shǒuyè>> wénxué>>dān · lǎng Dan Brown
  yǐngpiān · fēn gēn měi guó zuò jiā dān · lǎng de tóng míng xuán xiǎo shuō gǎi biān xué de hào xué zhuān jiā luó · lán dēng fēn 》 ( tānɡ · hàn shì ) zài guó chūchāi jiān de jiē dào jǐn diàn huà zhī gōng guǎn nián mài de guǎn cháng bèi rén shā hài zài gōng de guǎn rén men zài de shī bàng biān xiàn liǎo nán zhuō de
  
   lán dēng guó wèi yòu tiānfèn de zhuān jiā suǒ fěi · nài ( ào dài · shì ), zài duì duī guài de jìn xíng zhěng de guò chéng dāng zhōng rán xiàn lián chuàn de xiàn suǒ jiù yǐn cáng zài · fēn de shù zuò pǐn dāng zhōngzhè xiē xiàn suǒ jiādōu qīng chǔ jiànrán 'ér què bèi huà jiā qiǎo miào yǐn cáng lái
  
   lán dēng zhōng fēi cháng zhèn jīng xiàn de guǎn guǎn cháng jiù shì nài de jìng rán shì xún shān yǐn xiū huì( PrioryofSion) de zhòng yào chéng yuánxún shān yǐn xiū huì shì zhēn shí cún zài de zhì chéng yuán bāo kuò niú dùnwéi duō · guǒ · fēn děng duō wèi shǐ míng rénlán dēng de zhí jué gào nài shì zài zhǎo xún shí tiān jīng de shǐ
  《 fēn 》 - qíng
  
   shēn luó gōng gāo wàng zhòng de guǎn chángzài guǎn nèi bèi rén shā bàng biān xiě liǎo chuàn rén jiā kàn dǒng de chuàn wéi kàn dǒng de shì luó · lán dēng zhè rén míngzhè rén shì xué shǐ jiào shòu shì wèi hào xué jiāguǎn cháng wèi móu miàndàn yuē hǎo 'èr tiān jiàn miànjǐng chá zhǎo dào liǎo zhè wèi jiào shòu zhù de guǎnbìng dài dào luó gōng mìng 'àn xiàn chǎng
  
   zhōng yòu míng jǐng xiàng jiào shòu tōu tōu tòu shì guǎn cháng de sūn shēn fèn men jīng fān cāi liǎng rén zuì hòu zài · fēn méng suō de wēi xiàobèi hòuzhǎo dào liǎo guǎn cháng shēng qián liú xià de zhǐ tiáoshì shǒu hán de shīhòu lái bèi diào chá yuán jǐng xiàn qíng kuàng duìjiào shòu dài zhe guǎn cháng de sūn táo páozhè duì nán dàn chéng liǎo tōng ji fànlìng yán liǎo jiāng jìn qiān nián de zhì kāi shǐ zhuī zhú men shì jiù zhè yàng zhǎn kāi ……
  
   chàng xiāo 500 wàn běn de xiǎo shuōdāng rán zhǐ shì dān chún de tuī shìzhēn zhèng yǐn rén shèng deshì bèi hòu suǒ chuán de xìn yán liǎng qiān nián de zōng jiào zhēng yòu guān chuán shuō shēng chéng wéi shì zài gōng yuán sān bǎi duō nián hòu de shìzǎo de jiào huì chóng bàiwěi de qīn”, ér dài biǎo de xìngquè shì yín dàng huǐ gǎi hòu gēn suí de de tóng shí bèi rèn wéi shì de wéi shēng xiàng zhǐshèng bēi”。
  
  “ shèng bēichuán shuō shì zài zuì hòu wǎn cān yòng de jiǔ bēitóng shí shì bèi dīng zài shí jià shàng jiē shèng de xiān xuè de jiǔ bēizhè zhèng shì zhè běn xiǎo shuō de zhù zhóu rén zhēng duóshèng bēizhī zhàn
  《 fēn 》 - yǎn yuán jiè shào
  
   tānɡ · hàn shì měi guó yǎn yuánlián liǎng jiè fèi chéngā gān zhèng chuánróng huò 'ào yǐng 90 nián dài zhōng lái jīng rén bǎo chí zhāoshù shù 'èr de jiāng wèi。 6 suì shí suí zhe chú shī qīn chù páogāo zhōng shí kāi shǐ zháomí yǎn xué niàn dào bàn gān cuì chuò xué quán shēn tóu yǎn juàn
  
  1979 nián shǒu yǎn chū diàn yǐng xiǎo jiǎo jiē zhe jìn diàn shì juàn yǎn chū duī 。 1984 nián měi rén zhǎn lòutóu jiǎo nián hòu yīnfēi jìn wèi láishǒu wéi 'ào zuì jiā nán zhùjué。 1992 niánhóng fěn lián méng 1993 nián wèi miánshǐ chéng wéi piào fáng xīngzhēn zhèng de shìfèi chéng》。 shàn cháng biǎo xiàn píng fán rén de píng fán miàn
  
   pāi xìng zhōng diǎn zhànhòutānɡ · hàn xiǎnyòu zuò liǎozhī hòu jiē pāi deshī nǎi shā shǒuyīn piào fáng cǎn dàn 'ér ràng zhè wèi yǐng lüè xiǎn tuí shì。 2006 nián yòu zài lǎng · huò huá dǎo yǎn de yǐngpiān fēn zhōng chū yǎn nán zhùjuésuī rán jìn nián lái hàn méi yòu gěi yǐng dài lái gòu zhèn hàn de zuò pǐndàn zài yǐng xīn zhōng de wèi què shì nán dòng yáo de
  《 fēn 》 - yǐngpiān píng jià
  
  《 fēn shì zhōng yuán zhù de diàn yǐngdàn shì hěn yǐngpiān méi yòu dài gěi guān zhòng rèn jīng
  
   héng héng USAToday
  
   diàn yǐng hěn píng yōngméi yòu xuán niàn méi yòu làng màngèng zhòng yào de shì méi yòu wèi
  
   héng héng shì dùn xiān bào
  
   jìn guǎn shòu dào liǎo tóng de píng jiàdàn shì zhè yǐngpiān rán néng gòu zài quán qiú yòu shèng de piào fáng kāi yīn wéi quán shì jiè yòu shù shuāng hǎo de yǎn jīng děng zhe kàn zhè yōng yòu qiān wàn zhě de xiǎo shuō gǎi biān chéng diàn yǐng huì shì shénme yàng
  
   héng héng tòu shè
  《 fēn 》 - guān zhù
  
  《 fēn 》《 fēn
   yīn shè mǐn gǎn de zōng jiào cái,《 · fēn kāi pāi shǐ biàn fēng duàntiān zhù jiào lián méng shì gōng huì tuán de fēn zhì lái de kàng fǎn duì xìn jiàn shǐ gāi piàn chéng wéi 2005-2006 nián zuì zhēng de yǐngpiāntiān zhù shì gōng huì céng wàng yǐngpiān yǐn zhì míng chēngzài zhè yào qiú zāo dào jué hòushì gōng huì liǎo xiàng wéi zhèng míng de yùn dòngtōng guò zhǒng méi zuò xuān chuányòng zhǒng fāng shì shuō míng xiǎo shuō yòng cuò de fāng shì miáo xiě zhìluó shī shèn zhì tuī chū liǎo de fǎn · fēn de shí zhī ”。 kàng de chéng suí zhe diàn yǐng shàng yìng de jìn 'ér jiā dàn yòu guān zhuān jiā què hào zhào suǒ yòu de tiān zhù jiào yìng kàn zhè miù bǎi chū de diàn yǐngzhǐ yòu zhè yàng cái néng xiàn zhōng de cuò
  
   suī rán lǎng de yuán zhù yán xuān chēngběn shū zhōng guān shù pǐnjiàn zhùwén xiàn shì de suǒ yòu miáo shù quándōu què yòu shì”, dàn dǎo yǎn lǎng · huò huá zhí míng zhì gāo gòu :“ yǐngpiān huì zài zōng jiào wèn shàng guò jiū chándān · lǎng shì chéng gōng de zuò jiā 'ér fēi zōng jiào shǐ xué jiā men zhī suǒ pāi zhè diàn yǐng shì yīn wéi huān zhè shì。” bìng tǎn yányǐngpiān de zhòng diǎn shì jīng sǒng xuán de qíng jiézhì piàn fāng lún de yán rén wèicǐ zhèng shí:“ men xiǎng zuò de zhǐ shì pāi zōng jiào cǎi huì guò míng xiǎn de hǎo piānzǐ。”
  
   wéi jīng sǒng mùdìràng guān zhòng guò yǐn,“ kàn xiǎo shuō yàng dài jìn”, lǎng · huò huá zuò gōng zhòng kàn liǎo duō bāo kuò rén》、《 luó de yīng 'érděng zài nèi de jīng diǎn jīng sǒng piànzài bǎo chí xiǎo shuō shì kuàng jià de qián xiàyóu jīn pái biān 'ā · gāo màn cāo dāoduì xiǎo shuō zhōng defǎn tiān zhù jiào zhù zuò liǎo gǎi dòngdàn zhōng zuì wéi jīng cǎi zhī chù jué duì yào biǎo xiàn chū lái”。
  《 fēn 》 - guān yǎn yuán
  
  《 fēn 》《 fēn
  《 · fēn de yǎn yuán zhèn róng chāo háo huáyòu zhe guò yìng yǎn què jiàn de tānɡ · hàn suī zài wài biǎo shàng bìng mèi de luó · lán dēng jiào shòudàn yòng lǎng · huò huá de huà lái shuō lǎo tānɡ shǔ zuì quán miàn de yǎn yuán”, ér zhēn zhèng yōu xiù de yǎn yuán shèng rèn qiē biǎo yǎn”; zhù yǎn guòtiān shǐ 'ài měi de guó xīng 'ào dài · duō chū rèn gànliàn de suǒ fěi · nài duì wǎng de guàn chún zhēn líng dòng jìn xíng liǎo chè diān ràng lǎng · huò huá zhī qián de dān xīn wán quán duō ”; ér yòu zhequán shì jiè zuì de guó nán réntóu xián guó yǐng tán yìng hàn shàng · léi nuò chū yǎn jiǎo huá yán shè tàn chángzài yīng guó jiè yòusuō wēng zhuān zhī chēngbìng zài bólín huò zhōng shēn chéng jiù jiǎng de chuán xìng yǎn yuán 'ēn · mài lāi 'ēn jué shì chū yǎn bīn jué shìbèi měi guó méi wéi xiū · lán lái zuì shòu huān yíng de yīng guó yǎn yuán bǎo luó · bèi bàn yǎn bái huà bìng rén sài xiū shìbèi zhì piàn rén lāi 'ēn · léi chēng wéi yǐngpiānjīng sǒng fēn de zuì hǎo ”。
  《 fēn 》 - wài jǐng
  
  《 fēn 》《 fēn
  《 · fēn zhàn jìn lián lián shǒu shì jiè shàng zuì zhù míng de guǎn jiào táng
  
   wéi wán měi de zhēn shí xiào guǒshǐ xiǎo shuō zhōng de qíng jǐng bèi bǎi fēn zhī bǎi hái yuánnéng fǒu zài yuán zhù kāi tóu chù de guó gōng shí pāi shè chéng wéi guān jiàn。 2004 nián 12 yuèhuò huá zhì piàn rén zài tiǎo xuǎn yǎn yuán shí wài jiē dào guó zǒng tǒng bàn gōng shì lái de diàn huàtóng de xiǎo shí huì yán tán shèn huānsuì qīng qiāo dìng zhù gōng pāi shè de cóng 'ér chéng wéi mèi yǐnghòu 'èr jìn gōng jǐng de diàn yǐngzài zhōu de pāi shè jiān zhǐ néng zài wǎn shàng měi zhōu 'èr guǎn guān pāi shèyòu de shì 2005 nián 5 yuè yǐngpiān kāi pāi hòu gōng suī jiāng piào jià shàng diàodàn yǐngpiān de zǒu hóng què dài gěi gōng chuàng xià shǐ xīn gāo de 700 wàn rén
  
   xiǎo shuō zhòng tóu zhī de wēi mǐn jiào táng duàn rán jué liǎo zhì piàn fāng nèi pāi shè de qǐng qiúbìng biǎo shēng míng:“ suī rán zhè shì běn jīng cǎi de xiǎo shuōdàn men jué zàn tóng shū zhōng shè de yòu zhēng de zhù guān de 'àn shì xìng nèi róng tóng duì jiào xīn yuēde guān diǎn。”
  
   xiāng duì wēi mǐn jiào táng de jiān jué shuō”, xiū jiàn gōng yuán 11 shì nèi jié gòu wēi mǐn jiào táng shí fēn xiāng jìn de lín kěn jiào táng què chǎng kāi ménér tóng yǐngpiān chéng pāi shè xié de hái yòu 'ài dīng bǎo jìn de jiàn 15 shì de luó lín jiào tángzài xiǎo shuō zhōng luó lín jiào táng qiáng shèng deshèng diàn shì tuányòu guān liányīn zhè zhàn de zhōng shì jiào táng liǎng nián lái de yóu shù zēng wéi qián de sān bèi wéi lín kěn jiào táng luó lín jiào táng fēn bié zhī liǎo 10 wàn yīng bàng de gāo 'é yòng fèi
  
   cóng zhōng de hái yòu céng xiàng kāi fàng de yīng lán nán de wēn chè jiào táng jiào táng jǐn zuàn 2 wàn yīng bàng de chū fèiqiě jiào táng guǎn rén yuán chèn zhe yǐngpiān jiàn gāo zhǎng de rén jué dìng 2006 nián 3 yuè 1 duì měi wèi fǎng qiáng zhì shōu 4 yīng bàng de chǎng fèi zhī duàn zēng jiā de yíng yùn fèi yòng
  《 fēn 》 - hòu huā
  
  · gōng de zhèn guǎn zhī bǎoméng suōshì zhòng yào de dào dàn yīn pāi diàn yǐng de dēng guāng huì duì zhè míng huà zào chéng sǔn hàiyīn chū 'ān quán bǎo de yīn zhǐ tuì 'ér qiú shǐ yòng liǎo jīng què de zhì pǐnzhè de xiè ràng huò huá gǎn dào tòng :“ shí fēn tǎo yàn bié rén wèn zhè yàng de wèn dàn shì……” tíng dùn liǎo miǎo zhōng,“ jìng zhè huà shì jià zhī bǎo!” lìng rén 'ān wèi de shìyǐngpiān zhōng bǎo cúnméng suōzhè yóu huà de fáng jiān shì zhēn de
  
  · zài gōng pāi diàn yǐng jiù xiàng zài zuò mèngyóu zhé gōng de shù mèi tānɡ · hàn jiāng fáng chē tíng zài tíng zài gōng wài miàn de jiē dào shànglǎo tānɡ měi qián wǎng pāi shè diǎn chuān guò shù huà láng:“ zhè míng zuò zhòng duō xiá jiē --《 yuē fēn huáng hòu jiā miǎn》、《 léi 'ào zài wēn quán guān》, cóng zhè zǒu zhe gōng zuò de gǎn jué shí zài bàng liǎo!”
  
  · bēifù lùn de tānɡ · hàn wéi zài wài xíng shàng xiàng juésè kào lǒng miàn jiǎn féi miàn jiāng cháng nián de bǎn shuà tóu biàn chéng liǎopiāo de cháng dàn kàn guò · fēn shì piàn de guān zhòng rán duì lǎo tānɡ de fǎng xué zhě fàxíng chuī máo qiú jiāng wéiqián 'é guāng hòu nǎo sháo wěi ”!
  《 fēn 》《 fēn
  · xiǎo shuō de wéi léi chéng bǎo shì yǐngpiān pāi shè zhī zhè zuò jiàn 1668 nián de chéng bǎo zhuān wéi shí zhù shǐ suǒ jiànxiàn zài de zhù rén shì měi guó fáng chǎn hēng cóng 17 jiān fáng zhōng chū 6 jiān zhuān gōng yǎn yuán shǐ yòngdàn lǎo tānɡ fàng liǎo xiǎng shòu guì dài de huìxuǎn hái zhù zài yǎn yuán táng · lán de jiā zhōngjìn xiǎng píng mín zhī
  
  · wéi gèng hǎo bàn yǎn bái huà shā shǒu sài bǎo luó · bèi mǎn huà zhuāng shí cái yòu de bái huà bìng rén yòu de cǎn bái hái jiāng tóu jīn rǎn chéng bái jiāng shēn lán de yǎn jīng gǎi wéi xuè hóngdàn zhè xíng xiàng què yǐn měi guó bái huà bìng chén diàn zhì de fèn kǎigāi zhì rèn wéi miáo xiě shì yán hǎo lāi duō diàn yǐng duì bái huà bìng tóng xìng liàn de chǒu huà
  
  · 'ēn · mài lāi 'ēn xìn yǎng jiàodāng zài yīng lán de lín kěn jùn pāi shè zāo yīng guó zōng jiào rén shì de kàng shì wēi shímài lāi 'ēn shù chū tóuhào zhào rén men de tài tài guò piān ér yìng quán xīn de jiǎo shěn shì guàn jiān chí de xìn yǎng
  
  ·2005 nián 8 yuè 16 jiù zài · fēn pāi huǒ cháo tiān zhī wéi kàng lín kěn jiào táng duì xíng fāng biàn zhī shì lái píng rén xié huì de · mài 'ěr guì zài lín kěn jiào táng de tái jiē qiánshǐ jiào táng de rén nài ràng shuō xiǎo shuōfēi cháng qiānqiǎngchōng mǎn duān”。
  《 fēn 》 - xīn piàn kàn diǎn
  
  1. wàn yún
   tānɡ · hàn de cháng zào xíng jué jǐn yòu;“ tiān shǐ 'ài měi ào dài · yáo shēn biàn chéng shēn chénguǒ gǎnzhì huì de zhuān jiā;“ jǐng chá zhuān ”“ shā shǒu lāi 'ángràng · léi nuò zhè huí zhèng xié wài hái yòuzhī zhū xiá 2》 zhāng shì、《 zhǐ huán wánggān dào 、《 fáng huǒ qiáng de bǎng fěi
  
  2. biāo xīn
  《 zuì hòu de wǎn cān de mén yòu shì rén jié guò hūnyòu liǎo hái bìng qiě xuè mài yán dào xiàn dàiniú dùn · fēn dān rèn guò yǐn xiū huì huì cháng…… diàn yǐng biān pái liǎo duō qíng jié lái zhèng míng shàng shù guān diǎn
  
  3. nán qiāng běi diào
   luó · lán dēng de měi shì yīng suǒ fěi de qiāng yīng léi · bīn de chún zhèng lún dūn qiāngyǎn yuán shēn fèn juésè shè dìng wán quán suǒ men yòu huì tīng dào yǎn yuán de qiāng diào
  
  4. yīnyuè jīng cǎi
   yòng shēng huà biǎo xiàn rén xīn ,《 · fēn gǎi biān diàn yǐng guò zhè dào kǎn 'ér de bàn shìyīnyuè shícóng tóu shuǐ dào máosè dùn kāi de xīn biàn huà guò chéngdiàn yǐng yīnyuè jiāng zhǔn què 'ér gǎn rǎn zhǎn xiàn chū lái
  
  5. zhēn guì yǐng xiàng
  《 méng suō》《 yán jiān shèng 》《 zuì hòu de wǎn cānděng chuán shì huà zuò de yuán zuò chū xiàn zài jìng tóu gōng shí jǐng pāi shèguān zhòng fǎng shí xiǎnsài luò niè sēn línluó lín jiào táng chū xiàn zài piàn zuì lìng rén nán wàng de hái shì zhǒng fēng de 'ōu zhōu dài jiào táng
  
  1. zuì wài de
   lán dēng gēn suǒ 'āi liú xià de xià rán zàiméng suōhòu miàn zhǎo dào yàoshìzhěng guò chéng wài dié chūjīng cǎi fēn chéng
  
  2. zuì jīng xiǎn de dàochē
   lán dēng suǒ fěi bèi jǐng chá xiàn men lái diào zhuǎn chē tóuzhǐ hǎo dàochē táo páozài chē shuǐ lóng de jiē shàngdǎo zhe kāi de xiǎo chē rán páo yíng liǎo yíng tóu zhuī shàng lái de jǐng chē
  
  3. zuì gǎo xiào de zhì
   yínháng xíng cháng mào chōng chē chàdiǎn bèi jǐng chá shí jǐng chá kàn dào shǒu wàn shàng de láo shì jīn biǎohěn shì mènxíng cháng yòu zhìchèn xiàng jǐng chá dōu shòu:“ mào pái huò xiǎng yàogěi , 35 kuài…… xíng 30 kuài?” nài fán de jǐng chá fàng zǒu liǎo chē
  
  4. zuì hài rén tīng wén de
  
   léi · bīn duì zhezuì hòu de wǎn cānkǎn kǎn 'ér tánshèng bēi shí shì rénér zhè rén zhèng shì de …… zhè chǎng miàn hěn píng jìngdàn léi · bīn de zhù zhāngshí zài ràng rén nǎo dàiwēng wēng wēng”。
  
  5. zuì zhēn huàn de
   lán dēng suǒ fěi xiàng niú dùn zǒu niú dùn shēng huó shí dài de lún dūn jiē jǐng xiàn dài de lún dūn jiē jǐng zài yín shàng zhòng dié láiqián zhě shì gāo fǎn chā de huà miànhòu zhě shì zhèng cháng cǎi hái yuán de huà miàn shí jiān ràng rén chǎn shēng zhījīn de chāo xiàn shí gǎn
  
  6. zuì dòng rén xīn de
   yǐngpiān zuì hòulán dēng guā shòu shāngshòu dào shuǐ chí xuè xiàn de xiǎng dào hái de cáng shēn zhī lái dào gōng xià jìng jìng tǎng ?? dàijiàn rèn shèng bēi kānhù zhe de mén wài tǎng zài shī men lìng rén zhōng 'ài de jié zuò de huái bào zhōngzài fán xīng shǎn shuò de tiān kōng xià zhōng dào liǎo 'ān 。” suí zhe jìng tóu bèi wán měi jiě
  《 fēn 》 - gǎi biān liàng diǎn
  
  1. kǒng
   lán dēng yīn wéi 7 suì de shí hòu diào jìn jǐng zhōngyīn duì de huán jìng fēi cháng jǐn zhāng shí biǎo xiàn chū kǒng de gǎn juépiàn zhōng zhuólì biǎo xiànchú liǎo kāi shǐ jìn gōng zuò diàn shì yuán shū yòu qíng jié wàilìng zēng jiā liǎo jié suǒ fěi cóng shì cún tuō yínháng chū láiwéi jǐng fāng zhuī jìn zhuāng jiá yùn chāo chē zhè yàng de kōng jiānduǒ zài chē xiāng nèi jǐn zhāng dǒusuǒ fěi yòng xiǎo shí hòu 'ān de fāng héng héng héng héng héng shuāng shǒu cuō liǎo zài lán dēng de liǎng biān tài yáng xué shàngtóng shí róu shēng 'ān wèi
  
  2. tǒng
   yuán zhe zhōng de tǒng yòu liǎng kāi shì gèng xiǎo de tǒngpiàn zhōng zhǐ chū xiàn tǒngjiù shì yuán zhe zhōng de 'èr tǒng shì miǎn liǎo qíng jié de chóngfù
  
  3. shēn fèn
   yuán zhe shì hàodàxǐgōng de jǐng cháér zài piàn zhōng chéng wéi shì gōng huì de jiào shì gōng huì de zhù jiào 'ā rùn shāyuán zhe wéi 'ā lín jiā luò shāgào tīng dào luó · lán dēng de chàn huǐzhèng shì lán dēng shā liǎo gōng guǎn guǎn cháng · suǒ 'āiyīn jiāng lán dēng suǒ dìng wéi xiōng shǒubìng qiě jiāng 'àn qíng jìn zhǎn suí shí bào gào gěi 'ā rùn shādàn shì zuì hòu guān tóu kàn chū liǎo zhàn xiàn 'ā rùn shā biān zào liǎo huǎng yányīn 'ér zài huái lán dēng
  
  4. shèng bēi
   shèng bēi de wèihé xiàng shì rén gōng kāizhè shì gǎi biān de zuì liàng diǎnyuán zhe zhōngsuǒ fěi nǎi nǎi xiāng rèn zhī huán shān yǐn xiū huì gēn běn suàn xiàng shì rén jiē kāi shèng bēi de shì jué dìng fàng xiàng shì rén jiē shì zhè cuī huǐ jiào quán wēi de zhì shǐ yǐngpiān kāi shǐ huán shān yǐn xiū huì de 4 míng shǒu zhě nìngsǐ shuō chū shèng bēi de xiǎn duō quán shū miǎn yòu tóu shé wěi zhī gǎnér zài piàn zhōnglán dēng suǒ fěi zài luó lín jiào táng méi yòu zhǎo dào de shí guān wéi jīng bèi suǒ 'āi huǐ diàoér suǒ fěi yào zhèng míng shí wéi de hòu dài quē shǎo DNA shí zhèngzhèng huī xīn zhī lán dēng rán xiàn gōng jīn de shè 'àn shèng bēi cún fàng de shì jiē zhe jìng tóu zhuǎn gōng jīn xiàzhèng shì de shí guānyǐngpiān zài zhè jié shùzhè yàng de jié shǐ quán piàn qián hòu yìnggèng néng yuán shuō
  《 fēn 》 - xīn piàn kuài píng
  
  
   jīng sǒng xuán shū yuán zhù
   diàn yǐng · fēn de jǐn zhāng jīng sǒng fēnhuán huán xiāng kòu shìgāo cháo dié qíng jié háo yuán zhe xùn
  
   dǎo yǎn wèile zhì zào jǐn zhāng jīng sǒng liàng yùn yòng guǐ yīn chén de bèi jǐng yīnyuè wài liàng xiělínlín de jìng tóu xià guān zhòng lián
  《 fēn 》《 fēn
   lián chū jīng piàn zhōng duō chū xiàn bái huà shā shǒu sài duì de ròu jìn xíng chéng de xiě jìng tóusài tuō wài chū jiàn měi de luǒ kàn shàng shāng hén lěi lěijiē zhe xià dài dīng de xiū dàishǐ jìn shàng tiě liàntòng hún shēn chàn dǒusài zài shèng 'ěr jiào táng xíng xiōng chǔlǐ xiāng dāng hǎoxiān shì xiū sāng lín jiē dào diàn huàbàn 'ān pái sài cān guān jiào táng rán chuāng bèi yīn fēng měng guān shàngàn shì xiángquán piàn duō yòng shǎn huí biǎo xiàn sài shā hài tóng rén shǐ rén kàn dào jiù lián xiǎng cán bàoxuè xīnghuán huán xiāng kòu de jiě guò chéng jǐn de zhuī shā qíng jié jǐn jiāo zhìxiāng dāng suǒ fěi lán dēng jìn gōng guǎn kāi shǐ jiě yòng huàn wèi zhǎo dào · fēn méng suō》, 'ér zhǎo dàoyán jiān shèng 》, xiàn suǒ 'āi liú xià de yàoshì jǐng wèi dǒuzài chū táo zhōngsuǒ fěi yòu zhǎn shì liǎo chē dǎo zhe kāi shì jīng líng”, chōng guò chē liú rén qún…… běn shàng měi zhuǎn huàn chǎng jǐng jiù chū xiàn gāo cháo guò yǐngpiān yòu xiǎo xiǎo de hànbèi jǐng zhī shí tài duōzài liǎng bàn xiǎo shí nèijiāng zhī quán pán guàn shū gěi guān zhòngshǐ tái duō 'ér pài dié dié xiū de jià shì zhěng piàn jīng sǒng xuán de fēn tài róng
  《 fēn 》 - shǒu yìng
  
   gēn dān · lǎng chàng xiāo xiǎo shuō gǎi biān de tóng míng diàn yǐng · fēn jiāng běn yuè 19 hào zài quán qiú shàng yìngdàn shì gāi xiǎo shuō zhī qián zāo de guān wēi yàngzhè yǐngpiān hái méi shàng yìngjiù jīng zài zhòng duō guó jiā zāo dào liǎo tóng chéng de zhì
  
   yìn yuē 2000 míng tiān zhù jiào qián tiān zài mèng mǎi xíng kàng huìrèn wéi gāi piàn yòu guān qíng jié xiè dòu liǎo tiān zhù jiàoyóu kàng duàngāi piàn zài yìn de shǒu yìng bèi tuī chízài yīng guóyǐngpiān dào liǎo fēn zhēng yīng guó diàn yǐng fēn lèi zhuān jiā rèn wéizhè diàn yǐng yòng zēng jiā jǐn zhāng fēn de pèi huì ràng 'ér tóng gǎn dào kǒng jìn xíng zhòng xiū gǎizhǐ néng huò shòu xiàn zhì de 15 ér zài xīn jiā zhè diàn yǐng bèi liè wéi " chéng rén cái " de NC-16 diàn yǐng
  
  5 yuè 17 wǎn měi guó yǐngpiān - fēn zài běi jīng liàng xiāngyóu shí chā yuán yīn,《 - fēn zài zhōng guó shǒu yìng de shí jiān shí shàng jiá hái yào zǎo liù xiǎo shícóng 'ér chéng wèicǐ piàn zài shì jiè fàn wéi nèi de zuì zǎo liàng xiāngzhòng duō míng xīng jūn pěng chǎng chū liǎo gāi shǒu yìng yīn zài běi jīng pāi shè yǐngpiānmǎn chéng jìn dài huáng jīn jiáde zhōu rùn xié rén chén huì lián chū
  
  《 - fēn de shǒu yìng diǎn zài dōng fāng xīn shì yǐng chéng suǒ zài de jūn yuè jiǔ diàn yàn huì tīng xíng chǎng jiā bīn zài jìn chǎng qián zài zhì de 'àn xiāng zhōng bàn zuòméng suōjìn xíng pāi zhào。 20 wèi tōng guò wǎng luò yóu zài quán guó fàn wéi hǎi xuǎn chǎn shēng de shū jiā bīn zài shǒu yìng shì shàng dēng chǎngzài wèi míng xīng lái bīn de píng pàn xià men tōng guò liè yóu zhǎn kāi liǎo liè juézhúzuì zhōng chǎn shēng liǎo 4 wèi fēn shù zuì gāo de xìng yùn 'ér men jiāng dài biǎo zhōng guó de men guó jiā de yóu yōu shèng zhě cān jiā jīng cǎi fēn chéng de fēn 'ōu zhōu zhī ”。
  《 fēn 》 - zhé jīng
  
   shì jiè tiān zhù jiào huì jiào huáng běn shí liù shì de shǒu hào zhào liǎo xìn zhòng zōng jiào tuán kāi shǐ liǎo gōng kāi zhǐ zhǐbái huà bìng huàn zhě wéi de xíng xiàng zài bèi diǎn xíng huà fèn shè de yóu diǎn wài péng
  《 fēn 》《 fēn
   zuānyán xué de rén chí zēng duōyóu kāi jìn chéngzōng jiào cháo kōng qián gāo zhǎngyòu shì méi shì de xián rén men zhǔn bèi liǎo cháng de liè zhēng lùn…… huǎng yánzhēn xiāngyīn móu lùnméng suō shén de wēi xiào zài chéng wéi liǎo chá fàn hòu de tán
  
   guò gòu xiǎo shuōzěn me jiù néng yǐn fāng shè huì jiè rén shì ròu shì chán lián měi guó chàng xiāo shū páiháng bǎng 117 zhōuquán qiú xiāo liàng chāo guò 4000 wàn běnchéng wéi měi guó jīn nián zuì shòu huān yíng de xiǎo shuō de shì shíhái shì yīn wéi dān · lǎng zài fēn jiǎng de shìwán quán shì fāng rén de zōng jiào zhī zhù chàng duì tái zhēng lùn cóng lái méi yòu 'àn men zhǐ zhī dào guǎn shì duō shǎo de kàng duō me fèi fèi rǎng rǎng de shè xián qīn quán 'àn xiǎo shuō chéng zài liǎo qiān de fēn shòu guān zhù de chéng hái shì zhí shēng wēn
  
   duì shì dān dān de hǎo lāi lái shuōzhè yàng quē tán de cái jué duì shì diàn yǐng piào fáng de gēn zhēng yuè guān zhù yuè duō piào fáng yuè gāogǎi biān běn zhǐ shì zǎo wǎn 'ér gèng kuàng gōng · fēn shèng jīngzōng jiào xué hào xuéjīng sǒngxuán ràng rén xīn jīng dǎn chàn jiě zhuī zōng,《 fēn cóng kāi shǐ jiù míng xiǎn bèi yín guāng yuán zhèn dàng liǎo shì jiè shū shì de chāo chàng xiāo xiǎo shuō jiāng miàn shìhái yòu shénme zhè gèng zhí xuān chuán ?!


  The Da Vinci Code is a 2003 mystery-detective fiction novel written by an American author, Dan Brown. It follows symbologist Robert Langdon and Sophie Neveu as they investigate a murder in Paris's Louvre Museum and discover a battle between the Priory of Sion and Opus Dei over the possibility of Jesus Christ of Nazareth having been married to Mary Magdalene.
  
  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 · lǎng / zhù
   dān · lǎng de chǔnǚ zuò héng héngshù chéng bǎoshì gāo jīng xiǎn xiǎo shuō,《 shù chéng bǎotàn tǎo liǎo gōng mín yǐn guó jiā 'ān quán zhī jiān de máo dùndāng nián chū bǎn hòu xuán chéng wéi měi guó chàng xiāo diàn shū míngcháng 15 zhōu zhī jiǔ。“ xìn shí dài de kǒng zhù shì gāi shū de zhù
   zài xìn shí dài guó jiàndiékǒng fènzǐ kāi shǐ tōng guò lián wǎng chuán qíng bàodàn shì wèile shǐ diàn yóu jiàn bèi rén jié huò men fēn fēn gěi de yóu jiàn jiā shàng liǎo wèile cóng wǎng luò shàng huò zhòng yào qíng bàoshì jiè shàng zuì wéi yǐn de qíng bào mén héng héng měi guó guó jiā 'ān quán (NSA) chì jiàn zào liǎo tái jiě de héng héng wàn néng jiě zhè tái chāo diàn nǎo zài duǎn de shí jiān nèi xùn jiě rèn yīn 'ér bāng zhù NSA cuò bài liǎo shù kǒng fènzǐ de yīn móu miǎn liǎo zhàn zhēng de bào jìn guǎn jiàn zào zhè páng rán de chū zhōng shì jiān shì jiàndié kǒng fènzǐ de diàn yóu jiàndàn tóng yàng néng jié huò suǒ yòu tōng rén de rén diàn yóu jiànzhè shì jiè méi yòu yǐn yánchū duì zhè zhǒng gōng rán qīn fàn rén lèi yǐn de xíng wéi de mǎnguó jiā 'ān quán qián chéng shè shī yuǎn chéng yǒu jiā tuī chū liǎoshù chéng bǎo”, gōng kāi shēng chēng shì yòu jiě de jiā ruǎn jiànzhè wéishuí lái jiān shì zhè xiē jiān shì zhěér yōu xīn de běn rén xiàng měi guó guó jiā 'ān quán liǎo tiǎo zhànyuǎn chéng yǒu jiā yào qiú guó jiā 'ān quán xiàng shì rén xuān wàn néng jiě de cún zàifǒu jiù cǎi bié xíng dòng xìng de shìyuǎn chéng yǒu jiā zài bān wài wángér yòu kǒu lìng de jiè zhǐ què shén shī zōng liǎo xué jiào shòu yán xué jiā dài wéi · bèi jīng zhōng juǎnrù dào guó 'ān de shū gōng zuò zhōngzāo dào shén shā shǒu de zhuī shāliǎng rén dǒu zhì dǒu yǒngwán liǎo māo zhuō lǎo shǔ de yóu biàn sài wéi de jiē xiǎo xiàngguó 'ān de shǒu jiě zhuān jiā shān · lāi qiē shì bèi de wèi hūn jiù zài bèi bèi pài bān de shí hòu shān bèi jǐn zhào huí zǒng de shàng guó 'ān cháng 'ěr gào shān jīng rén de xiāo
   zhàn shèng de chāo diàn nǎo wàn néng jiě shàng liǎo jiě de héng héng shù chéng bǎo 'ěr ràng shān chá chū yuǎn chéng yǒu jiā tóng huǒ de zhēn shí shēn fènsuí hòu shān liǎo yòu lìng rén zhèn jīng de huǎng yán bèi pàn xiàn jǐn shì zài wéi de guó jiā 'ér zhànér qiě shì wèile de shēng mìng suǒ 'ài de rén 'ér zhàn……
  
   shù chéng bǎo quán wén yuè
   zhě
   xiē
   zhāng
   'èr zhāng
   sān zhāng
   zhāng
   zhāng
   liù zhāng
   zhāng
   zhāng
   jiǔ zhāng
   shí zhāng
   shí zhāng
   shí 'èr zhāng
   shí sān zhāng
   shí zhāng
   shí zhāng
   shí liù zhāng
   shí zhāng
   shí zhāng
   shí jiǔ zhāng
   'èr shí zhāng
   'èr shí zhāng
   'èr shí 'èr zhāng
   'èr shí sān zhāng
   'èr shí zhāng
   'èr shí zhāng
   'èr shí liù zhāng
   'èr shí zhāng
   'èr shí zhāng
   'èr shí jiǔ zhāng
   sān shí zhāng
   sān shí zhāng
   sān shí 'èr zhāng
   sān shí sān zhāng
   sān shí zhāng
   sān shí zhāng
   sān shí liù zhāng
   sān shí zhāng
   sān shí zhāng
   sān shí jiǔ zhāng
   shí zhāng
   shí zhāng
   shí 'èr zhāng
   shí sān zhāng
   shí zhāng
   shí zhāng
   shí liù zhāng
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  ( wán
  zuò zhědān · lǎng
    dān · lǎng xiéniǔ yuē shí bàozuì chàng xiāo xuán jīng sǒng xiǎo shuō zài dēng ,《 · fēn mèi piāntiān shǐ guǐ》, dàn jiù zài fàng xià de shī zuò
   zōng jiào xué de liè duì kàngrén xìng shén xìng de zhèng miàn pèng zhuàng lǎo shén de xià zhì héng héng guāng zhào pài zhǒng yòu huǐ miè xìng de gāo héng héng fǎn zhì xiàng zài méi jié de rèn ……
  
   tiān shǐ guǐ quán wén yuè
   xiē
   zhāng
   'èr zhāng
   sān zhāng
   zhāng
   zhāng
   liù zhāng
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  zuò zhě : dān · lǎng [ měi ]
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shǒuyè>> wénxué>>dān · lǎng Dan Brown