng lián
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
lián fā chū jīng hū。 piàn zhōng duō cì chū xiàn bái huà shā shǒu sài lā sī duì zì jǐ de ròu tǐ jìn xíng chéng fá de tè xiě jìng tóu。 sài lā sī tuō qù wài yī， lù chū jiàn měi de luǒ tǐ， xì kàn shàng qù shāng hén lěi lěi。 jiē zhe tā qǔ xià dài dīng de kǔ xiū dài， shǐ jìn lè shàng tiě liàn， tòng dé hún shēn chàn dǒu。 sài lā sī zài shèng xù 'ěr pí sī jiào táng xíng xiōng chǔlǐ dé xiāng dāng hǎo。 xiān shì xiū nǚ sāng dé lín jiē dào diàn huà， bàn yè 'ān pái sài lā sī cān guān jiào táng， tū rán chuāng hù bèi yīn fēng měng dì guān shàng， àn shì bù xiáng。 quán piàn duō cì yòng shǎn huí biǎo xiàn sài lā sī shā hài bù tóng rén wù， shǐ rén yī kàn dào tā jiù lián xiǎng qǐ cán bào、 xuè xīng。 huán huán xiāng kòu de jiě mí guò chéng yǔ bù bù jǐn bī de zhuī shā qíng jié jǐn mì jiāo zhì， xiāng dāng cì jī。 suǒ fěi hé lán dēng zì jìn rù lú fú gōng bó wù guǎn qǐ kāi shǐ jiě mí， yòng zì mǔ huàn wèi fǎ zhǎo dào dá · fēn qí《 méng nà lì suō》， jì 'ér zhǎo dào《 yán jiān shèng mǔ》， fā xiàn suǒ ní 'āi liú xià de yàoshì， yǔ jǐng wèi dǎ dǒu； zài chū táo tú zhōng， suǒ fěi yòu zhǎn shì liǎo yī bǎ chē jì， dǎo zhe kāi“ dū shì jīng líng”， chōng guò chē liú hé rén qún…… jī běn shàng měi zhuǎn huàn yī gè chǎng jǐng jiù chū xiàn yī gè gāo cháo。 bù guò yǐngpiān yě yòu xiǎo xiǎo de yí hàn： bèi jǐng zhī shí tài duō， zài liǎng gè bàn xiǎo shí nèi， jiāng zhī quán pán guàn shū gěi guān zhòng， shǐ dé tái cí duō 'ér mì jí， yī pài dié dié bù xiū de jià shì， yǔ zhěng piàn jīng sǒng xuán yí de qì fēn bù tài róng hé。
《 dá fēn qí mì mǎ》 - shǒu yìng
gēn jù dān · bù lǎng chàng xiāo xiǎo shuō gǎi biān de tóng míng diàn yǐng《 dá · fēn qí mì mǎ》 jí jiāng yú běn yuè 19 hào zài quán qiú shàng yìng。 dàn shì， hé gāi xiǎo shuō zhī qián zāo yù de guān sī wēi jī yī yàng， zhè bù yǐngpiān hái méi shàng yìng， jiù yǐ jīng zài zhòng duō guó jiā zāo dào liǎo bù tóng chéng dù de dǐ zhì。
yìn dù dà yuē 2000 míng tiān zhù jiào tú qián tiān zài mèng mǎi jǔ xíng kàng yì jí huì， rèn wéi gāi piàn yòu guān qíng jié xiè dòu liǎo tiān zhù jiào。 yóu yú kàng yì bù duàn， gāi piàn zài yìn dù de shǒu yìng yǐ bèi tuī chí。 zài yīng guó， yǐngpiān yù dào liǎo fēn jí zhēng yì。 yīng guó diàn yǐng fēn lèi jú zhuān jiā rèn wéi， zhè bù diàn yǐng yòng yú zēng jiā jǐn zhāng qì fēn de pèi lè huì ràng 'ér tóng gǎn dào kǒng bù。 rú bù jìn xíng zhòng dà xiū gǎi， zhǐ néng huò dé shòu xiàn zhì de 15 jí xǔ kě。 ér zài xīn jiā pō， zhè bù diàn yǐng yě bèi liè wéi " chéng rén tí cái " de NC-16 jí diàn yǐng。
5 yuè 17 rì wǎn měi guó yǐngpiān《 dá - fēn qí mì mǎ》 zài běi jīng liàng xiāng。 yóu yú shí chā yuán yīn，《 dá - fēn qí mì mǎ》 zài zhōng guó shǒu yìng de shí jiān shí jì shàng bǐ jiá nà hái yào zǎo liù qī gè xiǎo shí， cóng 'ér chéng wèicǐ piàn zài shì jiè fàn wéi nèi de zuì zǎo liàng xiāng。 zhòng duō míng xīng jūn pěng chǎng chū xí liǎo gāi shǒu yìng lǐ， yīn zài běi jīng pāi shè yǐngpiān《 mǎn chéng jìn dài huáng jīn jiá》 de zhōu rùn fā yě xié fū rén chén huì lián chū xí。
《 dá - fēn qí mì mǎ》 de shǒu yìng diǎn lǐ zài dōng fāng xīn shì jì yǐng chéng suǒ zài de jūn yuè jiǔ diàn yàn huì dà tīng jǔ xíng。 rù chǎng jiā bīn zài jìn chǎng qián kě zài yī gè tè zhì de 'àn xiāng zhōng bàn zuò“ méng nà lì suō” jìn xíng pāi zhào。 20 wèi tōng guò wǎng luò yóu xì zài quán guó fàn wéi hǎi xuǎn chǎn shēng de tè shū jiā bīn zài shǒu yìng shì shàng dēng chǎng， zài jǐ wèi míng xīng lái bīn de píng pàn xià， tā men yī qǐ tōng guò yī xì liè mì mǎ pò yì yóu xì zhǎn kāi liǎo jī liè juézhú， zuì zhōng chǎn shēng liǎo 4 wèi fēn shù zuì gāo de xìng yùn 'ér。 tā men jiāng dài biǎo zhōng guó de“ mì mǎ mí” men yǔ qí tā guó jiā de yóu xì yōu shèng zhě yī qǐ cān jiā jīng cǎi fēn chéng de“ dá fēn qí 'ōu zhōu zhī lǚ”。
《 dá fēn qí mì mǎ》 - bō zhé jīng lì
shì jiè tiān zhù jiào huì jiào huáng běn dǔ shí liù shì de fù shǒu hào zhào qǐ liǎo xìn zhòng， gè zōng jiào tuán tǐ kāi shǐ liǎo gōng kāi zhǐ zé dì zhǐ， bái huà bìng huàn zhě wéi zì jǐ de xíng xiàng zài cì bèi diǎn xíng huà fèn nù， shè jí de lǚ yóu dì diǎn gé wài péng
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
bó， zuānyán qǐ mì mǎ xué de rén chí xù zēng duō， yóu xì kāi fā nà rù jìn chéng， zōng jiào rè cháo kōng qián gāo zhǎng， yòu shì méi shì de xián rén men yě zhǔn bèi qǐ liǎo cháng qī de jī liè zhēng lùn…… huǎng yán？ zhēn xiāng？ yīn móu lùn？ méng nà lì suō shén mì de wēi xiào zài cì chéng wéi liǎo chá yú fàn hòu de tán zī。
bù guò yī bù xū gòu xiǎo shuō， zěn me jiù néng yǐn dé xī fāng shè huì gè jiè rén shì ròu bó？ shì tā chán lián měi guó chàng xiāo shū páiháng bǎng 117 zhōu， quán qiú xiāo liàng chāo guò 4000 wàn běn， chéng wéi měi guó jīn nián zuì shòu huān yíng de xiǎo shuō de shì shí？ hái shì yīn wéi dān · bù lǎng zài《 dá fēn qí mì mǎ》 lǐ jiǎng de gù shì， wán quán shì hé xī fāng rén de zōng jiào zhī zhù chàng duì tái xì？ zhēng lùn cóng lái méi yòu dá 'àn， wǒ men zhǐ zhī dào， bù guǎn shì duō shǎo de kàng yì， duō me fèi fèi rǎng rǎng de shè xián qīn quán 'àn， nà gè xiǎo shuō lǐ chéng zài liǎo qiān gǔ fù zá mì mì de dá fēn qí mì mǎ， shòu guān zhù de chéng dù hái shì yī zhí shēng wēn！
duì yú hǔ shì dān dān de hǎo lāi wù lái shuō， zhè yàng bù quē tán zī de tí cái jué duì shì diàn yǐng piào fáng de gēn jī， zhēng yì yuè dà guān zhù yuè duō piào fáng yuè gāo， gǎi biān jù běn zhǐ shì zǎo wǎn 'ér yǐ。 gèng hé kuàng， lú fú gōng、 dá · fēn qí、 shèng jīng、 zōng jiào、 mì mǎ xué、 fú hào xué、 jīng sǒng、 xuán yí hé ràng rén xīn jīng dǎn chàn jiě mì zhuī zōng，《 dá fēn qí mì mǎ》 cóng yī kāi shǐ jiù míng xiǎn jù bèi yín mù fā guāng yuán sù。 zhèn dàng liǎo shì jiè shū shì de chāo jí chàng xiāo xiǎo shuō jí jiāng miàn shì， hái yòu shénme bǐ zhè gèng zhí dé xuān chuán ní？！
The title of the novel refers to, among other things, the fact that the murder victim is found in the Denon Wing of the Louvre, naked and posed like Leonardo da Vinci's famous drawing, the Vitruvian Man, with a cryptic message written beside his body and a pentacle drawn on his stomach in his own blood.
The novel has provoked a popular interest in speculation concerning the Holy Grail legend and Magdalene's role in the history of Christianity. The book has been extensively denounced by many Christian denominations as an attack on the Roman Catholic Church. It has also been criticized for its historical and scientific inaccuracy.
The book is a worldwide bestseller that sold 80 million copies as of 2009[update] and has been translated into 44 languages. This makes it, as of 2010, the best selling English language novel of the 21st century and the 2nd biggest selling novel of the 21st century in any language. Combining the detective, thriller, and conspiracy fiction genres, it is Brown's second novel to include the character Robert Langdon, the first being his 2000 novel Angels & Demons. In November 2004, Random House published a Special Illustrated Edition with 160 illustrations. In 2006, a film adaptation was released by Sony's Columbia Pictures.
This book describes the attempts of Robert Langdon, Professor of Religious Symbology at Harvard University, to solve the murder of renowned curator Jacques Saunière of the Louvre Museum in Paris. A baffling cipher is found near his body. Saunière's granddaughter, Sophie Neveu and Langdon attempt to sort out the bizarre riddles and are stunned to discover a trail of clues hidden in the works of Leonardo Da Vinci.
The unraveling of the mystery requires solutions to a series of brain-teasers, including anagrams and number puzzles. The ultimate solution is found to be intimately connected with the possible location of the Holy Grail and to a mysterious society called the Priory of Sion, as well as to the Knights Templar. The story also involves the Roman Catholic organization Opus Dei.
Details
The story starts off with the murder of Jacques Saunière (the Grand Master Of Priory of Sion, although virtually no one knows that at the time) by Silas (acting on behalf of someone known only as The Teacher) to extract the location of the "keystone", an item that leads to the Holy Grail. The police summon Robert Langdon, who is delivering a lecture in Paris, to the murder scene and ask for his help in deciphering the code Sauniere left on and near his body. Bezu Fache, the Captain of the Central Directorate Judicial Police, believes Langdon is the prime suspect in the murder.
Sophie Neveu shows up at the murder scene as a police cryptographer and quickly gains Langdon's trust. Jacques Saunière was Neveu's grandfather and they were very close to each other until she discovered him participating in a pagan sex ritual (Hieros Gamos) at his home in Normandy, when she made a surprise visit there during a break from boarding school. (That she had observed something is mentioned and hinted at several times throughout the story, but what it is that she saw is revealed to no one, including the reader, until near the end when she tells Robert).
Langdon and Neveu find a baffling cipher near Saunière's body. These clues were meant to lead to a second set of clues. By deciphering her grandfather's clues, Neveu finds the painting, which has a key hidden behind it with an address and symbols of the Priory of Sion were written on it. Working together, Langdon and Neveu trick the police, flee the scene and figure out the secret of the key.
The key opens a safe deposit box at the Paris branch of the Depository Bank of Zurich. Saunière's account number at the bank is a 10-digit number listing the digits of the first eight Fibonacci numbers: 1 1 2 3 5 8 13 21.
Inside the safe deposit box they find the keystone which is actually a large cryptex, a cylindrical device supposedly invented by Leonardo Da Vinci for transporting secure messages. To open it the combination of rotating components must be arranged in the correct order. If the cryptex is forced open an enclosed vial of vinegar ruptures and dissolves the message, which was written on papyrus. The rosewood box containing the large cryptex contains clues to the combination of the cryptex, written in backwards script in the same manner as Leonardo's journals.
The instructions that Saunière revealed to Silas at gunpoint are actually a well-rehearsed lie, namely that the keystone is buried in the Church of Saint-Sulpice beneath an obelisk that lies exactly along the ancient "Rose Line" (the former Prime Meridian which passed through Paris before it was redesignated to pass through Greenwich). The message beneath the obelisk simply contains a reference to a passage in the Book of Job (38:11a) which reads in part "Hitherto shalt thou go and no further."(KJV) When Silas reads this, he realizes he has been tricked.
Still being chased by the police, Langdon and Neveu take the keystone to Sir Leigh Teabing (an expert in the Holy Grail and Langdon's friend). They flee the country in Teabing's private plane, and on the plane figure out how to open the cryptex, but the large cryptex actually contains a second smaller cryptex with a second riddle that reveals its combination. The riddle, which says to seek the orb that should be on the tomb of "a knight a pope interred," refers not to a medieval knight, but rather to the tomb of Sir Isaac Newton, who was buried in Westminster Abbey, and was eulogized by Alexander Pope (A. Pope).
It turns out that Teabing is the Teacher who assigned Silas to kill Jacques Saunière and he also had information on the identities of the leaders of the Priory of Sion who then bugged their offices and had Silas assassinate them. Rémy is his collaborator. It is Teabing who contacted Bishop Aringarosa, hiding his identity, and tricked him into financing the plan to find the Grail. He never intended to hand the Grail over to Aringarosa but is taking advantage of Opus Dei's resolve to find it. Teabing believes that the Priory of Sion has broken its vow to reveal the secret of the Grail to the world at the appointed time. He plans to steal the Grail documents and reveal them to the world himself, ruining the church, which he blames for the event. It was he who informed Silas that Langdon and Sophie Neveu were at his chateau. He did not seize the keystone from them himself because he did not want to reveal his identity. He summoned Silas to seize the keystone in his house, but himself thwarted Silas, in order to gain Langdon and Sophie's further help with decoding the cryptex. Subsequently, the police raid the house, having followed the tracking device in the truck Langdon had stolen while escaping from the bank. Teabing led Neveu and Langdon to the Temple Church in London, knowing full well that it was a dead end, in order to stage the hostage scene with Rémy and thereby obtain the keystone without revealing his real plot to Langdon and Neveu.
To erase all knowledge of his work, Teabing kills Rémy by giving him cognac laced with peanut powder, knowing Rémy has a deadly allergy to peanuts. Thus, Rémy dies of an anaphylactic shock. Teabing also anonymously tells the police that Silas is hiding in the London headquarters of Opus Dei.
In a showdown with Teabing in Westminster Abbey, Langdon secretly opens the second cryptex and removes its contents before destroying it in front of Teabing. Teabing is arrested and led away while fruitlessly begging Langdon to tell him the contents of the second cryptex and the secret location of the Grail.
Bezu Fache finds out that Neveu and Langdon are innocent after Bishop Aringarosa contacts him privately to confess. Fache then cancels the warrants for the arrest of Neveu and Langdon.
Silas accidentally shoots Aringarosa outside the London headquarters of Opus Dei while fleeing from the police. Realizing his terrible error and that he has been duped, Aringarosa tells Bezu Fache to give the bearer bonds in his briefcase to the families of the murdered leaders of the Priory of Sion. Silas dies from his fatal wounds.
The final message inside the second keystone actually does not refer to Rosslyn Chapel, although the Grail was indeed once buried there, below the Star of David on the floor (the two interlocking triangles are the "blade" and "chalice," i.e., male and female symbols).
The docent in Rosslyn Chapel is Sophie's long-lost brother. Sophie had been told as a child that he was killed with her parents and grandmother in a car accident.
The guardian of Rosslyn Chapel, Marie Chauvel, is Sophie's long-lost grandmother, and the wife of Jacques Saunière. She is the woman who participated in the sex ritual with Jacques Saunière. It is revealed that Sophie is a descendant of Jesus Christ and Mary Magdalene. The Priory of Sion hid her identity to protect her from possible threats to her life.
Even though all four of the leaders of the Priory of Sion are killed, the secret is not lost, since there is still a contingency plan (never revealed) that will keep the organization and its secret alive.
The real meaning of the last message is that the Grail is buried beneath the small pyramid (i.e., the "blade," a male symbol) directly below the inverted glass pyramid of the Louvre (i.e., the "chalice," a female symbol, which Langdon and Sophie ironically almost crashed into while making their original escape from Bezu Fache). It also lies beneath the "Rose Line," which is similar to "Rosslyn." Langdon figures out this final piece to the puzzle in the last pages of the book, but he does not appear inclined to tell anyone about this. See La Pyramide Inversée for further discussion.
Characters
These are the principal characters that drive the plot. Some have names that are puns, anagrams or hidden clues:
* Robert Langdon
* Jacques Saunière
* Sophie Neveu
* Bezu Fache
* Silas
* Manuel Aringarosa
* André Vernet
* Leigh Teabing
* Rémy Legaludec
* Jérôme Collet
* Marie Chauvel Saint-Clair
* Pamela Gettum
Secret of the Holy Grail
Detail of The Last Supper by Leonardo da Vinci
In the novel Leigh Teabing explains to Sophie Neveu that the figure at the right hand of Jesus in Leonardo da Vinci's painting of "The Last Supper" is not the apostle John, but actually Mary Magdalene. In the novel, Magdalene was the wife of Jesus Christ and was pregnant with his child when Jesus was crucified. Leigh Teabing says that the absence of a chalice in Leonardo's painting means Leonardo knew that Mary Magdalene was the actual Holy Grail and the bearer of Jesus' blood in the form of the child she was carrying. Leigh Teabing goes on to explain that this idea is supported by the shape of the letter "V" that is formed by the bodily positions of Jesus and Mary, as "V" is the symbol for the sacred feminine. The absence of the Apostle John in the painting is explained by knowing that John is also referred to as "the Disciple Jesus loved", code for Mary Magdalene. The book also notes that the color scheme of their garments are inverted: Jesus wears a red blouse with royal blue cape; John/Mary wears a royal blue blouse with red cape — perhaps symbolizing two bonded halves of marriage.
According to the novel, the secrets of the Holy Grail, as kept by the Priory of Sion are as follows:
* The Holy Grail is not a physical chalice, but a woman, namely Mary Magdalene, who carried the bloodline of Christ.
* The Old French expression for the Holy Grail, San gréal, actually is a play on Sang réal, which literally means "royal blood" in Old French.
* The Grail relics consist of the documents that testify to the bloodline, as well as the actual bones of Mary Magdalene.
* The Grail relics of Mary Magdalene were hidden by the Priory of Sion in a secret crypt, perhaps beneath Rosslyn Chapel.
* The Church has suppressed the truth about Mary Magdalene and the Jesus bloodline for 2000 years. This is principally because they fear the power of the sacred feminine in and of itself and because this would challenge the primacy of Saint Peter as an apostle. More than that, it would prove that Jesus was human, and therefore not divine.
* Mary Magdalene was of royal descent (through the Jewish House of Benjamin) and was the wife of Jesus, of the House of David. That she was a prostitute was slander invented by the Church to obscure their true relationship. At the time of the Crucifixion, she was pregnant. After the Crucifixion, she fled to Gaul, where she was sheltered by the Jews of Marseille. She gave birth to a daughter, named Sarah. The bloodline of Jesus and Mary Magdalene became the Merovingian dynasty of France.
* The existence of the bloodline was the secret that was contained in the documents discovered by the Crusaders after they conquered Jerusalem in 1099 (see Kingdom of Jerusalem). The Priory of Sion and the Knights Templar were organized to keep the secret.
The secrets of the Grail are connected, according to the novel, to Leonardo Da Vinci's work as follows:
* Leonardo was a member of the Priory of Sion and knew the secret of the Grail. The secret is in fact revealed in The Last Supper, in which no actual chalice is present at the table. The figure seated next to Christ is not a man, but a woman, his wife Mary Magdalene. Most reproductions of the work are from a later alteration that obscured her obvious female characteristics.
* The androgyny of the Mona Lisa reflects the sacred union of male and female implied in the holy union of Jesus and Mary Magdalene. Such parity between the cosmic forces of masculine and feminine has long been a deep threat to the established power of the Church. The name Mona Lisa is actually an anagram for "Amon L'Isa", referring to the father and mother gods of Ancient Egyptian religion (namely Amun and Isis).
A number of different authors also speculate about the possibility of Jesus becoming a father. There are at least three children attributed to him, a daughter Tamar, born before the Crucifixion, and two sons Jesus (the Jesus Justus from the New Testament) and Josephes, both born after the Resurrection. Although their names are now part of the common culture of conspiracy writers, only two decades ago, when The Holy Blood and the Holy Grail was written, the names were not mentioned. The royal descents that lie at the heart of The Da Vinci Code mystery centre on the family of Josephes, who is supposed to be the grandfather of Aminadab del Graal, first of the "Fisher Kings". However the genealogies that are quoted in Grail lore appear to record too few generations, with children regularly being born to fathers in their 40s.
Reception
Brown's novel was a major success in 2004 and was outsold only by J. K. Rowling's Harry Potter and the Order of the Phoenix. It won Book Sense's 2004 Book of the Year Award in the Adult Fiction category. It spawned a number of offspring works and drew positive reviews from The New York Times, People,[citation needed] and The Washington Post.[citation needed] Additionally, The Da Vinci Code has inspired a number of novels very similar to it, including Raymond Khoury's The Last Templar and Steve Berry's The Templar Legacy.[citation needed] In a 2008 survey of more than 15,000 Australian readers, the book came in fourth in a list of the 101 best books ever written.
The book was not generally well received by critics, however, and it has been the subject of numerous negative appraisals concerning its literary value and its portrayal of history. Its writing and historical accuracy were reviewed scathingly by The New Yorker, The New York Times, and Salon.com, among others.
Criticism
Main article: Inaccuracies in The Da Vinci Code
Historical inaccuracies
The book generated criticism when it was first published, due to its inaccurate description of core aspects of Christianity, the history of the Catholic Church, and descriptions of European art, history, and architecture. The book has received mostly negative reviews from Catholic and other Christian communities.
Many critics say that Brown should have done much more research before publishing this book. On February 22, 2004, an article titled "The Last Word: The Da Vinci Con" appeared in the New York Times by writer Laura Miller. Miller attacks the Da Vinci Code on multiple levels, referring to it as "based on a notorious hoax", "rank nonsense", and "bogus." She points out how heavily the book is based on the fabrications of Pierre Plantard (the Priory of Sion did not exist until Plantard created it) who in 1953 was arrested and convicted of fraud.
Critics accuse Brown of distorting and fabricating history. For example, Marcia Ford wrote:
Regardless of whether you agree with Brown's conclusions, it's clear that his history is largely fanciful, which means he and his publisher have violated a long-held if unspoken agreement with the reader: Fiction that purports to present historical facts should be researched as carefully as a nonfiction book would be.
Richard Abanes wrote:
The most flagrant aspect … is not that Dan Brown disagrees with Christianity but that he utterly warps it in order to disagree with it … to the point of completely rewriting a vast number of historical events. And making the matter worse has been Brown's willingness to pass off his distortions as ‘facts' with which innumerable scholars and historians agree.
The book opens with the claim by Dan Brown that "The Priory of Sion — a European secret society founded in 1099 — is a real organization". The Priory of Sion itself was actually a hoax created in 1956 by a Mr. Pierre Plantard. The author also claims that "all descriptions of artwork, architecture, documents … and secret rituals in this novel are accurate"; but this claim is disputed by almost all academic scholars in the fields the book discusses.
Numerous works have been published that explain in detail why any claim to accuracy is difficult to substantiate, while two lawsuits have been brought alleging plagiarism in The Da Vinci Code. The first suit for copyright infringement was filed in February 2006 in a British court by the authors of The Holy Blood and the Holy Grail, a purportedly nonfiction account of Mary Magdalene's role as the wife of Jesus of Nazareth and the mother of his child, was found in Dan Brown's favor. No verdict has yet been rendered on a second suit, filed in August of the same year, in the United States by Jack Dunn, the author of The Vatican Boys.
A third author, Lewis Perdue, alleged that Brown plagiarized from two of his novels, The Da Vinci Legacy, originally published in 1983, and Daughter of God, originally published in the year 2000. He sought to block distribution of the book and film. However, Judge George Daniels of the US District Court in New York ruled against Perdue in 2005, saying that "A reasonable average lay observer would not conclude that The Da Vinci Code is substantially similar to Daughter of God" and that "Any slightly similar elements are on the level of generalised or otherwise unprotectable ideas." Perdue appealed, the 2nd US Circuit Court of Appeals upheld the original decision, saying Mr. Perdue's arguments were "without merit".
Dan Brown himself dilutes the suggestion of some of the more controversial aspects being fact on his web site: "The "FACT" page makes no statement whatsoever about any of the ancient theories discussed by fictional characters. Interpreting those ideas is left to the reader". However, it also says that "these real elements are interpreted and debated by fictional characters", "it is my belief that some of the theories discussed by these characters may have merit." and "the secret behind The Da Vinci Code was too well documented and significant for me to dismiss." Brown's ambiguity on the matter continues to fuel debate over the factual content of the novel.
Brown's earlier statements about the accuracy of the historical information in his book, however, were far more strident. In 2003, while promoting his novel, he was asked in interviews what parts of the history in his novel actually happened. He replied "Absolutely all of it." In a 2003 interview with CNN's Martin Savidge he was again asked how much of the historical background was true. He replied, "99% is true ... the background is all true". Asked by Elizabeth Vargas in an ABC News special if the book would have been different if he had written it as non-fiction he replied, "I don't think it would have." More recently Brown has avoided interviews and has been rather more circumspect about the accuracy of his claims in his few public statements. He has also, however, never retracted any of his earlier assertions that the history in the novel is accurate, despite substantial academic criticism of his claims.
In 2005, UK TV personality Tony Robinson edited and narrated a detailed rebuttal of the main arguments of Dan Brown and those of Baigent, Leigh and Lincoln, "The Real Da Vinci Code", shown on British TV Channel 4. The program featured lengthy interviews with many of the main protagonists cited by Brown as "absolute fact" in The Da Vinci Code. Arnaud de Sède, son of Gérard de Sède, stated categorically that his father and Plantard had made up the existence of the Prieuré de Sion, the cornerstone of the Jesus bloodline theory - to quote Arnaud de Sede in the program, "frankly, it was piffle". The program also cast severe doubt on the Rosslyn Chapel association with the Grail and on other related stories like the alleged landing of Mary Magdalene in France.
Portrayal of early Christianity
According to The Da Vinci Code, the Roman Emperor Constantine I suppressed Gnosticism because it portrayed Jesus as purely human. The novel's argument is as follows. Constantine wanted Christianity to act as a unifying religion for the Roman Empire. He thought Christianity would appeal to pagans only if it featured a demigod similar to pagan heroes. According to the Gnostic Gospels, Jesus was merely a human prophet, not a demigod. Therefore, to change Jesus' image, Constantine destroyed the Gnostic Gospels and promoted the gospels of Matthew, Mark, Luke, and John, which portray Jesus as divine or semidivine.
In fact, Gnosticism did not portray Jesus as merely human. Some Gnostic writings do depict Jesus interacting with his disciples in a wholly human way, one example being the Gospel of Mary,[citation needed] but the general Gnostic depiction of Jesus is not clear-cut. Many Gnostic writings depict Christ as purely divine, his human body being a mere illusion (see Docetism). Some Gnostic sects saw Christ this way because they regarded matter as evil, and therefore believed that a divine spirit would never have taken on a material body. The Da Vinci Code also portrays the Council of Nicaea's decision to recognize the fully human and divine aspects of Christ as being a close vote, while some authors dispute this.
Literary criticism
The novel has also attracted criticism in literary circles for its alleged lack of artistic or literary merit and its allegedly stereotyped portrayal of British and French characters.
Salman Rushdie claimed during a lecture, "Do not start me on 'The Da Vinci Code,' A novel so bad that it gives bad novels a bad name."
Stephen Fry has referred to Brown's writings as "complete loose stool-water" and "arse gravy of the worst kind." In a live chat on June 14, 2006, he clarified, "I just loathe all those book[s] about the Holy Grail and Masons and Catholic conspiracies and all that botty-dribble. I mean, there's so much more that's interesting and exciting in art and in history. It plays to the worst and laziest in humanity, the desire to think the worst of the past and the desire to feel superior to it in some fatuous way."
In his 2005 University of Maine Commencement Address, best-selling author Stephen King put Dan Brown's work and "Jokes for the John" on the same level, calling such literature the "intellectual equivalent of Kraft Macaroni and Cheese." The New York Times, while reviewing the movie based on the book, called the book "Dan Brown's best-selling primer on how not to write an English sentence". The New Yorker reviewer Anthony Lane refers to it as "unmitigated junk" and decries "the crumbling coarseness of the style." Linguist Geoffrey Pullum and others posted several entries critical of Dan Brown's writing, at Language Log, calling Brown one of the "worst prose stylists in the history of literature" and saying Brown's "writing is not just bad; it is staggeringly, clumsily, thoughtlessly, almost ingeniously bad." Roger Ebert described it as a "potboiler written with little grace and style," although he did say it did "supply an intriguing plot." In his review of the film National Treasure, he wrote: "I should read a potboiler like The Da Vinci Code every once in a while, just to remind myself that life is too short to read books like The Da Vinci Code."
Parodies
2005
The book was parodied by Adam Roberts with The Va Dinci Cod, and by Toby Clements with The Asti Spumante Code.
A telemovie spin-off of the Australian television series Kath & Kim parodied the film version as Da Kath and Kim Code in late 2005.
2006
The BBC program Dead Ringers parodied the Da Vinci Code, calling it the Da Rolf Harris Code.
Popular South African political cartoonist Zapiro published a book collection of his strips entitled Da Zuma Code, which parodies the former deputy president Jacob Zuma.
2007
The book was parodied in the South Park episode "Fantastic Easter Special" and Robert Rankin's novel The Da-da-de-da-da Code.
The characters Lucy and Silas are parodied in the film Epic Movie. The movie starts with a scene similar to the opening of The Da Vinci Code, with Silas chasing the orphan Lucy, a parody of Sophie Neveu, in a museum. Throughout the movie, Silas speaks in Latin. However, the translations for his speech are intentionally false for the sake of parody (e.g. Silas says "Et tu, Brute?" to Aslo, when the film translates it as "I'm Rick James, bitch!").
Szyfr Jana Matejki (Jan Matejko's Cipher) is a Polish parody by Dariusz Rekosz. Sequel Ko(s)miczna futryna: Szyfr Jana Matejki II (Co[s]mic Door-frame: Jan Matejko's Cipher II) was released in 2008. Main character is inspector Józef Świenty who tries to solve The Greatest Secret of Mankind (Największa Tajemnica Ludzkości) - parentage of Piast dynasty.
The book was parodied in the American Dad episode "Black Mystery Month". But instead Stan searches for the controversial truth that Mary Todd Lincoln created peanut butter, not George Washington Carver.
2008
In 2008, it was parodied in the second series of That Mitchell and Webb Look as "The Numberwang Code", a trailer for a fictional film based on a recurring sketch on the show.
Also in March 2008, the Irish blogger Twenty Major, parodied elements in his first book The Order of the Phoenix Park.
Inspiration and influences
The novel is part of the exploration of alternative religious history. Its principal source book is listed as per the court case, Lynn Picknett and Clive Prince's The Templar Revelation, as well as the books by Margaret Starbird. An earlier novel had already used the theme of a Jesus bloodline: The Dreamer of the Vine, by Liz Greene, published in 1980 (Richard Leigh's sister and Michael Baigent's girlfriend at that time). The Holy Blood and the Holy Grail (which is explicitly named, among several others, at the beginning of chapter 60), was stated by Dan Brown not to be amongst his primary research material for the book.
Having paid acknowledgement to the above books as sources of inspiration, Dan Brown's The Da Vinci Code contains the overriding salient point in its plot: that the Merovingian kings of France were descendants from the bloodline of Jesus Christ and Mary Magdalene.
In reference to Richard Leigh and Michael Baigent (two of the authors of The Holy Blood and the Holy Grail), Brown named the principal Grail expert of his story "Leigh Teabing" (an anagram of "Baigent Leigh"). Brown confirmed this during the court case. In reply to the suggestion that Lincoln was also referenced, as he has medical problems resulting in a severe limp, like the character of Leigh Teabing, Brown stated he was unaware of Lincoln's illness and the correspondence was a coincidence. After losing before the High Court in July 12, 2006, Michael Baigent and Richard Leigh appealed, unsuccessfully, to the Court of Appeal.
Following the trial, it was found that the publicity had actually significantly boosted UK sales of The Holy Blood and the Holy Grail
There are also some striking similarities to 1996 video game Broken Sword: The Shadow of the Templars.
Release details
The book has been translated into over 40 languages, primarily in hardcover. Alternate formats include audio cassette, CD, and e-book. Most recently, a Trade Paperback edition was released March 2006 in conjunction with the film.
Major English-language (hardcover) editions include:
* (US) The Da Vinci Code, April 2003 (First edition), Doubleday, ISBN 0-385-50420-9.
* The Da Vinci Code, Special Illustrated Edition, November 2, 2004, Doubleday, ISBN 0-385-51375-5 (as of January 2006, has sold 576,000 copies).
* (UK) The Da Vinci Code, April 2004, Corgi Adult. ISBN 0-552-14951-9.
* (UK) The Da Vinci Code: The Illustrated Edition, October 2, 2004, Bantam Press. ISBN 0-593-05425-3.
* (US/Canada) The Da Vinci Code (Trade Paperback edition), March 2006, Anchor Books.
* On March 28, 2006, Anchor Books released 5 million paperback copies of the book, and Broadway Books released 200,000 paperback copies of The Da Vinci Code Special Illustrated Edition.
* On May 19, the day of the film's release, Doubleday and Broadway Books released The Da Vinci Code Illustrated Screenplay: Behind the Scenes of the Major Motion Picture, by screenwriter Akiva Goldsman, with the introductions by Ron Howard and Dan Brown. It included film stills, behind-the-scenes photos and the full script. There were 25,000 copies of the hardcover, and 200,000 of the paperback version.
Puzzles
Book jacket
Part of the advertising campaign for the novel was that the artwork in the American version of the bookjacket held various codes, and that the reader who solved them via the author's website would be given a prize. Several thousand people actually solved the codes, and one name was randomly chosen to be the winner, with the name announced on live television, Good Morning America, in early 2004. The prize was a trip to Paris.
The five hidden puzzles reveal:
* That the back of the book jacket conceals latitude and longitude coordinates, written in reverse, light red on dark red. Adding one degree to the latitude gives the coordinates of the headquarters of the Central Intelligence Agency in Northern Virginia, which is the location of a mysterious sculpture called Kryptos. The coordinates were taken from part of the decrypted text of part 2 of the sculpture (part 4 has never been solved). When Brown has been asked why the coordinates are one degree off, his reply has been, "The discrepancy is intentional".
* Bold letters are present on the book jacket. There is a secret message hidden in the text of the book flaps. The message: Is there no help for the widow's son (a reference to Freemasonry).
* The words "only WW knows" can be seen on the back cover. It is a phrase printed invertedly, in the torn part of the book cover. This too is a reference to part 2 of the Kryptos sculpture.
* A circle with numbers, between the Doubleday logo and the barcode, reveals a secret message. These are the chapter numbers where the initial letters are arranged in Caesar box format, revealing the code "E Pluribus Unum".
* There is reverse writing on the cover of the book, which is the riddle for the first cryptex.
Brown, both via his website and in person, has stated that the puzzles in the bookjacket give hints about the subject of his next novel, The Lost Symbol. This repeats a theme from his earlier novels. For example, Deception Point had an encrypted message that, when solved, said, "The Da Vinci Code will surface".
In the simplified Chinese version of The Da Vinci Code, the cover has a secret text; however, this text can be easily seen. It reads: "13-3-2-1-1-8-5 O, Draconian devil! Oh, Lame Saint! P.S. Find Robert Langdon." This is the multiply encrypted clue written in invisible ink next to the dead body in the museum, which kicks off the plot of the entire novel.
Pages
All of the puzzles listed below can be found within the page headers in the Mass Market US Paperback edition of The Da Vinci Code.
* Page 60: "Ankh Fendile" (anagram of "knife handle") in place of "Dan Brown"
* Page 95: "De Lancs" (anagram of "candles") in place of "Da Vinci"
* Page 138: "Das Brilli" (anagram of "billiards") in place of "Dan Brown"
* Page 141: "La Sufrete" (anagram of "true/false") in place of "Da Vinci"
* Page 155: "sos" in place of page number
* Page 192: "Reon Tigaldo" (anagram of "Golden Ratio") in place of "Dan Brown"
* Page 217: "De Ysosy" (anagram of "odyssey") in place of "Da Vinci"
* Page 262: "Mer Reve" (anagram of "Vermeer") in place of "Dan Brown"
* Page 322: page number replaced by three asterisks
Also in the body text on page 138, the word "numbers" in the sentence "Tearing it open, she found four Paris phone numbers" is printed in a bold medieval typeface, instead of the typical serif typeface used throughout the rest of the book.
Film
Columbia Pictures adapted the novel to film, with a screenplay written by Akiva Goldsman, and Academy Award winner Ron Howard directing. The film was released on May 19, 2006, and stars Tom Hanks as Robert Langdon, Audrey Tautou as Sophie Neveu, and Sir Ian McKellen as Leigh Teabing. The film had an opening weekend gross of $77,073,388 and grossed $217,536,138 in 2006, making it the fifth highest grossing movie of 2006. The film did very well overseas, grossing over $758,239,852 worldwide. On November 14, 2006 the movie was released on DVD.
lán dēng yǔ fǎ guó yī wèi pō yòu tiānfèn de mì mǎ pò yì zhuān jiā suǒ fěi · nài fú ( ào dài lì · tǎ tú shì )， zài duì yī dà duī guài yì de mì mǎ jìn xíng zhěng lǐ de guò chéng dāng zhōng， jū rán fā xiàn yī lián chuàn de xiàn suǒ jiù yǐn cáng zài dá · fēn qí de yì shù zuò pǐn dāng zhōng。 zhè xiē xiàn suǒ， dà jiādōu qīng chǔ kě jiàn， rán 'ér què bèi huà jiā qiǎo miào dì yǐn cáng qǐ lái。
lán dēng wú yì zhōng fēi cháng zhèn jīng dì fā xiàn， yǐ gù de bó wù guǎn guǎn cháng（ yě jiù shì nài fú de zǔ fù） jìng rán shì xún shān yǐn xiū huì（ PrioryofSion） de zhòng yào chéng yuán。 xún shān yǐn xiū huì shì yī gè zhēn shí cún zài de mì mì zǔ zhì， qí chéng yuán bāo kuò niú dùn、 wéi kè duō · yǔ guǒ yǔ dá · fēn qí děng duō wèi lì shǐ míng rén。 lán dēng de zhí jué gào sù tā， tā hé nài fú shì zài zhǎo xún yī gè shí pò tiān jīng de lì shǐ mì mì ……
《 dá fēn qí mì mǎ》 - jù qíng
bā lí shēn yè， luó fú gōng dé gāo wàng zhòng de guǎn cháng， zài guǎn nèi bèi rén shā sǐ， bàng biān xiě liǎo yī chuàn rén jiā kàn bù dǒng de zì。 yī chuàn zì lǐ wéi yī kàn dé dǒng de shì luó bó tè · lán dēng zhè gè rén míng， zhè rén shì hā fó dà xué lì shǐ jiào shòu， yě shì yī wèi fú hào xué jiā， guǎn cháng yǔ tā sù wèi móu miàn， dàn yuē hǎo dì 'èr tiān jiàn miàn。 jǐng chá jú zhǎo dào liǎo zhè wèi jiào shòu zhù de lǚ guǎn， bìng dài dào luó fú gōng mìng 'àn xiàn chǎng。
qí zhōng yòu yī míng nǚ jǐng xiàng jiào shòu tōu tōu tòu lù zì jǐ shì guǎn cháng de sūn nǚ shēn fèn， tā men jīng jǐ fān cāi cè， liǎng rén zuì hòu zài dá · fēn qí《 méng nà lì suō de wēi xiào》 bèi hòu， zhǎo dào liǎo guǎn cháng shēng qián liú xià de zhǐ tiáo， shì yī shǒu yǔ yì hán hú de shī。 hòu lái bèi diào chá yuán jǐng fā xiàn qíng kuàng bù duì， jiào shòu dài zhe guǎn cháng de sūn nǚ táo páo， zhè yī duì nán nǚ bù dàn chéng liǎo tōng ji fàn， lìng yī gè yán xù liǎo jiāng jìn qiān nián de mì mì zǔ zhì， yě kāi shǐ zhuī zhú tā men。 gù shì jiù zhè yàng zhǎn kāi xù mù……
chàng xiāo 500 wàn běn de xiǎo shuō， dāng rán bù zhǐ shì dān chún de tuī lǐ gù shì， zhēn zhèng yǐn rén rù shèng de， shì bèi hòu suǒ chuán dì de xìn xī ～ yán xù liǎng qiān nián de zōng jiào zhēng yì， yòu guān chuán shuō yé sū qǔ qī shēng zǐ。 yé sū chéng wéi “ jī dū ”， shì zài gōng yuán sān bǎi duō nián yǐ hòu de shì， zǎo qī de jiào huì chóng bài“ wěi dà de mǔ qīn”， ér dài biǎo de nǚ xìng， què shì yín dàng huǐ gǎi、 yǐ hòu gēn suí yé sū de mǒ dà lā de mǎ lì yà， tā tóng shí yě bèi rèn wéi shì yé sū de qī zǐ， wéi yé sū shēng yù， xiàng zhǐ“ shèng bēi”。
“ shèng bēi” chuán shuō shì yé sū zài zuì hòu wǎn cān yòng de jiǔ bēi， tóng shí yě shì bèi dīng zài shí zì jià shàng jiē shèng yé sū de xiān xuè de jiǔ bēi， zhè zhèng shì zhè běn xiǎo shuō de zhù zhóu， gè lù rén mǎ zhēng duó“ shèng bēi” zhī zhàn。
《 dá fēn qí mì mǎ》 - yǎn yuán jiè shào
tānɡ mǔ · hàn kè sī shì měi guó yǎn yuán， lián xù liǎng jiè yǐ《 fèi chéng》 hé《 ā gān zhèng chuán》 róng huò 'ào sī kǎ yǐng dì， zì 90 nián dài zhōng qī yǐ lái jīng rén dì bǎo chí zhāoshù yī shù 'èr de jiāng hú dì wèi。 6 suì shí fù mǔ lí yì， suí zhe chú shī fù qīn gè chù páo， gāo zhōng shí kāi shǐ zháomí yǎn xì， dà xué niàn dào yī bàn gān cuì chuò xué quán shēn tóu rù yǎn yì juàn。
1979 nián shǒu cì yǎn chū diàn yǐng xiǎo jiǎo sè， jiē zhe jìn rù diàn shì juàn yǎn chū yī duī xǐ jù。 1984 nián tā yǐ《 měi rén yú》 zhǎn lòutóu jiǎo， sì nián hòu yīn《 fēi jìn wèi lái》 shǒu dù rù wéi 'ào sī kǎ zuì jiā nán zhùjué。 1992 nián《 hóng fěn lián méng》 hé 1993 nián《 xī yǎ tú yè wèi mián》 shǐ tā chéng wéi piào fáng jù xīng， zhēn zhèng de tū pò shì《 fèi chéng》。 shàn cháng biǎo xiàn píng fán rén de bù píng fán yī miàn。
zì pāi bà《 xìng fú zhōng diǎn zhàn》 hòu， tānɡ mǔ · hàn kè sī yǐ xiǎnyòu dà zuò liǎo， zhī hòu jiē pāi de《 shī nǎi shā shǒu》 yīn piào fáng cǎn dàn 'ér ràng zhè wèi yǐng dì lüè xiǎn tuí shì。 2006 nián yòu zài lǎng · huò huá dé dǎo yǎn de yǐngpiān《 dá fēn qí mì mǎ》 zhōng chū yǎn nán zhùjué。 suī rán jìn jǐ nián lái hàn kè sī méi yòu gěi yǐng mí dài lái zú gòu zhèn hàn de zuò pǐn， dàn tā zài yǐng mí xīn mù zhōng de dì wèi què shì nán yǐ dòng yáo de。
《 dá fēn qí mì mǎ》 - yǐngpiān píng jià
《 dá fēn qí mì mǎ》 shì yī bù zhōng yú yuán zhù de diàn yǐng， dàn shì hěn kě xī， yǐngpiān méi yòu dài gěi guān zhòng rèn hé jīng xǐ。
héng héng USAToday
diàn yǐng hěn píng yōng， méi yòu xuán niàn yě méi yòu làng màn， gèng zhòng yào de shì méi yòu qù wèi。
héng héng《 bō shì dùn xiān qū bào》
jìn guǎn shòu dào liǎo bù tóng de píng jià， dàn shì zhè bù yǐngpiān yǐ rán néng gòu zài quán qiú yòu yī gè shèng dà de piào fáng kāi jú。 yīn wéi quán shì jiè yòu wú shù shuāng hǎo qí de yǎn jīng děng zhe kàn zhè bù yōng yòu sì qiān wàn dú zhě de xiǎo shuō gǎi biān chéng diàn yǐng huì shì shénme yàng zǐ。
héng héng lù tòu shè
《 dá fēn qí mì mǎ》 - guān yú zhù tí
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
yīn shè jí mǐn gǎn de zōng jiào tí cái，《 dá · fēn qí mì mǎ》 zì kāi pāi yī shǐ biàn fēng bō bù duàn， tiān zhù jiào lián méng hé shì gōng huì tuán tǐ de fēn zhì tà lái de kàng yì hé fǎn duì xìn jiàn shǐ gāi piàn chéng wéi 2005-2006 nián dù zuì jù zhēng yì de yǐngpiān。 tiān zhù shì gōng huì céng xī wàng yǐngpiān yǐn qù zǔ zhì míng chēng， zài zhè yī yào qiú zāo dào jù jué hòu， shì gōng huì fā qǐ liǎo yī xiàng wéi zì jǐ zhèng míng de yùn dòng， tōng guò gè zhǒng méi tǐ dà zuò xuān chuán， yòng gè zhǒng fāng shì shuō míng xiǎo shuō yòng cuò wù de fāng shì miáo xiě qí zǔ zhì。 luó mǎ yī mù shī shèn zhì tuī chū liǎo zì jǐ de bó kè， fǎn bó《 dá · fēn qí mì mǎ》 de“ bù shí zhī cí”。 kàng yì de chéng dù suí zhe diàn yǐng shàng yìng de bī jìn 'ér jiā jù， dàn yòu guān zhuān jiā què hào zhào suǒ yòu de tiān zhù jiào tú dū yìng qù kàn zhè bù miù wù bǎi chū de diàn yǐng， zhǐ yòu zhè yàng cái néng fā xiàn qí zhōng de cuò wù。
suī rán bù lǎng de yuán zhù xù yán xuān chēng“ běn shū zhōng guān yú yì shù pǐn、 jiàn zhù、 wén xiàn hé mì mì yí shì de suǒ yòu miáo shù quándōu què yòu qí shì”， dàn dǎo yǎn lǎng · huò huá dé zé yī zhí míng zhì dì gāo jǔ“ xū gòu” dà qí：“ yǐngpiān bù huì zài zōng jiào wèn tí shàng guò dù jiū chán。 dān · bù lǎng shì yī gè chéng gōng de zuò jiā 'ér fēi zōng jiào hé lì shǐ xué jiā。 wǒ men zhī suǒ yǐ pāi zhè bù diàn yǐng shì yīn wéi wǒ xǐ huān zhè gè gù shì。” bìng tǎn yán， yǐngpiān de zhòng diǎn shì jīng sǒng xuán yí de qíng jié。 zhì piàn fāng gē lún bǐ yà de fā yán rén yě wèicǐ zhèng shí：“ wǒ men xiǎng zuò de zhǐ shì pāi yī bù zōng jiào sè cǎi bù huì guò yú míng xiǎn de hǎo piānzǐ。”
wéi dá jīng sǒng mùdì， ràng guān zhòng dà hū guò yǐn，“ hé kàn xiǎo shuō yī yàng dài jìn”， lǎng · huò huá dé zuò zú gōng kè， zhòng kàn liǎo xǔ duō bāo kuò《 qū mó rén》、《 luó sī mǎ lì de yīng 'ér》 děng zài nèi de jīng diǎn jīng sǒng piàn。 zài bǎo chí xiǎo shuō gù shì kuàng jià de qián tí xià， yóu jīn pái biān jù 'ā qí wǎ · gāo sī màn cāo dāo， duì xiǎo shuō zhōng de“ fǎn tiān zhù jiào zhù tí” zuò liǎo gǎi dòng， dàn“ qí zhōng zuì wéi jīng cǎi zhī chù jué duì yào biǎo xiàn chū lái”。
《 dá fēn qí mì mǎ》 - guān yú yǎn yuán
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
《 dá · fēn qí mì mǎ》 de yǎn yuán zhèn róng chāo jí háo huá。 yòu zhe guò yìng yǎn jì què rì jiàn fā fú de tānɡ mǔ · hàn kè sī suī zài wài biǎo shàng bìng bù fú hé jí jù mèi lì de luó bó tè · lán dēng jiào shòu， dàn yòng lǎng · huò huá dé de huà lái shuō lǎo tānɡ gē shǔ yú“ zuì quán miàn de yǎn yuán”， ér“ yī gè zhēn zhèng yōu xiù de yǎn yuán kě shèng rèn yī qiē biǎo yǎn”； zhù yǎn guò《 tiān shǐ 'ài měi lì》 de fǎ guó nǚ xīng 'ào dài lì · duō dù chū rèn gànliàn de suǒ fěi · nài fú， duì qí yǐ wǎng de yī guàn chún zhēn líng dòng jìn xíng liǎo chè dǐ diān fù， ràng lǎng · huò huá dé“ zhī qián de dān xīn wán quán duō yú”； ér yòu zhe“ quán shì jiè zuì kù de fǎ guó nán rén” tóu xián fǎ guó yǐng tán yìng hàn shàng · léi nuò chū yǎn jiǎo huá yán kù fǎ shè tàn cháng； zài yīng guó xì jù jiè yòu“ suō wēng zhuān yè hù” zhī chēng、 bìng zài bólín huò dé zhōng shēn chéng jiù jiǎng de chuán qí xìng yǎn yuán yī 'ēn · mài kè lāi 'ēn jué shì chū yǎn tí bīn jué shì； bèi měi guó méi tǐ yù wéi zì xiū · gé lán tè yǐ lái zuì shòu huān yíng de yīng guó yǎn yuán bǎo luó · bèi tǎ ní bàn yǎn bái huà bìng rén sài lā sī xiū shì， bèi zhì piàn rén bù lāi 'ēn · gé léi zé chēng wéi yǐngpiān“ jīng sǒng qì fēn de zuì hǎo fǎ mǎ”。
《 dá fēn qí mì mǎ》 - wài jǐng dì
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
《 dá · fēn qí mì mǎ》 zhàn jìn dì lì， lián lián dé shǒu yú shì jiè shàng zuì zhù míng de bó wù guǎn hé jiào táng。
wéi dá wán měi de zhēn shí xiào guǒ， shǐ xiǎo shuō zhōng de qíng jǐng bèi bǎi fēn zhī bǎi hái yuán， néng fǒu zài yuán zhù kāi tóu chù de fǎ guó lú fú gōng shí dì pāi shè chéng wéi guān jiàn。 2004 nián 12 yuè， huò huá dé hé zhì piàn rén zài bā lí tiǎo xuǎn nǚ yǎn yuán shí yì wài jiē dào fǎ guó zǒng tǒng xī lā kè bàn gōng shì dǎ lái de diàn huà， tóng xī lā kè de yī xiǎo shí huì wù yán tán shèn huān， suì qīng yì dì qiāo dìng rù zhù lú fú gōng pāi shè de tè xǔ， cóng 'ér chéng wéi jì《 lú fú mèi yǐng》 hòu dì 'èr bù jìn rù lú fú gōng qǔ jǐng de diàn yǐng。 zài yī zhōu de pāi shè qī jiān， jù zǔ zhǐ néng zài wǎn shàng yǐ jí měi zhōu 'èr bó wù guǎn guān bì rì pāi shè。 yòu yì sī de shì， zì 2005 nián 5 yuè yǐngpiān kāi pāi hòu， lú fú gōng suī jiāng piào jià shàng diào， dàn yǐngpiān de zǒu hóng què dài gěi lú fú gōng chuàng xià lì shǐ xīn gāo de 700 wàn rén cì。
xiǎo shuō zhòng tóu xì zhī yī de wēi sī mǐn sī tè jiào táng duàn rán jù jué liǎo zhì piàn fāng rù nèi pāi shè de qǐng qiú， bìng fā biǎo shēng míng：“ suī rán zhè shì yī běn jīng cǎi de xiǎo shuō， dàn wǒ men jué bù zàn tóng shū zhōng shè jí de yòu zhēng yì de、 jí dù zhù guān de 'àn shì xìng nèi róng， yě bù tóng yì tā duì yú jī dū jiào hé《 xīn yuē》 de guān diǎn。”
xiāng duì yú wēi sī mǐn sī tè jiào táng de jiān jué shuō“ bù”， xiū jiàn yú gōng yuán 11 shì jì、 qí nèi bù jié gòu yǔ wēi sī mǐn sī tè jiào táng shí fēn xiāng jìn de lín kěn dà jiào táng què chǎng kāi dà mén。 ér tóng yǐngpiān dá chéng pāi shè xié yì de hái yòu 'ài dīng bǎo fù jìn de jiàn yú 15 shì jì de luó sī lín dà jiào táng， zài xiǎo shuō zhōng luó sī lín dà jiào táng hé yī dù qiáng shèng de“ shèng diàn qí shì tuán” yòu guān lián， yīn cǐ zhè gè zhàn dì bù dà de zhōng shì jì jiào táng liǎng nián lái de yóu kè shù jù zēng wéi yǐ qián de sān bèi。 jù zǔ wéi lín kěn dà jiào táng hé luó sī lín dà jiào táng fēn bié zhī fù liǎo 10 wàn yīng bàng de gāo 'é zū yòng fèi。
cóng zhōng yú lì de hái yòu céng xiàng kāi fàng de yīng gé lán nán bù de wēn chè sī tè dà jiào táng。 cǐ jiào táng bù jǐn zuàn dé 2 wàn yīng bàng de chū zū fèi， qiě jiào táng guǎn lǐ rén yuán chèn zhe yǐngpiān rì jiàn gāo zhǎng de rén qì jué dìng yú 2006 nián 3 yuè 1 rì qǐ duì měi wèi fǎng kè qiáng zhì shōu qǔ 4 yīng bàng de rù chǎng fèi， yǐ zhī fù bù duàn zēng jiā de yíng yùn fèi yòng。
《 dá fēn qí mì mǎ》 - mù hòu huā xù
· lú fú gōng de zhèn guǎn zhī bǎo《 méng nà lì suō》 shì yī gè jí qí zhòng yào de dào jù， dàn yīn pāi diàn yǐng de dēng guāng huì duì zhè fú míng huà zào chéng sǔn hài， yīn cǐ， chū yú 'ān quán hé bǎo hù de yīn sù， jù zǔ zhǐ dé tuì 'ér qiú qí cì dì shǐ yòng liǎo yī gè bǐ lì jīng què de fù zhì pǐn。 zhè yī mì mì de xiè lù ràng huò huá dé gǎn dào tòng kǔ：“ wǒ shí fēn tǎo yàn bié rén wèn wǒ zhè yàng de wèn tí， dàn shì……” tā tíng dùn liǎo jǐ miǎo zhōng，“ bì jìng zhè fú huà shì wú jià zhī bǎo！” lìng rén 'ān wèi de shì， yǐngpiān zhōng bǎo cún《 méng nà lì suō》 zhè fú yóu huà de fáng jiān shì zhēn de。
· zài lú fú gōng pāi diàn yǐng jiù xiàng zài zuò mèng。 yóu yú zhé fú yú lú fú gōng de yì shù mèi lì， tānɡ mǔ · hàn kè sī jiāng qí fáng chē tíng zài tíng zài lú fú gōng wài miàn de jiē dào shàng， lǎo tānɡ gē měi cì qián wǎng pāi shè dì diǎn dū bì xū chuān guò wú shù huà láng：“ zhè lǐ míng zuò zhòng duō， mù bù xiá jiē --《 yuē sè fēn huáng hòu jiā miǎn》、《 léi 'ào ní dá zài wēn quán guān》， cóng zhè lǐ zǒu zhe qù gōng zuò de gǎn jué shí zài bàng jí liǎo！”
· bēifù jù dà yú lùn yā lì de tānɡ mǔ · hàn kè sī wéi zài wài xíng shàng xiàng juésè kào lǒng， yī miàn jī jí jiǎn féi， yī miàn jiāng cháng nián de bǎn shuà tóu biàn chéng liǎo“ piāo yì” de cháng fā， dàn kàn guò《 dá · fēn qí mì mǎ》 shì piàn de guān zhòng yǐ rán duì lǎo tānɡ gē de fǎng xué zhě fàxíng chuī máo qiú cī， jiāng qí yù wéi“ qián 'é guāng tū， hòu nǎo sháo yī gè yā wěi bā”！
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
· xiǎo shuō tí jí de wéi léi tè chéng bǎo yě shì yǐngpiān pāi shè dì zhī yī。 zhè zuò jiàn yú 1668 nián de chéng bǎo zhuān wéi lù yì shí sì zhù yì dà lì dà shǐ suǒ jiàn， xiàn zài de zhù rén shì měi guó fáng chǎn dà hēng。 jù xī， jù zǔ cóng 17 jiān fáng zhōng bì chū 6 jiān zhuān gōng yǎn yuán shǐ yòng， dàn lǎo tānɡ gē fàng qì liǎo xiǎng shòu guì zú dài yù de jī huì， xuǎn zé hé qī zǐ hái zǐ zhù zài yǎn yuán táng nà dé · sà sè lán bā lí de jiā zhōng， jìn xiǎng píng mín zhī lè。
· wéi gèng hǎo bàn yǎn bái huà shā shǒu sài lā sī， bǎo luó · bèi tǎ ní bù mǎn zú yú huà zhuāng shí cái yòu de bái huà bìng rén dú yòu de cǎn bái pí fū， hái bù xī jiāng yī tóu jīn fā rǎn chéng bái sè， jiāng shēn lán de yǎn jīng gǎi wéi xuè hóng。 dàn zhè yī xíng xiàng què yǐn qǐ měi guó bái huà bìng hé sè sù chén diàn zǔ zhì de jí dà fèn kǎi， gāi zǔ zhì rèn wéi rú cǐ miáo xiě shì yán xí hǎo lāi wù xǔ duō diàn yǐng duì bái huà bìng tóng xìng liàn de chǒu huà。
· yī 'ēn · mài kè lāi 'ēn xìn yǎng jī dū jiào， dāng jù zǔ zài yīng gé lán de lín kěn jùn pāi shè zāo yù yīng guó zōng jiào rén shì de lǚ lǚ kàng yì shì wēi shí， mài kè lāi 'ēn shù cì chū tóu， hào zhào rén men de tài dù bù kě tài guò piān jī， ér yìng yǐ quán xīn de jiǎo dù shěn shì yī guàn jiān chí de xìn yǎng。
·2005 nián 8 yuè 16 rì， jiù zài《 dá · fēn qí mì mǎ》 pāi dé rè huǒ cháo tiān zhī jì， wéi kàng yì lín kěn dà jiào táng duì jù zǔ xíng fāng biàn zhī shì， yī lái zì“ hé píng yǔ rén cí” fù nǚ xié huì de mǎ lì · mài kè 'ěr guì zài lín kěn dà jiào táng de tái jiē qián， shǐ dé dà jiào táng de fù zé rén nài tè bù dé bù ràng bù， shuō xiǎo shuō“ fēi cháng qiānqiǎng、 chōng mǎn yì duān”。
《 dá fēn qí mì mǎ》 - xīn piàn kàn diǎn
1. dà wàn yún jí
tānɡ mǔ · hàn kè sī de cháng fā zào xíng jué wú jǐn yòu；“ tiān shǐ 'ài měi lì” ào dài lì · tǎ tú yáo shēn biàn chéng shēn chén、 guǒ gǎn、 zhì huì de mì mǎ zhuān jiā；“ jǐng chá zhuān yè hù”“ shā shǒu lāi 'áng” ràng · léi nuò zhè huí yì zhèng yì xié； cǐ wài hái yòu《 zhī zhū xiá 2》 zhāng yú bó shì、《 zhǐ huán wáng》 gān dào fū、《 fáng huǒ qiáng》 lǐ de bǎng fěi。
2. biāo xīn lì yì
《 zuì hòu de wǎn cān》 lǐ de yé sū mén tú yòu yī gè shì nǚ rén； yé sū jié guò hūn， yòu liǎo hái zǐ， bìng qiě xuè mài yán xù dào xiàn dài； niú dùn hé dá · fēn qí dū dān rèn guò yǐn xiū huì huì cháng…… diàn yǐng biān pái liǎo xǔ duō qíng jié lái zhèng míng shàng shù guān diǎn。
3. nán qiāng běi diào
luó bó tè · lán dēng de měi shì yīng yǔ， suǒ fěi de fǎ yǔ qiāng yīng yǔ， léi · tí bīn de chún zhèng lún dūn qiāng， yǎn yuán shēn fèn hé juésè shè dìng wán quán fú hé， suǒ yǐ wǒ men yòu jī huì tīng dào yǎn yuán zì jǐ de qiāng diào。
4. yīnyuè jīng cǎi
rú hé yòng shēng huà biǎo xiàn rén wù xīn lǐ，《 dá · fēn qí mì mǎ》 gǎi biān diàn yǐng bì xū guò zhè dào kǎn 'ér。 tā de bàn fǎ shì： yīnyuè。 pò yì mì mǎ shí， cóng yī tóu wù shuǐ dào máosè dùn kāi de xīn lǐ biàn huà guò chéng， diàn yǐng yīnyuè jiāng qí xì nì、 zhǔn què 'ér fù gǎn rǎn lì dì zhǎn xiàn chū lái。
5. zhēn guì yǐng xiàng
《 méng nà lì suō》《 yán jiān shèng mǔ》《 zuì hòu de wǎn cān》 děng chuán shì huà zuò de yuán zuò chū xiàn zài jìng tóu lǐ。 lú fú gōng shí jǐng pāi shè， guān zhòng fǎng fó shí dì lì xiǎn。 sài nà hé、 bù luò niè sēn lín、 luó sī lín jiào táng dū chū xiàn zài piàn lǐ。 zuì lìng rén nán wàng de hái shì gè zhǒng fēng gé de 'ōu zhōu gǔ dài jiào táng。
1. zuì yì wài de pò yì
lán dēng gēn jù suǒ ní 'āi liú xià de mì mǎ， yī lù pò yì xià qù， jū rán zài《 méng nà lì suō》 hòu miàn zhǎo dào yī bǎ yàoshì。 zhěng gè pò yì guò chéng yì wài dié chū、 jīng cǎi fēn chéng。
2. zuì jīng xiǎn de dàochē
lán dēng hé suǒ fěi bèi jǐng chá fā xiàn， tā men lái bù jí diào zhuǎn chē tóu， zhǐ hǎo dàochē táo páo。 zài chē shuǐ mǎ lóng de dà jiē shàng， dǎo zhe kāi de xiǎo qì chē jū rán páo yíng liǎo yíng tóu zhuī shàng lái de jǐng chē。
3. zuì gǎo xiào de jí zhì
yínháng xíng cháng mào chōng kǎ chē sī jī， chàdiǎn bèi jǐng chá shí pò。 jǐng chá kàn dào sī jī shǒu wàn shàng de láo lì shì jīn biǎo， hěn shì nà mèn。 xíng cháng pō yòu jí zhì， chèn jī xiàng jǐng chá dōu shòu：“ mào pái huò！ nǐ xiǎng yào？ gěi nǐ， 35 kuài…… bù xíng？ nà 30 kuài？” bù nài fán de jǐng chá fàng zǒu liǎo kǎ chē。
4. zuì hài rén tīng wén de
léi · tí bīn duì zhe《 zuì hòu de wǎn cān》 kǎn kǎn 'ér tán： shèng bēi qí shí shì yī gè nǚ rén， ér zhè gè nǚ rén zhèng shì yé sū de qī zǐ…… zhè gè chǎng miàn hěn píng jìng， dàn léi · tí bīn de zhù zhāng， shí zài ràng rén nǎo dài“ wēng wēng wēng”。
5. zuì yì zhēn yì huàn de
lán dēng hé suǒ fěi xiàng niú dùn mù dì zǒu qù。 niú dùn shēng huó shí dài de lún dūn jiē jǐng yǔ xiàn dài de lún dūn jiē jǐng zài yín mù shàng zhòng dié qǐ lái， qián zhě shì cū kē lì、 gāo fǎn chā de huà miàn， hòu zhě shì zhèng cháng sè cǎi hái yuán de huà miàn， yī shí jiān ràng rén chǎn shēng bù zhī“ jīn xī hé xī” de chāo xiàn shí gǎn。
6. zuì jī dòng rén xīn de
yǐngpiān zuì hòu， lán dēng guā hú zǐ shòu shāng， shòu dào shuǐ chí lǐ xuè xiàn de qǐ fā， xiǎng dào mǒ dà lā yí hái de cáng shēn zhī dì。 tā lái dào lú fú gōng， dì xià jìng jìng tǎng ?? dài， jiàn rèn hé shèng bēi yī qǐ kānhù zhe tā de mén wài， tā tǎng zài dà shī men lìng rén zhōng 'ài de jié zuò de huái bào zhōng， zài fán xīng shǎn shuò de tiān kōng xià zhōng yú dé dào liǎo 'ān xī。” suí zhe jìng tóu， mí yǔ bèi wán měi pò jiě。
《 dá fēn qí mì mǎ》 - gǎi biān liàng diǎn
1. kè fú kǒng jù
lán dēng yīn wéi 7 suì de shí hòu diào jìn jǐng zhōng， yīn cǐ duì mì bì de huán jìng fēi cháng jǐn zhāng， bù shí biǎo xiàn chū kǒng jù de gǎn jué。 piàn zhōng yě zhuólì biǎo xiàn， chú liǎo yī kāi shǐ tā yǔ fǎ xī jìn rù lú fú gōng zuò diàn tī shì yuán shū yǐ yòu qíng jié wài， lìng zēng jiā liǎo yī gè xì jié： tā hé suǒ fěi cóng sū lí shì cún tuō yínháng chū lái， wéi bì jǐng fāng zhuī bǔ， jìn rù zhuāng jiá yùn chāo chē zhè yàng yī gè mì bì de kōng jiān， duǒ zài chē xiāng nèi jǐn zhāng dé fā dǒu。 suǒ fěi yòng xiǎo shí hòu mā mā 'ān fǔ tā de fāng fǎ héng héng héng héng héng bǎ shuāng shǒu cuō rè liǎo， wǔ zài lán dēng de liǎng biān tài yáng xué shàng， tóng shí róu shēng 'ān wèi gǔ lì。
2. mì mǎ tǒng
yuán zhe zhōng de mì mǎ tǒng yòu liǎng gè， dì yī gè dǎ kāi shì yī gè gèng xiǎo de mì mǎ tǒng。 piàn zhōng zhǐ chū xiàn yī gè mì mǎ tǒng， jiù shì yuán zhe zhōng de dì 'èr gè mì mǎ tǒng jí tí shì yǔ jù， bì miǎn liǎo qíng jié de chóngfù。
3. fǎ xī shēn fèn
yuán zhe fǎ xī shì yī gè hàodàxǐgōng de jǐng chá， ér zài piàn zhōng， tā chéng wéi shì gōng huì de jiào tú。 shì gōng huì de zhù jiào 'ā rùn shā（ yuán zhe yì wéi 'ā lín jiā luò shā） gào sù fǎ xī， tā tīng dào luó bó tè · lán dēng de chàn huǐ， zhèng shì lán dēng shā liǎo lú fú gōng bó wù guǎn guǎn cháng yǎ kè · suǒ ní 'āi， yīn cǐ， fǎ xī jiāng lán dēng suǒ dìng wéi xiōng shǒu， bìng qiě jiāng 'àn qíng jìn zhǎn suí shí bào gào gěi 'ā rùn shā。 dàn shì zuì hòu guān tóu， tā kàn chū liǎo pò zhàn， fā xiàn 'ā rùn shā biān zào liǎo huǎng yán， yīn 'ér bù zài huái yí lán dēng。
4. shèng bēi mì mì
shèng bēi de mì mì wèihé bù xiàng shì rén gōng kāi， zhè shì gǎi biān de zuì dà liàng diǎn。 yuán zhe zhōng， suǒ fěi yǔ nǎi nǎi、 dì dì xiāng rèn， dé zhī huán shān yǐn xiū huì gēn běn bù dǎ suàn xiàng shì rén jiē kāi shèng bēi de mì mì， yú shì jué dìng fàng qì xiàng shì rén jiē shì zhè yī zú yǐ cuī huǐ jī dū jiào quán wēi de mì mì， zhì shǐ yǐngpiān yī kāi shǐ huán shān yǐn xiū huì de 4 míng shǒu hù zhě nìngsǐ bù shuō chū shèng bēi de mì mì xiǎn dé duō yú， quán shū bù miǎn yòu hǔ tóu shé wěi zhī gǎn。 ér zài piàn zhōng， lán dēng yǔ suǒ fěi zài luó sī lín jiào táng méi yòu zhǎo dào mǒ dà lā mǎ lì yà de shí guān， wù yǐ wéi yǐ jīng bèi suǒ ní 'āi huǐ diào， ér suǒ fěi yào zhèng míng zì jǐ shí wéi yé sū de hòu dài quē shǎo DNA shí zhèng。 zhèng huī xīn zhī jì， lán dēng tū rán fā xiàn lú fú gōng bō lí jīn zì tǎ de shè jì 'àn hé shèng bēi cún fàng dì de tí shì yǔ， jiē zhe jìng tóu zhuǎn rù lú fú gōng bō lí jīn zì tǎ dǐ xià， zhèng shì mǒ dà lā mǎ lì yà de shí guān， yǐngpiān zài zhè lǐ jié shù。 zhè yàng de jié jú， shǐ dé quán piàn qián hòu hū yìng， gèng néng zì yuán qí shuō。
《 dá fēn qí mì mǎ》 - xīn piàn kuài píng
jīng sǒng xuán yí bù shū yuán zhù
diàn yǐng《 dá · fēn qí mì mǎ》 de jǐn zhāng jīng sǒng qì fēn、 huán huán xiāng kòu gù shì、 gāo cháo dié qǐ qíng jié， sī háo bù bǐ yuán zhe xùn sè。
dǎo yǎn wèile zhì zào jǐn zhāng jīng sǒng， dà liàng yùn yòng guǐ mì yīn chén de bèi jǐng yīnyuè。 cǐ wài， dà liàng xiělínlín de jìng tóu xià dé guān zhòng lián
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
lián fā chū jīng hū。 piàn zhōng duō cì chū xiàn bái huà shā shǒu sài lā sī duì zì jǐ de ròu tǐ jìn xíng chéng fá de tè xiě jìng tóu。 sài lā sī tuō qù wài yī， lù chū jiàn měi de luǒ tǐ， xì kàn shàng qù shāng hén lěi lěi。 jiē zhe tā qǔ xià dài dīng de kǔ xiū dài， shǐ jìn lè shàng tiě liàn， tòng dé hún shēn chàn dǒu。 sài lā sī zài shèng xù 'ěr pí sī jiào táng xíng xiōng chǔlǐ dé xiāng dāng hǎo。 xiān shì xiū nǚ sāng dé lín jiē dào diàn huà， bàn yè 'ān pái sài lā sī cān guān jiào táng， tū rán chuāng hù bèi yīn fēng měng dì guān shàng， àn shì bù xiáng。 quán piàn duō cì yòng shǎn huí biǎo xiàn sài lā sī shā hài bù tóng rén wù， shǐ rén yī kàn dào tā jiù lián xiǎng qǐ cán bào、 xuè xīng。 huán huán xiāng kòu de jiě mí guò chéng yǔ bù bù jǐn bī de zhuī shā qíng jié jǐn mì jiāo zhì， xiāng dāng cì jī。 suǒ fěi hé lán dēng zì jìn rù lú fú gōng bó wù guǎn qǐ kāi shǐ jiě mí， yòng zì mǔ huàn wèi fǎ zhǎo dào dá · fēn qí《 méng nà lì suō》， jì 'ér zhǎo dào《 yán jiān shèng mǔ》， fā xiàn suǒ ní 'āi liú xià de yàoshì， yǔ jǐng wèi dǎ dǒu； zài chū táo tú zhōng， suǒ fěi yòu zhǎn shì liǎo yī bǎ chē jì， dǎo zhe kāi“ dū shì jīng líng”， chōng guò chē liú hé rén qún…… jī běn shàng měi zhuǎn huàn yī gè chǎng jǐng jiù chū xiàn yī gè gāo cháo。 bù guò yǐngpiān yě yòu xiǎo xiǎo de yí hàn： bèi jǐng zhī shí tài duō， zài liǎng gè bàn xiǎo shí nèi， jiāng zhī quán pán guàn shū gěi guān zhòng， shǐ dé tái cí duō 'ér mì jí， yī pài dié dié bù xiū de jià shì， yǔ zhěng piàn jīng sǒng xuán yí de qì fēn bù tài róng hé。
《 dá fēn qí mì mǎ》 - shǒu yìng
gēn jù dān · bù lǎng chàng xiāo xiǎo shuō gǎi biān de tóng míng diàn yǐng《 dá · fēn qí mì mǎ》 jí jiāng yú běn yuè 19 hào zài quán qiú shàng yìng。 dàn shì， hé gāi xiǎo shuō zhī qián zāo yù de guān sī wēi jī yī yàng， zhè bù yǐngpiān hái méi shàng yìng， jiù yǐ jīng zài zhòng duō guó jiā zāo dào liǎo bù tóng chéng dù de dǐ zhì。
yìn dù dà yuē 2000 míng tiān zhù jiào tú qián tiān zài mèng mǎi jǔ xíng kàng yì jí huì， rèn wéi gāi piàn yòu guān qíng jié xiè dòu liǎo tiān zhù jiào。 yóu yú kàng yì bù duàn， gāi piàn zài yìn dù de shǒu yìng yǐ bèi tuī chí。 zài yīng guó， yǐngpiān yù dào liǎo fēn jí zhēng yì。 yīng guó diàn yǐng fēn lèi jú zhuān jiā rèn wéi， zhè bù diàn yǐng yòng yú zēng jiā jǐn zhāng qì fēn de pèi lè huì ràng 'ér tóng gǎn dào kǒng bù。 rú bù jìn xíng zhòng dà xiū gǎi， zhǐ néng huò dé shòu xiàn zhì de 15 jí xǔ kě。 ér zài xīn jiā pō， zhè bù diàn yǐng yě bèi liè wéi " chéng rén tí cái " de NC-16 jí diàn yǐng。
5 yuè 17 rì wǎn měi guó yǐngpiān《 dá - fēn qí mì mǎ》 zài běi jīng liàng xiāng。 yóu yú shí chā yuán yīn，《 dá - fēn qí mì mǎ》 zài zhōng guó shǒu yìng de shí jiān shí jì shàng bǐ jiá nà hái yào zǎo liù qī gè xiǎo shí， cóng 'ér chéng wèicǐ piàn zài shì jiè fàn wéi nèi de zuì zǎo liàng xiāng。 zhòng duō míng xīng jūn pěng chǎng chū xí liǎo gāi shǒu yìng lǐ， yīn zài běi jīng pāi shè yǐngpiān《 mǎn chéng jìn dài huáng jīn jiá》 de zhōu rùn fā yě xié fū rén chén huì lián chū xí。
《 dá - fēn qí mì mǎ》 de shǒu yìng diǎn lǐ zài dōng fāng xīn shì jì yǐng chéng suǒ zài de jūn yuè jiǔ diàn yàn huì dà tīng jǔ xíng。 rù chǎng jiā bīn zài jìn chǎng qián kě zài yī gè tè zhì de 'àn xiāng zhōng bàn zuò“ méng nà lì suō” jìn xíng pāi zhào。 20 wèi tōng guò wǎng luò yóu xì zài quán guó fàn wéi hǎi xuǎn chǎn shēng de tè shū jiā bīn zài shǒu yìng shì shàng dēng chǎng， zài jǐ wèi míng xīng lái bīn de píng pàn xià， tā men yī qǐ tōng guò yī xì liè mì mǎ pò yì yóu xì zhǎn kāi liǎo jī liè juézhú， zuì zhōng chǎn shēng liǎo 4 wèi fēn shù zuì gāo de xìng yùn 'ér。 tā men jiāng dài biǎo zhōng guó de“ mì mǎ mí” men yǔ qí tā guó jiā de yóu xì yōu shèng zhě yī qǐ cān jiā jīng cǎi fēn chéng de“ dá fēn qí 'ōu zhōu zhī lǚ”。
《 dá fēn qí mì mǎ》 - bō zhé jīng lì
shì jiè tiān zhù jiào huì jiào huáng běn dǔ shí liù shì de fù shǒu hào zhào qǐ liǎo xìn zhòng， gè zōng jiào tuán tǐ kāi shǐ liǎo gōng kāi zhǐ zé dì zhǐ， bái huà bìng huàn zhě wéi zì jǐ de xíng xiàng zài cì bèi diǎn xíng huà fèn nù， shè jí de lǚ yóu dì diǎn gé wài péng
《 dá fēn qí mì mǎ》《 dá fēn qí mì mǎ》
bó， zuānyán qǐ mì mǎ xué de rén chí xù zēng duō， yóu xì kāi fā nà rù jìn chéng， zōng jiào rè cháo kōng qián gāo zhǎng， yòu shì méi shì de xián rén men yě zhǔn bèi qǐ liǎo cháng qī de jī liè zhēng lùn…… huǎng yán？ zhēn xiāng？ yīn móu lùn？ méng nà lì suō shén mì de wēi xiào zài cì chéng wéi liǎo chá yú fàn hòu de tán zī。
bù guò yī bù xū gòu xiǎo shuō， zěn me jiù néng yǐn dé xī fāng shè huì gè jiè rén shì ròu bó？ shì tā chán lián měi guó chàng xiāo shū páiháng bǎng 117 zhōu， quán qiú xiāo liàng chāo guò 4000 wàn běn， chéng wéi měi guó jīn nián zuì shòu huān yíng de xiǎo shuō de shì shí？ hái shì yīn wéi dān · bù lǎng zài《 dá fēn qí mì mǎ》 lǐ jiǎng de gù shì， wán quán shì hé xī fāng rén de zōng jiào zhī zhù chàng duì tái xì？ zhēng lùn cóng lái méi yòu dá 'àn， wǒ men zhǐ zhī dào， bù guǎn shì duō shǎo de kàng yì， duō me fèi fèi rǎng rǎng de shè xián qīn quán 'àn， nà gè xiǎo shuō lǐ chéng zài liǎo qiān gǔ fù zá mì mì de dá fēn qí mì mǎ， shòu guān zhù de chéng dù hái shì yī zhí shēng wēn！
duì yú hǔ shì dān dān de hǎo lāi wù lái shuō， zhè yàng bù quē tán zī de tí cái jué duì shì diàn yǐng piào fáng de gēn jī， zhēng yì yuè dà guān zhù yuè duō piào fáng yuè gāo， gǎi biān jù běn zhǐ shì zǎo wǎn 'ér yǐ。 gèng hé kuàng， lú fú gōng、 dá · fēn qí、 shèng jīng、 zōng jiào、 mì mǎ xué、 fú hào xué、 jīng sǒng、 xuán yí hé ràng rén xīn jīng dǎn chàn jiě mì zhuī zōng，《 dá fēn qí mì mǎ》 cóng yī kāi shǐ jiù míng xiǎn jù bèi yín mù fā guāng yuán sù。 zhèn dàng liǎo shì jiè shū shì de chāo jí chàng xiāo xiǎo shuō jí jiāng miàn shì， hái yòu shénme bǐ zhè gèng zhí dé xuān chuán ní？！
The title of the novel refers to, among other things, the fact that the murder victim is found in the Denon Wing of the Louvre, naked and posed like Leonardo da Vinci's famous drawing, the Vitruvian Man, with a cryptic message written beside his body and a pentacle drawn on his stomach in his own blood.
The novel has provoked a popular interest in speculation concerning the Holy Grail legend and Magdalene's role in the history of Christianity. The book has been extensively denounced by many Christian denominations as an attack on the Roman Catholic Church. It has also been criticized for its historical and scientific inaccuracy.
The book is a worldwide bestseller that sold 80 million copies as of 2009[update] and has been translated into 44 languages. This makes it, as of 2010, the best selling English language novel of the 21st century and the 2nd biggest selling novel of the 21st century in any language. Combining the detective, thriller, and conspiracy fiction genres, it is Brown's second novel to include the character Robert Langdon, the first being his 2000 novel Angels & Demons. In November 2004, Random House published a Special Illustrated Edition with 160 illustrations. In 2006, a film adaptation was released by Sony's Columbia Pictures.
This book describes the attempts of Robert Langdon, Professor of Religious Symbology at Harvard University, to solve the murder of renowned curator Jacques Saunière of the Louvre Museum in Paris. A baffling cipher is found near his body. Saunière's granddaughter, Sophie Neveu and Langdon attempt to sort out the bizarre riddles and are stunned to discover a trail of clues hidden in the works of Leonardo Da Vinci.
The unraveling of the mystery requires solutions to a series of brain-teasers, including anagrams and number puzzles. The ultimate solution is found to be intimately connected with the possible location of the Holy Grail and to a mysterious society called the Priory of Sion, as well as to the Knights Templar. The story also involves the Roman Catholic organization Opus Dei.
Details
The story starts off with the murder of Jacques Saunière (the Grand Master Of Priory of Sion, although virtually no one knows that at the time) by Silas (acting on behalf of someone known only as The Teacher) to extract the location of the "keystone", an item that leads to the Holy Grail. The police summon Robert Langdon, who is delivering a lecture in Paris, to the murder scene and ask for his help in deciphering the code Sauniere left on and near his body. Bezu Fache, the Captain of the Central Directorate Judicial Police, believes Langdon is the prime suspect in the murder.
Sophie Neveu shows up at the murder scene as a police cryptographer and quickly gains Langdon's trust. Jacques Saunière was Neveu's grandfather and they were very close to each other until she discovered him participating in a pagan sex ritual (Hieros Gamos) at his home in Normandy, when she made a surprise visit there during a break from boarding school. (That she had observed something is mentioned and hinted at several times throughout the story, but what it is that she saw is revealed to no one, including the reader, until near the end when she tells Robert).
Langdon and Neveu find a baffling cipher near Saunière's body. These clues were meant to lead to a second set of clues. By deciphering her grandfather's clues, Neveu finds the painting, which has a key hidden behind it with an address and symbols of the Priory of Sion were written on it. Working together, Langdon and Neveu trick the police, flee the scene and figure out the secret of the key.
The key opens a safe deposit box at the Paris branch of the Depository Bank of Zurich. Saunière's account number at the bank is a 10-digit number listing the digits of the first eight Fibonacci numbers: 1 1 2 3 5 8 13 21.
Inside the safe deposit box they find the keystone which is actually a large cryptex, a cylindrical device supposedly invented by Leonardo Da Vinci for transporting secure messages. To open it the combination of rotating components must be arranged in the correct order. If the cryptex is forced open an enclosed vial of vinegar ruptures and dissolves the message, which was written on papyrus. The rosewood box containing the large cryptex contains clues to the combination of the cryptex, written in backwards script in the same manner as Leonardo's journals.
The instructions that Saunière revealed to Silas at gunpoint are actually a well-rehearsed lie, namely that the keystone is buried in the Church of Saint-Sulpice beneath an obelisk that lies exactly along the ancient "Rose Line" (the former Prime Meridian which passed through Paris before it was redesignated to pass through Greenwich). The message beneath the obelisk simply contains a reference to a passage in the Book of Job (38:11a) which reads in part "Hitherto shalt thou go and no further."(KJV) When Silas reads this, he realizes he has been tricked.
Still being chased by the police, Langdon and Neveu take the keystone to Sir Leigh Teabing (an expert in the Holy Grail and Langdon's friend). They flee the country in Teabing's private plane, and on the plane figure out how to open the cryptex, but the large cryptex actually contains a second smaller cryptex with a second riddle that reveals its combination. The riddle, which says to seek the orb that should be on the tomb of "a knight a pope interred," refers not to a medieval knight, but rather to the tomb of Sir Isaac Newton, who was buried in Westminster Abbey, and was eulogized by Alexander Pope (A. Pope).
It turns out that Teabing is the Teacher who assigned Silas to kill Jacques Saunière and he also had information on the identities of the leaders of the Priory of Sion who then bugged their offices and had Silas assassinate them. Rémy is his collaborator. It is Teabing who contacted Bishop Aringarosa, hiding his identity, and tricked him into financing the plan to find the Grail. He never intended to hand the Grail over to Aringarosa but is taking advantage of Opus Dei's resolve to find it. Teabing believes that the Priory of Sion has broken its vow to reveal the secret of the Grail to the world at the appointed time. He plans to steal the Grail documents and reveal them to the world himself, ruining the church, which he blames for the event. It was he who informed Silas that Langdon and Sophie Neveu were at his chateau. He did not seize the keystone from them himself because he did not want to reveal his identity. He summoned Silas to seize the keystone in his house, but himself thwarted Silas, in order to gain Langdon and Sophie's further help with decoding the cryptex. Subsequently, the police raid the house, having followed the tracking device in the truck Langdon had stolen while escaping from the bank. Teabing led Neveu and Langdon to the Temple Church in London, knowing full well that it was a dead end, in order to stage the hostage scene with Rémy and thereby obtain the keystone without revealing his real plot to Langdon and Neveu.
To erase all knowledge of his work, Teabing kills Rémy by giving him cognac laced with peanut powder, knowing Rémy has a deadly allergy to peanuts. Thus, Rémy dies of an anaphylactic shock. Teabing also anonymously tells the police that Silas is hiding in the London headquarters of Opus Dei.
In a showdown with Teabing in Westminster Abbey, Langdon secretly opens the second cryptex and removes its contents before destroying it in front of Teabing. Teabing is arrested and led away while fruitlessly begging Langdon to tell him the contents of the second cryptex and the secret location of the Grail.
Bezu Fache finds out that Neveu and Langdon are innocent after Bishop Aringarosa contacts him privately to confess. Fache then cancels the warrants for the arrest of Neveu and Langdon.
Silas accidentally shoots Aringarosa outside the London headquarters of Opus Dei while fleeing from the police. Realizing his terrible error and that he has been duped, Aringarosa tells Bezu Fache to give the bearer bonds in his briefcase to the families of the murdered leaders of the Priory of Sion. Silas dies from his fatal wounds.
The final message inside the second keystone actually does not refer to Rosslyn Chapel, although the Grail was indeed once buried there, below the Star of David on the floor (the two interlocking triangles are the "blade" and "chalice," i.e., male and female symbols).
The docent in Rosslyn Chapel is Sophie's long-lost brother. Sophie had been told as a child that he was killed with her parents and grandmother in a car accident.
The guardian of Rosslyn Chapel, Marie Chauvel, is Sophie's long-lost grandmother, and the wife of Jacques Saunière. She is the woman who participated in the sex ritual with Jacques Saunière. It is revealed that Sophie is a descendant of Jesus Christ and Mary Magdalene. The Priory of Sion hid her identity to protect her from possible threats to her life.
Even though all four of the leaders of the Priory of Sion are killed, the secret is not lost, since there is still a contingency plan (never revealed) that will keep the organization and its secret alive.
The real meaning of the last message is that the Grail is buried beneath the small pyramid (i.e., the "blade," a male symbol) directly below the inverted glass pyramid of the Louvre (i.e., the "chalice," a female symbol, which Langdon and Sophie ironically almost crashed into while making their original escape from Bezu Fache). It also lies beneath the "Rose Line," which is similar to "Rosslyn." Langdon figures out this final piece to the puzzle in the last pages of the book, but he does not appear inclined to tell anyone about this. See La Pyramide Inversée for further discussion.
Characters
These are the principal characters that drive the plot. Some have names that are puns, anagrams or hidden clues:
* Robert Langdon
* Jacques Saunière
* Sophie Neveu
* Bezu Fache
* Silas
* Manuel Aringarosa
* André Vernet
* Leigh Teabing
* Rémy Legaludec
* Jérôme Collet
* Marie Chauvel Saint-Clair
* Pamela Gettum
Secret of the Holy Grail
Detail of The Last Supper by Leonardo da Vinci
In the novel Leigh Teabing explains to Sophie Neveu that the figure at the right hand of Jesus in Leonardo da Vinci's painting of "The Last Supper" is not the apostle John, but actually Mary Magdalene. In the novel, Magdalene was the wife of Jesus Christ and was pregnant with his child when Jesus was crucified. Leigh Teabing says that the absence of a chalice in Leonardo's painting means Leonardo knew that Mary Magdalene was the actual Holy Grail and the bearer of Jesus' blood in the form of the child she was carrying. Leigh Teabing goes on to explain that this idea is supported by the shape of the letter "V" that is formed by the bodily positions of Jesus and Mary, as "V" is the symbol for the sacred feminine. The absence of the Apostle John in the painting is explained by knowing that John is also referred to as "the Disciple Jesus loved", code for Mary Magdalene. The book also notes that the color scheme of their garments are inverted: Jesus wears a red blouse with royal blue cape; John/Mary wears a royal blue blouse with red cape — perhaps symbolizing two bonded halves of marriage.
According to the novel, the secrets of the Holy Grail, as kept by the Priory of Sion are as follows:
* The Holy Grail is not a physical chalice, but a woman, namely Mary Magdalene, who carried the bloodline of Christ.
* The Old French expression for the Holy Grail, San gréal, actually is a play on Sang réal, which literally means "royal blood" in Old French.
* The Grail relics consist of the documents that testify to the bloodline, as well as the actual bones of Mary Magdalene.
* The Grail relics of Mary Magdalene were hidden by the Priory of Sion in a secret crypt, perhaps beneath Rosslyn Chapel.
* The Church has suppressed the truth about Mary Magdalene and the Jesus bloodline for 2000 years. This is principally because they fear the power of the sacred feminine in and of itself and because this would challenge the primacy of Saint Peter as an apostle. More than that, it would prove that Jesus was human, and therefore not divine.
* Mary Magdalene was of royal descent (through the Jewish House of Benjamin) and was the wife of Jesus, of the House of David. That she was a prostitute was slander invented by the Church to obscure their true relationship. At the time of the Crucifixion, she was pregnant. After the Crucifixion, she fled to Gaul, where she was sheltered by the Jews of Marseille. She gave birth to a daughter, named Sarah. The bloodline of Jesus and Mary Magdalene became the Merovingian dynasty of France.
* The existence of the bloodline was the secret that was contained in the documents discovered by the Crusaders after they conquered Jerusalem in 1099 (see Kingdom of Jerusalem). The Priory of Sion and the Knights Templar were organized to keep the secret.
The secrets of the Grail are connected, according to the novel, to Leonardo Da Vinci's work as follows:
* Leonardo was a member of the Priory of Sion and knew the secret of the Grail. The secret is in fact revealed in The Last Supper, in which no actual chalice is present at the table. The figure seated next to Christ is not a man, but a woman, his wife Mary Magdalene. Most reproductions of the work are from a later alteration that obscured her obvious female characteristics.
* The androgyny of the Mona Lisa reflects the sacred union of male and female implied in the holy union of Jesus and Mary Magdalene. Such parity between the cosmic forces of masculine and feminine has long been a deep threat to the established power of the Church. The name Mona Lisa is actually an anagram for "Amon L'Isa", referring to the father and mother gods of Ancient Egyptian religion (namely Amun and Isis).
A number of different authors also speculate about the possibility of Jesus becoming a father. There are at least three children attributed to him, a daughter Tamar, born before the Crucifixion, and two sons Jesus (the Jesus Justus from the New Testament) and Josephes, both born after the Resurrection. Although their names are now part of the common culture of conspiracy writers, only two decades ago, when The Holy Blood and the Holy Grail was written, the names were not mentioned. The royal descents that lie at the heart of The Da Vinci Code mystery centre on the family of Josephes, who is supposed to be the grandfather of Aminadab del Graal, first of the "Fisher Kings". However the genealogies that are quoted in Grail lore appear to record too few generations, with children regularly being born to fathers in their 40s.
Reception
Brown's novel was a major success in 2004 and was outsold only by J. K. Rowling's Harry Potter and the Order of the Phoenix. It won Book Sense's 2004 Book of the Year Award in the Adult Fiction category. It spawned a number of offspring works and drew positive reviews from The New York Times, People,[citation needed] and The Washington Post.[citation needed] Additionally, The Da Vinci Code has inspired a number of novels very similar to it, including Raymond Khoury's The Last Templar and Steve Berry's The Templar Legacy.[citation needed] In a 2008 survey of more than 15,000 Australian readers, the book came in fourth in a list of the 101 best books ever written.
The book was not generally well received by critics, however, and it has been the subject of numerous negative appraisals concerning its literary value and its portrayal of history. Its writing and historical accuracy were reviewed scathingly by The New Yorker, The New York Times, and Salon.com, among others.
Criticism
Main article: Inaccuracies in The Da Vinci Code
Historical inaccuracies
The book generated criticism when it was first published, due to its inaccurate description of core aspects of Christianity, the history of the Catholic Church, and descriptions of European art, history, and architecture. The book has received mostly negative reviews from Catholic and other Christian communities.
Many critics say that Brown should have done much more research before publishing this book. On February 22, 2004, an article titled "The Last Word: The Da Vinci Con" appeared in the New York Times by writer Laura Miller. Miller attacks the Da Vinci Code on multiple levels, referring to it as "based on a notorious hoax", "rank nonsense", and "bogus." She points out how heavily the book is based on the fabrications of Pierre Plantard (the Priory of Sion did not exist until Plantard created it) who in 1953 was arrested and convicted of fraud.
Critics accuse Brown of distorting and fabricating history. For example, Marcia Ford wrote:
Regardless of whether you agree with Brown's conclusions, it's clear that his history is largely fanciful, which means he and his publisher have violated a long-held if unspoken agreement with the reader: Fiction that purports to present historical facts should be researched as carefully as a nonfiction book would be.
Richard Abanes wrote:
The most flagrant aspect … is not that Dan Brown disagrees with Christianity but that he utterly warps it in order to disagree with it … to the point of completely rewriting a vast number of historical events. And making the matter worse has been Brown's willingness to pass off his distortions as ‘facts' with which innumerable scholars and historians agree.
The book opens with the claim by Dan Brown that "The Priory of Sion — a European secret society founded in 1099 — is a real organization". The Priory of Sion itself was actually a hoax created in 1956 by a Mr. Pierre Plantard. The author also claims that "all descriptions of artwork, architecture, documents … and secret rituals in this novel are accurate"; but this claim is disputed by almost all academic scholars in the fields the book discusses.
Numerous works have been published that explain in detail why any claim to accuracy is difficult to substantiate, while two lawsuits have been brought alleging plagiarism in The Da Vinci Code. The first suit for copyright infringement was filed in February 2006 in a British court by the authors of The Holy Blood and the Holy Grail, a purportedly nonfiction account of Mary Magdalene's role as the wife of Jesus of Nazareth and the mother of his child, was found in Dan Brown's favor. No verdict has yet been rendered on a second suit, filed in August of the same year, in the United States by Jack Dunn, the author of The Vatican Boys.
A third author, Lewis Perdue, alleged that Brown plagiarized from two of his novels, The Da Vinci Legacy, originally published in 1983, and Daughter of God, originally published in the year 2000. He sought to block distribution of the book and film. However, Judge George Daniels of the US District Court in New York ruled against Perdue in 2005, saying that "A reasonable average lay observer would not conclude that The Da Vinci Code is substantially similar to Daughter of God" and that "Any slightly similar elements are on the level of generalised or otherwise unprotectable ideas." Perdue appealed, the 2nd US Circuit Court of Appeals upheld the original decision, saying Mr. Perdue's arguments were "without merit".
Dan Brown himself dilutes the suggestion of some of the more controversial aspects being fact on his web site: "The "FACT" page makes no statement whatsoever about any of the ancient theories discussed by fictional characters. Interpreting those ideas is left to the reader". However, it also says that "these real elements are interpreted and debated by fictional characters", "it is my belief that some of the theories discussed by these characters may have merit." and "the secret behind The Da Vinci Code was too well documented and significant for me to dismiss." Brown's ambiguity on the matter continues to fuel debate over the factual content of the novel.
Brown's earlier statements about the accuracy of the historical information in his book, however, were far more strident. In 2003, while promoting his novel, he was asked in interviews what parts of the history in his novel actually happened. He replied "Absolutely all of it." In a 2003 interview with CNN's Martin Savidge he was again asked how much of the historical background was true. He replied, "99% is true ... the background is all true". Asked by Elizabeth Vargas in an ABC News special if the book would have been different if he had written it as non-fiction he replied, "I don't think it would have." More recently Brown has avoided interviews and has been rather more circumspect about the accuracy of his claims in his few public statements. He has also, however, never retracted any of his earlier assertions that the history in the novel is accurate, despite substantial academic criticism of his claims.
In 2005, UK TV personality Tony Robinson edited and narrated a detailed rebuttal of the main arguments of Dan Brown and those of Baigent, Leigh and Lincoln, "The Real Da Vinci Code", shown on British TV Channel 4. The program featured lengthy interviews with many of the main protagonists cited by Brown as "absolute fact" in The Da Vinci Code. Arnaud de Sède, son of Gérard de Sède, stated categorically that his father and Plantard had made up the existence of the Prieuré de Sion, the cornerstone of the Jesus bloodline theory - to quote Arnaud de Sede in the program, "frankly, it was piffle". The program also cast severe doubt on the Rosslyn Chapel association with the Grail and on other related stories like the alleged landing of Mary Magdalene in France.
Portrayal of early Christianity
According to The Da Vinci Code, the Roman Emperor Constantine I suppressed Gnosticism because it portrayed Jesus as purely human. The novel's argument is as follows. Constantine wanted Christianity to act as a unifying religion for the Roman Empire. He thought Christianity would appeal to pagans only if it featured a demigod similar to pagan heroes. According to the Gnostic Gospels, Jesus was merely a human prophet, not a demigod. Therefore, to change Jesus' image, Constantine destroyed the Gnostic Gospels and promoted the gospels of Matthew, Mark, Luke, and John, which portray Jesus as divine or semidivine.
In fact, Gnosticism did not portray Jesus as merely human. Some Gnostic writings do depict Jesus interacting with his disciples in a wholly human way, one example being the Gospel of Mary,[citation needed] but the general Gnostic depiction of Jesus is not clear-cut. Many Gnostic writings depict Christ as purely divine, his human body being a mere illusion (see Docetism). Some Gnostic sects saw Christ this way because they regarded matter as evil, and therefore believed that a divine spirit would never have taken on a material body. The Da Vinci Code also portrays the Council of Nicaea's decision to recognize the fully human and divine aspects of Christ as being a close vote, while some authors dispute this.
Literary criticism
The novel has also attracted criticism in literary circles for its alleged lack of artistic or literary merit and its allegedly stereotyped portrayal of British and French characters.
Salman Rushdie claimed during a lecture, "Do not start me on 'The Da Vinci Code,' A novel so bad that it gives bad novels a bad name."
Stephen Fry has referred to Brown's writings as "complete loose stool-water" and "arse gravy of the worst kind." In a live chat on June 14, 2006, he clarified, "I just loathe all those book[s] about the Holy Grail and Masons and Catholic conspiracies and all that botty-dribble. I mean, there's so much more that's interesting and exciting in art and in history. It plays to the worst and laziest in humanity, the desire to think the worst of the past and the desire to feel superior to it in some fatuous way."
In his 2005 University of Maine Commencement Address, best-selling author Stephen King put Dan Brown's work and "Jokes for the John" on the same level, calling such literature the "intellectual equivalent of Kraft Macaroni and Cheese." The New York Times, while reviewing the movie based on the book, called the book "Dan Brown's best-selling primer on how not to write an English sentence". The New Yorker reviewer Anthony Lane refers to it as "unmitigated junk" and decries "the crumbling coarseness of the style." Linguist Geoffrey Pullum and others posted several entries critical of Dan Brown's writing, at Language Log, calling Brown one of the "worst prose stylists in the history of literature" and saying Brown's "writing is not just bad; it is staggeringly, clumsily, thoughtlessly, almost ingeniously bad." Roger Ebert described it as a "potboiler written with little grace and style," although he did say it did "supply an intriguing plot." In his review of the film National Treasure, he wrote: "I should read a potboiler like The Da Vinci Code every once in a while, just to remind myself that life is too short to read books like The Da Vinci Code."
Parodies
2005
The book was parodied by Adam Roberts with The Va Dinci Cod, and by Toby Clements with The Asti Spumante Code.
A telemovie spin-off of the Australian television series Kath & Kim parodied the film version as Da Kath and Kim Code in late 2005.
2006
The BBC program Dead Ringers parodied the Da Vinci Code, calling it the Da Rolf Harris Code.
Popular South African political cartoonist Zapiro published a book collection of his strips entitled Da Zuma Code, which parodies the former deputy president Jacob Zuma.
2007
The book was parodied in the South Park episode "Fantastic Easter Special" and Robert Rankin's novel The Da-da-de-da-da Code.
The characters Lucy and Silas are parodied in the film Epic Movie. The movie starts with a scene similar to the opening of The Da Vinci Code, with Silas chasing the orphan Lucy, a parody of Sophie Neveu, in a museum. Throughout the movie, Silas speaks in Latin. However, the translations for his speech are intentionally false for the sake of parody (e.g. Silas says "Et tu, Brute?" to Aslo, when the film translates it as "I'm Rick James, bitch!").
Szyfr Jana Matejki (Jan Matejko's Cipher) is a Polish parody by Dariusz Rekosz. Sequel Ko(s)miczna futryna: Szyfr Jana Matejki II (Co[s]mic Door-frame: Jan Matejko's Cipher II) was released in 2008. Main character is inspector Józef Świenty who tries to solve The Greatest Secret of Mankind (Największa Tajemnica Ludzkości) - parentage of Piast dynasty.
The book was parodied in the American Dad episode "Black Mystery Month". But instead Stan searches for the controversial truth that Mary Todd Lincoln created peanut butter, not George Washington Carver.
2008
In 2008, it was parodied in the second series of That Mitchell and Webb Look as "The Numberwang Code", a trailer for a fictional film based on a recurring sketch on the show.
Also in March 2008, the Irish blogger Twenty Major, parodied elements in his first book The Order of the Phoenix Park.
Inspiration and influences
The novel is part of the exploration of alternative religious history. Its principal source book is listed as per the court case, Lynn Picknett and Clive Prince's The Templar Revelation, as well as the books by Margaret Starbird. An earlier novel had already used the theme of a Jesus bloodline: The Dreamer of the Vine, by Liz Greene, published in 1980 (Richard Leigh's sister and Michael Baigent's girlfriend at that time). The Holy Blood and the Holy Grail (which is explicitly named, among several others, at the beginning of chapter 60), was stated by Dan Brown not to be amongst his primary research material for the book.
Having paid acknowledgement to the above books as sources of inspiration, Dan Brown's The Da Vinci Code contains the overriding salient point in its plot: that the Merovingian kings of France were descendants from the bloodline of Jesus Christ and Mary Magdalene.
In reference to Richard Leigh and Michael Baigent (two of the authors of The Holy Blood and the Holy Grail), Brown named the principal Grail expert of his story "Leigh Teabing" (an anagram of "Baigent Leigh"). Brown confirmed this during the court case. In reply to the suggestion that Lincoln was also referenced, as he has medical problems resulting in a severe limp, like the character of Leigh Teabing, Brown stated he was unaware of Lincoln's illness and the correspondence was a coincidence. After losing before the High Court in July 12, 2006, Michael Baigent and Richard Leigh appealed, unsuccessfully, to the Court of Appeal.
Following the trial, it was found that the publicity had actually significantly boosted UK sales of The Holy Blood and the Holy Grail
There are also some striking similarities to 1996 video game Broken Sword: The Shadow of the Templars.
Release details
The book has been translated into over 40 languages, primarily in hardcover. Alternate formats include audio cassette, CD, and e-book. Most recently, a Trade Paperback edition was released March 2006 in conjunction with the film.
Major English-language (hardcover) editions include:
* (US) The Da Vinci Code, April 2003 (First edition), Doubleday, ISBN 0-385-50420-9.
* The Da Vinci Code, Special Illustrated Edition, November 2, 2004, Doubleday, ISBN 0-385-51375-5 (as of January 2006, has sold 576,000 copies).
* (UK) The Da Vinci Code, April 2004, Corgi Adult. ISBN 0-552-14951-9.
* (UK) The Da Vinci Code: The Illustrated Edition, October 2, 2004, Bantam Press. ISBN 0-593-05425-3.
* (US/Canada) The Da Vinci Code (Trade Paperback edition), March 2006, Anchor Books.
* On March 28, 2006, Anchor Books released 5 million paperback copies of the book, and Broadway Books released 200,000 paperback copies of The Da Vinci Code Special Illustrated Edition.
* On May 19, the day of the film's release, Doubleday and Broadway Books released The Da Vinci Code Illustrated Screenplay: Behind the Scenes of the Major Motion Picture, by screenwriter Akiva Goldsman, with the introductions by Ron Howard and Dan Brown. It included film stills, behind-the-scenes photos and the full script. There were 25,000 copies of the hardcover, and 200,000 of the paperback version.
Puzzles
Book jacket
Part of the advertising campaign for the novel was that the artwork in the American version of the bookjacket held various codes, and that the reader who solved them via the author's website would be given a prize. Several thousand people actually solved the codes, and one name was randomly chosen to be the winner, with the name announced on live television, Good Morning America, in early 2004. The prize was a trip to Paris.
The five hidden puzzles reveal:
* That the back of the book jacket conceals latitude and longitude coordinates, written in reverse, light red on dark red. Adding one degree to the latitude gives the coordinates of the headquarters of the Central Intelligence Agency in Northern Virginia, which is the location of a mysterious sculpture called Kryptos. The coordinates were taken from part of the decrypted text of part 2 of the sculpture (part 4 has never been solved). When Brown has been asked why the coordinates are one degree off, his reply has been, "The discrepancy is intentional".
* Bold letters are present on the book jacket. There is a secret message hidden in the text of the book flaps. The message: Is there no help for the widow's son (a reference to Freemasonry).
* The words "only WW knows" can be seen on the back cover. It is a phrase printed invertedly, in the torn part of the book cover. This too is a reference to part 2 of the Kryptos sculpture.
* A circle with numbers, between the Doubleday logo and the barcode, reveals a secret message. These are the chapter numbers where the initial letters are arranged in Caesar box format, revealing the code "E Pluribus Unum".
* There is reverse writing on the cover of the book, which is the riddle for the first cryptex.
Brown, both via his website and in person, has stated that the puzzles in the bookjacket give hints about the subject of his next novel, The Lost Symbol. This repeats a theme from his earlier novels. For example, Deception Point had an encrypted message that, when solved, said, "The Da Vinci Code will surface".
In the simplified Chinese version of The Da Vinci Code, the cover has a secret text; however, this text can be easily seen. It reads: "13-3-2-1-1-8-5 O, Draconian devil! Oh, Lame Saint! P.S. Find Robert Langdon." This is the multiply encrypted clue written in invisible ink next to the dead body in the museum, which kicks off the plot of the entire novel.
Pages
All of the puzzles listed below can be found within the page headers in the Mass Market US Paperback edition of The Da Vinci Code.
* Page 60: "Ankh Fendile" (anagram of "knife handle") in place of "Dan Brown"
* Page 95: "De Lancs" (anagram of "candles") in place of "Da Vinci"
* Page 138: "Das Brilli" (anagram of "billiards") in place of "Dan Brown"
* Page 141: "La Sufrete" (anagram of "true/false") in place of "Da Vinci"
* Page 155: "sos" in place of page number
* Page 192: "Reon Tigaldo" (anagram of "Golden Ratio") in place of "Dan Brown"
* Page 217: "De Ysosy" (anagram of "odyssey") in place of "Da Vinci"
* Page 262: "Mer Reve" (anagram of "Vermeer") in place of "Dan Brown"
* Page 322: page number replaced by three asterisks
Also in the body text on page 138, the word "numbers" in the sentence "Tearing it open, she found four Paris phone numbers" is printed in a bold medieval typeface, instead of the typical serif typeface used throughout the rest of the book.
Film
Columbia Pictures adapted the novel to film, with a screenplay written by Akiva Goldsman, and Academy Award winner Ron Howard directing. The film was released on May 19, 2006, and stars Tom Hanks as Robert Langdon, Audrey Tautou as Sophie Neveu, and Sir Ian McKellen as Leigh Teabing. The film had an opening weekend gross of $77,073,388 and grossed $217,536,138 in 2006, making it the fifth highest grossing movie of 2006. The film did very well overseas, grossing over $758,239,852 worldwide. On November 14, 2006 the movie was released on DVD.
dān · bù lǎng / zhù
dān · bù lǎng de chǔnǚ zuò héng héng《 shù zì chéng bǎo》 shì yī bù gāo kē jì jīng xiǎn xiǎo shuō，《 shù zì chéng bǎo》 tàn tǎo liǎo gōng mín yǐn sī yǔ guó jiā 'ān quán zhī jiān de máo dùn。 dāng nián chū bǎn hòu xuán jí chéng wéi měi guó chàng xiāo diàn zǐ shū dì yī míng， cháng dá 15 zhōu zhī jiǔ。“ xìn xī shí dài de kǒng bù zhù yì” shì gāi shū de yī gè zhù tí。
zài xìn xī shí dài， gè guó jiàndié、 kǒng bù fènzǐ kāi shǐ tōng guò hù lián wǎng chuán dì qíng bào， dàn shì wèile shǐ diàn zǐ yóu jiàn bù bèi tā rén jié huò， tā men fēn fēn gěi zì jǐ de yóu jiàn jiā shàng liǎo mì mǎ。 wèile cóng wǎng luò shàng huò dé zhòng yào qíng bào， shì jiè shàng zuì wéi yǐn mì de qíng bào bù mén héng héng měi guó guó jiā 'ān quán jú (NSA) chì jù zī jiàn zào liǎo yī tái kě yǐ pò jiě mì mǎ de jī qì héng héng wàn néng jiě mì jī。 zhè tái chāo jí diàn nǎo kě yǐ zài jí duǎn de shí jiān nèi xùn sù pò jiě rèn hé mì mǎ， yīn 'ér bāng zhù NSA cuò bài liǎo wú shù kǒng bù fènzǐ de yīn móu， bì miǎn liǎo zhàn zhēng de bào fā。 jìn guǎn jiàn zào zhè gè páng rán dà wù de chū zhōng shì jiān shì hé pò yì jiàndié hé kǒng bù fènzǐ de diàn zǐ yóu jiàn， dàn tā tóng yàng yě néng jié huò suǒ yòu pǔ tōng rén de sī rén diàn zǐ yóu jiàn。 zhè gè shì jiè yǐ méi yòu yǐn sī hé mì mì kě yán！ chū yú duì zhè zhǒng gōng rán qīn fàn rén lèi yǐn sī de xíng wéi de bù mǎn， guó jiā 'ān quán jú qián chéng xù shè jì shī yuǎn chéng yǒu jiā tuī chū liǎo“ shù zì chéng bǎo”， gōng kāi shēng chēng tā shì jù yòu bù kě pò jiě mì mǎ de jiā mì ruǎn jiàn， zhè gè wéi“ shuí lái jiān shì zhè xiē jiān shì zhě” ér yōu xīn de rì běn rén xiàng měi guó guó jiā 'ān quán jú fā qǐ liǎo tiǎo zhàn。 yuǎn chéng yǒu jiā yào qiú guó jiā 'ān quán jú xiàng shì rén xuān bù wàn néng jiě mì jī de cún zài， fǒu zé tā jiù cǎi qǔ tè bié xíng dòng。 bù xìng de shì， yuǎn chéng yǒu jiā zài xī bān yá yì wài sǐ wáng， ér kè yòu kǒu lìng de jiè zhǐ què shén mì shī zōng liǎo。 dà xué jiào shòu、 yǔ yán xué jiā dài wéi · bèi kè bù jīng yì zhōng juǎnrù dào guó 'ān jú de tè shū gōng zuò zhōng， zāo dào yī gè shén mì shā shǒu de zhuī shā， liǎng rén dǒu zhì dǒu yǒng， wán qǐ liǎo māo zhuō lǎo shǔ de yóu xì， zú jì biàn jí sài wéi lì yà de dà jiē xiǎo xiàng。 guó 'ān jú de shǒu xí mì mǎ pò jiě zhuān jiā sū shān · fú lāi qiē shì bèi kè de wèi hūn qī， jiù zài bèi kè bèi pài qù xī bān yá de shí hòu， sū shān bèi jǐn jí zhào huí zǒng bù。 tā de shàng sī guó 'ān jú fù jú cháng sī tè lā sī mò 'ěr gào sù sū shān yī gè jīng rén de xiāo xī：
zhàn wú bù shèng de chāo jí diàn nǎo wàn néng jiě mì jī yù shàng liǎo bù kě pò jiě de mì mǎ héng héng shù zì chéng bǎo。 sī tè lā sī mò 'ěr ràng sū shān chá chū yuǎn chéng yǒu jiā tóng huǒ de zhēn shí shēn fèn。 suí hòu， sū shān mù dǔ liǎo yī gè yòu yī gè lìng rén zhèn jīng de mì mì、 huǎng yán hé bèi pàn， tā fā xiàn zì jǐ bù jǐn shì zài wéi tā de guó jiā 'ér zhàn， ér qiě shì wèile tā de shēng mìng hé tā suǒ 'ài de rén 'ér zhàn……
shù zì chéng bǎo quán wén yuè dú
yì zhě xù
xiē zǐ
dì yī zhāng
dì 'èr zhāng
dì sān zhāng
dì sì zhāng
dì wǔ zhāng
dì liù zhāng
dì qī zhāng
dì bā zhāng
dì jiǔ zhāng
dì shí zhāng
dì shí yī zhāng
dì shí 'èr zhāng
dì shí sān zhāng
dì shí sì zhāng
dì shí wǔ zhāng
dì shí liù zhāng
dì shí qī zhāng
dì shí bā zhāng
dì shí jiǔ zhāng
dì 'èr shí zhāng
dì 'èr shí yī zhāng
dì 'èr shí 'èr zhāng
dì 'èr shí sān zhāng
dì 'èr shí sì zhāng
dì 'èr shí wǔ zhāng
dì 'èr shí liù zhāng
dì 'èr shí qī zhāng
dì 'èr shí bā zhāng
dì 'èr shí jiǔ zhāng
dì sān shí zhāng
dì sān shí yī zhāng
dì sān shí 'èr zhāng
dì sān shí sān zhāng
dì sān shí sì zhāng
dì sān shí wǔ zhāng
dì sān shí liù zhāng
dì sān shí qī zhāng
dì sān shí bā zhāng
dì sān shí jiǔ zhāng
dì sì shí zhāng
dì sì shí yī zhāng
dì sì shí 'èr zhāng
dì sì shí sān zhāng
dì sì shí sì zhāng
dì sì shí wǔ zhāng
dì sì shí liù zhāng
dì sì shí qī zhāng
（ wán）
dān · bù lǎng de chǔnǚ zuò héng héng《 shù zì chéng bǎo》 shì yī bù gāo kē jì jīng xiǎn xiǎo shuō，《 shù zì chéng bǎo》 tàn tǎo liǎo gōng mín yǐn sī yǔ guó jiā 'ān quán zhī jiān de máo dùn。 dāng nián chū bǎn hòu xuán jí chéng wéi měi guó chàng xiāo diàn zǐ shū dì yī míng， cháng dá 15 zhōu zhī jiǔ。“ xìn xī shí dài de kǒng bù zhù yì” shì gāi shū de yī gè zhù tí。
zài xìn xī shí dài， gè guó jiàndié、 kǒng bù fènzǐ kāi shǐ tōng guò hù lián wǎng chuán dì qíng bào， dàn shì wèile shǐ diàn zǐ yóu jiàn bù bèi tā rén jié huò， tā men fēn fēn gěi zì jǐ de yóu jiàn jiā shàng liǎo mì mǎ。 wèile cóng wǎng luò shàng huò dé zhòng yào qíng bào， shì jiè shàng zuì wéi yǐn mì de qíng bào bù mén héng héng měi guó guó jiā 'ān quán jú (NSA) chì jù zī jiàn zào liǎo yī tái kě yǐ pò jiě mì mǎ de jī qì héng héng wàn néng jiě mì jī。 zhè tái chāo jí diàn nǎo kě yǐ zài jí duǎn de shí jiān nèi xùn sù pò jiě rèn hé mì mǎ， yīn 'ér bāng zhù NSA cuò bài liǎo wú shù kǒng bù fènzǐ de yīn móu， bì miǎn liǎo zhàn zhēng de bào fā。 jìn guǎn jiàn zào zhè gè páng rán dà wù de chū zhōng shì jiān shì hé pò yì jiàndié hé kǒng bù fènzǐ de diàn zǐ yóu jiàn， dàn tā tóng yàng yě néng jié huò suǒ yòu pǔ tōng rén de sī rén diàn zǐ yóu jiàn。 zhè gè shì jiè yǐ méi yòu yǐn sī hé mì mì kě yán！ chū yú duì zhè zhǒng gōng rán qīn fàn rén lèi yǐn sī de xíng wéi de bù mǎn， guó jiā 'ān quán jú qián chéng xù shè jì shī yuǎn chéng yǒu jiā tuī chū liǎo“ shù zì chéng bǎo”， gōng kāi shēng chēng tā shì jù yòu bù kě pò jiě mì mǎ de jiā mì ruǎn jiàn， zhè gè wéi“ shuí lái jiān shì zhè xiē jiān shì zhě” ér yōu xīn de rì běn rén xiàng měi guó guó jiā 'ān quán jú fā qǐ liǎo tiǎo zhàn。 yuǎn chéng yǒu jiā yào qiú guó jiā 'ān quán jú xiàng shì rén xuān bù wàn néng jiě mì jī de cún zài， fǒu zé tā jiù cǎi qǔ tè bié xíng dòng。 bù xìng de shì， yuǎn chéng yǒu jiā zài xī bān yá yì wài sǐ wáng， ér kè yòu kǒu lìng de jiè zhǐ què shén mì shī zōng liǎo。 dà xué jiào shòu、 yǔ yán xué jiā dài wéi · bèi kè bù jīng yì zhōng juǎnrù dào guó 'ān jú de tè shū gōng zuò zhōng， zāo dào yī gè shén mì shā shǒu de zhuī shā， liǎng rén dǒu zhì dǒu yǒng， wán qǐ liǎo māo zhuō lǎo shǔ de yóu xì， zú jì biàn jí sài wéi lì yà de dà jiē xiǎo xiàng。 guó 'ān jú de shǒu xí mì mǎ pò jiě zhuān jiā sū shān · fú lāi qiē shì bèi kè de wèi hūn qī， jiù zài bèi kè bèi pài qù xī bān yá de shí hòu， sū shān bèi jǐn jí zhào huí zǒng bù。 tā de shàng sī guó 'ān jú fù jú cháng sī tè lā sī mò 'ěr gào sù sū shān yī gè jīng rén de xiāo xī：
zhàn wú bù shèng de chāo jí diàn nǎo wàn néng jiě mì jī yù shàng liǎo bù kě pò jiě de mì mǎ héng héng shù zì chéng bǎo。 sī tè lā sī mò 'ěr ràng sū shān chá chū yuǎn chéng yǒu jiā tóng huǒ de zhēn shí shēn fèn。 suí hòu， sū shān mù dǔ liǎo yī gè yòu yī gè lìng rén zhèn jīng de mì mì、 huǎng yán hé bèi pàn， tā fā xiàn zì jǐ bù jǐn shì zài wéi tā de guó jiā 'ér zhàn， ér qiě shì wèile tā de shēng mìng hé tā suǒ 'ài de rén 'ér zhàn……
shù zì chéng bǎo quán wén yuè dú
yì zhě xù
xiē zǐ
dì yī zhāng
dì 'èr zhāng
dì sān zhāng
dì sì zhāng
dì wǔ zhāng
dì liù zhāng
dì qī zhāng
dì bā zhāng
dì jiǔ zhāng
dì shí zhāng
dì shí yī zhāng
dì shí 'èr zhāng
dì shí sān zhāng
dì shí sì zhāng
dì shí wǔ zhāng
dì shí liù zhāng
dì shí qī zhāng
dì shí bā zhāng
dì shí jiǔ zhāng
dì 'èr shí zhāng
dì 'èr shí yī zhāng
dì 'èr shí 'èr zhāng
dì 'èr shí sān zhāng
dì 'èr shí sì zhāng
dì 'èr shí wǔ zhāng
dì 'èr shí liù zhāng
dì 'èr shí qī zhāng
dì 'èr shí bā zhāng
dì 'èr shí jiǔ zhāng
dì sān shí zhāng
dì sān shí yī zhāng
dì sān shí 'èr zhāng
dì sān shí sān zhāng
dì sān shí sì zhāng
dì sān shí wǔ zhāng
dì sān shí liù zhāng
dì sān shí qī zhāng
dì sān shí bā zhāng
dì sān shí jiǔ zhāng
dì sì shí zhāng
dì sì shí yī zhāng
dì sì shí 'èr zhāng
dì sì shí sān zhāng
dì sì shí sì zhāng
dì sì shí wǔ zhāng
dì sì shí liù zhāng
dì sì shí qī zhāng
（ wán）
zuò zhě： dān · bù lǎng
dān · bù lǎng xié《 niǔ yuē shí bào》 zuì chàng xiāo xuán yí jīng sǒng xiǎo shuō zài dù dēng lù，《 dá · fēn qí mì mǎ》 zǐ mèi piān《 tiān shǐ yǔ mó guǐ》， yī bù nǐ yī dàn ná qǐ jiù zài yě wú fǎ fàng xià de dà shī dà zuò。
zōng jiào yǔ kē xué de jī liè duì kàng， rén xìng yǔ shén xìng de zhèng miàn pèng zhuàng； yī gè gǔ lǎo shén mì de dì xià zǔ zhì héng héng guāng zhào pài， yī zhǒng jù yòu jí dà huǐ miè xìng de gāo kē jì wǔ qì héng héng fǎn wù zhì， yī xiàng pò zài méi jié、 bù kě sī yì de rèn wù……
tiān shǐ yǔ mó guǐ quán wén yuè dú
xiē zǐ
dì yī zhāng
dì 'èr zhāng
dì sān zhāng
dì sì zhāng
dì wǔ zhāng
dì liù zhāng
dì qī zhāng
dì bā zhāng
dì jiǔ zhāng
dì shí zhāng
dì shí yī zhāng
dì shí 'èr zhāng
dì shí sān zhāng
dì shí sì zhāng
dì shí wǔ zhāng
dì shí liù zhāng
dì shí qī zhāng
dì shí bā zhāng
dì shí jiǔ zhāng
dì 'èr shí zhāng
dì 'èr shí yī zhāng
dì 'èr shí 'èr zhāng
dì 'èr shí sān zhāng
dì 'èr shí sì zhāng
dì 'èr shí wǔ zhāng
dì 'èr shí liù zhāng
dì 'èr shí qī zhāng
dì 'èr shí bā zhāng
dì 'èr shí jiǔ zhāng
dì sān shí zhāng
dì sān shí yī zhāng
dì sān shí 'èr zhāng
dì sān shí sān zhāng
dì sān shí sì zhāng
dì sān shí wǔ zhāng
dì sān shí liù
dì sān shí qī zhāng
dì sān shí bā zhāng
dì sān shí jiǔ zhāng
dì sì shí zhāng
dì sì shí yī zhāng
dì sì shí 'èr zhāng
dì sì shí sān zhāng
dì sì shí sì zhāng
dì sì shí wǔ zhāng
dì sì shí liù zhāng
dì sì shí qī zhāng
dì sì shí bā zhāng
dì sì shí jiǔ zhāng
dì wǔ shí zhāng
dì wǔ shí yī zhāng
dì wǔ shí 'èr zhāng
dì wǔ shí sān zhāng
dì wǔ shí sì zhāng
dì wǔ shí wǔ zhāng
dì wǔ shí liù zhāng
dì wǔ shí qī zhāng
dì wǔ shí bā zhāng
dì wǔ shí jiǔ zhāng
dì liù shí zhāng
dì liù shí yī zhāng
dì liù shí 'èr zhāng
dì liù shí sān zhāng
dì liù shí sì zhāng
dì liù shí wǔ zhāng
dì liù shí liù zhāng
dì liù shí qī zhāng
dì liù shí bā zhāng
dì liù shí jiǔ zhāng
dì qī shí zhāng
dì qī shí yī zhāng
dì qī shí 'èr zhāng
dì qī shí sān zhāng
dì qī shí sì zhāng
dì qī shí wǔ zhāng
dì qī shí liù zhāng
dì qī shí qī zhāng
dì qī shí bā zhāng
dì qī shí jiǔ zhāng
dì bā shí zhāng
dì bā shí yī zhāng
dì bā shí 'èr zhāng
dì bā shí sān zhāng
dì bā shí sì zhāng
dì bā shí wǔ zhāng
dì bā shí liù zhāng
dì bā shí qī zhāng
dì bā shí bā zhāng
dì bā shí jiǔ zhāng
dì jiǔ shí zhāng
dì jiǔ shí yī zhāng
dì jiǔ shí 'èr zhāng
fù lù： duìchèn zì
dān · bù lǎng xié《 niǔ yuē shí bào》 zuì chàng xiāo xuán yí jīng sǒng xiǎo shuō zài dù dēng lù，《 dá · fēn qí mì mǎ》 zǐ mèi piān《 tiān shǐ yǔ mó guǐ》， yī bù nǐ yī dàn ná qǐ jiù zài yě wú fǎ fàng xià de dà shī dà zuò。
zōng jiào yǔ kē xué de jī liè duì kàng， rén xìng yǔ shén xìng de zhèng miàn pèng zhuàng； yī gè gǔ lǎo shén mì de dì xià zǔ zhì héng héng guāng zhào pài， yī zhǒng jù yòu jí dà huǐ miè xìng de gāo kē jì wǔ qì héng héng fǎn wù zhì， yī xiàng pò zài méi jié、 bù kě sī yì de rèn wù……
tiān shǐ yǔ mó guǐ quán wén yuè dú
xiē zǐ
dì yī zhāng
dì 'èr zhāng
dì sān zhāng
dì sì zhāng
dì wǔ zhāng
dì liù zhāng
dì qī zhāng
dì bā zhāng
dì jiǔ zhāng
dì shí zhāng
dì shí yī zhāng
dì shí 'èr zhāng
dì shí sān zhāng
dì shí sì zhāng
dì shí wǔ zhāng
dì shí liù zhāng
dì shí qī zhāng
dì shí bā zhāng
dì shí jiǔ zhāng
dì 'èr shí zhāng
dì 'èr shí yī zhāng
dì 'èr shí 'èr zhāng
dì 'èr shí sān zhāng
dì 'èr shí sì zhāng
dì 'èr shí wǔ zhāng
dì 'èr shí liù zhāng
dì 'èr shí qī zhāng
dì 'èr shí bā zhāng
dì 'èr shí jiǔ zhāng
dì sān shí zhāng
dì sān shí yī zhāng
dì sān shí 'èr zhāng
dì sān shí sān zhāng
dì sān shí sì zhāng
dì sān shí wǔ zhāng
dì sān shí liù
dì sān shí qī zhāng
dì sān shí bā zhāng
dì sān shí jiǔ zhāng
dì sì shí zhāng
dì sì shí yī zhāng
dì sì shí 'èr zhāng
dì sì shí sān zhāng
dì sì shí sì zhāng
dì sì shí wǔ zhāng
dì sì shí liù zhāng
dì sì shí qī zhāng
dì sì shí bā zhāng
dì sì shí jiǔ zhāng
dì wǔ shí zhāng
dì wǔ shí yī zhāng
dì wǔ shí 'èr zhāng
dì wǔ shí sān zhāng
dì wǔ shí sì zhāng
dì wǔ shí wǔ zhāng
dì wǔ shí liù zhāng
dì wǔ shí qī zhāng
dì wǔ shí bā zhāng
dì wǔ shí jiǔ zhāng
dì liù shí zhāng
dì liù shí yī zhāng
dì liù shí 'èr zhāng
dì liù shí sān zhāng
dì liù shí sì zhāng
dì liù shí wǔ zhāng
dì liù shí liù zhāng
dì liù shí qī zhāng
dì liù shí bā zhāng
dì liù shí jiǔ zhāng
dì qī shí zhāng
dì qī shí yī zhāng
dì qī shí 'èr zhāng
dì qī shí sān zhāng
dì qī shí sì zhāng
dì qī shí wǔ zhāng
dì qī shí liù zhāng
dì qī shí qī zhāng
dì qī shí bā zhāng
dì qī shí jiǔ zhāng
dì bā shí zhāng
dì bā shí yī zhāng
dì bā shí 'èr zhāng
dì bā shí sān zhāng
dì bā shí sì zhāng
dì bā shí wǔ zhāng
dì bā shí liù zhāng
dì bā shí qī zhāng
dì bā shí bā zhāng
dì bā shí jiǔ zhāng
dì jiǔ shí zhāng
dì jiǔ shí yī zhāng
dì jiǔ shí 'èr zhāng
fù lù： duìchèn zì
zuò zhě : dān · bù lǎng [ měi ]
dì yī zhāng
dì 'èr zhāng
dì sān zhāng
dì sì zhāng
dì wǔ zhāng
dì liù zhāng
dì qī zhāng
dì bā zhāng
dì jiǔ zhāng
dì shí zhāng
dì shí yī zhāng
dì shí 'èr zhāng
dì shí sān zhāng
wěi shēng
dì yī zhāng
dì 'èr zhāng
dì sān zhāng
dì sì zhāng
dì wǔ zhāng
dì liù zhāng
dì qī zhāng
dì bā zhāng
dì jiǔ zhāng
dì shí zhāng
dì shí yī zhāng
dì shí 'èr zhāng
dì shí sān zhāng
wěi shēng