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达芬奇密码|The Da Vinci Code

第21章|Chapter 20

属类： 双语小说 【分类】世界名著 -[作者: 丹-布朗] 阅读：[25932]
《 字+字- 行+行- 页+页- 字+字- 行+行- 页+页- 》
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《蒙娜丽莎》。

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半晌，索菲愣在楼梯上，完全忘记了要逃出卢浮宫的事儿。

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她对这个字谜感到极为震惊，同时也为自己没有能够亲自破解信息感到万分尴尬。索菲精通复杂的密码分析，而这却让她忽略了那些简单的文字游戏，其实她知道她早就该破解出这则信息的。毕竟，她对字谜并不陌生，特别是英文字谜。

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索菲小时候，祖父经常用字谜游戏来锻炼她的英文拼写能力。有一次，他写下了英文单词"planets"，并告诉索菲排列重组这几个字母就可以得到六十二个不同长度的英文单词。索菲花了三天时间查英文词典，将这些单词全部找了出来。

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"真难以想象。"兰登盯着打印稿说道。"你祖父在死前的几分钟内竟能想出这么复杂的字谜。"索菲知道这其中原由，但这使她更加不好受。我早该想到了！现在，她回忆起来，祖父既是个文字游戏迷又是个艺术爱好者，他年轻时常通过创作有关艺术名作的字谜自娱自乐。索菲小时候，祖父还曾因为他所创作的一个字谜遇上了麻烦。在接受一家美国艺术杂志采访的时候，索尼埃提出毕加索的名画《亚威农少女》（LesDemoisellesd’Avignon）

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做成字谜游戏正好可以得出"讨厌而无意义的蠢人"（vilemeaninglessdoodles），表明他对"现代立体派运动"并不欣赏。此举引起了毕加索迷的不满。

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"祖父可能早就想好这个‘蒙娜丽莎’的字谜了。"索菲看着兰登，说道。今晚他迫不得已用它作为密码。祖父的声音从天际传来，清晰得让人不寒而栗。

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列昂纳多。达。芬奇！

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《蒙娜丽莎》！

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索菲不知道为什么祖父在最后的遗言中要提到那幅名画，但她可以想到一种可能--一种让人不安的可能。

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那不是祖父的最后遗言……

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祖父是不是想让她去看一看《蒙娜丽莎》？索菲现在才意识到，通往那间展厅的门距祖父的尸体只有二十米远。

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他完全可能在死前去过名画《蒙娜丽莎》那里。

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索菲扭头望了一眼紧急楼梯通道，感到非常为难。她知道她应该立即将兰登带出博物馆，但她的本能却阻止她这样做。索菲意识到，要是祖父有秘密要告诉她，没有什么比达。芬奇的《蒙娜丽莎》那里更合适的地方了。

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"再走一点儿就到了。"祖父搀着索菲稚嫩的小手，在空荡荡的博物馆中已经穿行了几个小时。

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那时索菲只有六岁。她仰望巨大的屋顶，俯视眩目的地板，觉得自己很渺小。空旷的博物馆使她感到害怕，但她不想让祖父看出来。她咬紧牙关，放开了祖父的手。

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他们走近卢浮宫最著名的那间展厅，祖父说："前面就是国家展厅。"虽然此时祖父变得非常兴奋，但索菲却只想回家。她已经在书中看过了《蒙娜丽莎》，但一点儿也不喜欢那幅画。她不明白为什么所有人都那么喜爱这幅画。

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"无聊。"索菲用法语低声嘀咕着。

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"无聊。"祖父用英语纠正道。"在校说法语，在家说英语。"

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"这里是卢浮宫，不是家。"索菲用法语反驳道。

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祖父无奈地笑了笑，说："你说得对。那么我们就说英语玩。"

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索菲噘着嘴，继续往前走。来到国家展厅后，索菲扫视了一下这个狭窄的房间，目光停留在了展览馆引以为骄傲的地方--右边墙的中间，防护玻璃之后悬挂着的那幅肖像画。祖父在门口停住了脚步，转身面向那幅画。

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"往前走，索菲。很少人有机会单独参观这幅画。"

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索菲压抑着心中的不安，慢慢地走进房间。由于听说过种种关于《蒙娜丽莎》的事，她觉得自己仿佛在走近一样无比神圣的东西。她来到防护玻璃前，屏住呼吸，抬头望去，一下子就喜欢上了这幅画。

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索菲忘了自己预期的感觉是怎样的，但她肯定那与她的实际感觉不同。她没有丝毫惊奇和赞叹，因为那张大名远扬的脸庞看上去就和书中的一模一样。不知过了多久，她一直默默地站在那里，等待着什么将要发生的事。

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"怎么样？"祖父来到她身后，轻声说道："很美，对吗？"

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"她太小了。"

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索尼埃微笑着说："你很小，但你很美丽。"

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我不美丽，索菲想。索菲讨厌自己的红发和雀斑，她还比班上的所有男孩儿都高大。

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索菲回头看看《蒙娜丽莎》，摇了摇头。"她比书上的还糟。她的脸上……"索菲顿了顿，用法语接着说。"好像有一层雾。"

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"雾蒙蒙的。"祖父把这个新英文单词教给她。

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"雾蒙蒙的。"索菲跟读道。她知道只有她把这个新单词再读一遍，祖父才会继续说下去。

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"那是晕染法。"祖父告诉索菲。"那是一种很难掌握的手法。达。芬奇运用得最好。"

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索菲还是不喜欢那幅画。"她好像知道些什么……就像学校里的小朋友知道一个秘密那样。"祖父大笑起来。"这就是她如此著名的原因之一。人们喜欢猜她为什么而微笑。"

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"您知道她为什么而微笑吗？"

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"也许吧。"祖父挤了挤眼睛说。"有一天我会告诉你。"

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索菲跺着脚说："我说过我不喜欢秘密！"

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"公主。"祖父微笑着说。"生活中充满了秘密。你不能一下把它们全部解开。"

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"我要回到上面去。"索菲大声宣布，她的声音在楼梯通道中回响。

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"到《蒙娜丽莎》那里？"兰登反问道。"现在吗？"

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索菲掂量着此举的危险性。"我不是谋杀案的嫌疑人，我要抓住机会。我要知道祖父想告诉我的事。""那么还去大使馆吗？"

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把兰登变成了逃犯，又把他抛下，索菲为此感到内疚，但她别无选择。她指着楼梯下方的一扇金属门，说道："穿过那扇门，然后看那些亮着的出口指向牌。祖父过去就是从这里把我带下去。按照指向牌的提示，你会发现装着一个旋转栅门的安全出口。它单向旋转，通向宫外。"说着，她把车钥匙递给兰登。"我的车是一辆红色的‘都会精灵’，停在公务停车区。就在这堵墙的外面。你知道去大使馆的路吗？"

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兰登看着手中的钥匙，点了点头。

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"听我说。"索菲柔声说。"我想祖父在《蒙娜丽莎》那里给我留下了信息--关于杀人凶手的信息，或是能解释为什么我处境危险的信息，或是关于我家庭的信息。我必须去看看。""但如果他想告诉你为什么你处境危险，为何不直接写在地板上？为什么要做复杂的文字游戏？"

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"无论祖父想告诉我些什么，他都不会愿意让旁人知道，甚至包括警察。"显然，祖父是想抓住主动权，把机密直接传达给她。他将对索菲的秘密称呼的首字母写在密码中，并让她去找兰登。从这位美国象征学专家已经破译了密码的事实来看，这确实是个明智之举。

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"听起来奇怪。"索菲说。"我认为他想让我赶在别人之前去看一看《蒙娜丽莎》。"

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"我也去。"

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"不！我们不知道什么时候会来人。你必须走。"

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兰登犹豫不决，似乎他对学术问题的好奇心有可能战胜理智的判断，把他拖回到法希的手中。

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"赶快走。"索菲的微笑中充满了感激之情。"兰登先生，使馆见。"

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兰登看上去有点儿不高兴。他严肃地答道："只有在一种条件下，我才会见你。"

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索菲愣了一下，吃惊地问："什么条件？"

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"除非你不再叫我兰登先生。"

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索菲觉察出兰登的笑有点儿不自然，自己也笑不出来了。"祝你好运，罗伯特。"

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兰登走下了楼梯，一股亚麻油和石膏的气味扑鼻而来。前方，有一块亮着的出口指向牌，牌上的箭头指向一条长长的走廊。

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兰登走在长廊中，怀疑他是否会随时从这场梦中醒来，发现自己还躺在剑桥大学里的床上。整个夜晚就像一场奇异的梦。"我将飞快地跑出卢浮宫……作为一名逃犯。"

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索尼埃那设计巧妙的信息还留在他的脑海中，他想知道索菲是否会在《蒙娜丽莎》那里发现些什么。显然，她坚信祖父要让她再去看一次《蒙娜丽莎》。虽然她的想法看上去很合理，但兰登却为一个与此相反的想法困扰着。

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公主：去找罗伯特。兰登。（P.S.FindRobertLangdon.）

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索尼埃在地板上写下兰登的名字，让索菲去找他。为什么呢？难道仅仅是为了让他帮助索菲破解一个字谜？

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好像并非如此。毕竟，索尼埃不会认为兰登擅长字谜游戏。我们素未谋面。更重要的是，索菲曾坦言她自己应该可以解开那个字谜。是索菲认出了斐波那契数列，毫无疑问，如果再花一点儿时间，她可以独立地破解密码。

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索菲本应独立地破解密码。兰登忽然更加确信这一点，但这样的结论与索尼埃的行为逻辑似乎不太吻合。

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为什么要找我呢？兰登边走边思量着。为什么索尼埃的遗愿是让与他失和的孙女来找我？他认为我会知道些什么？

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兰登忽然一惊，停下了脚步。他把手伸进口袋，猛地掏出那张电脑打印稿，瞪大眼睛盯着那最后一行信息：公主：去找罗伯特。兰登。（P.S.FindRobertLangdon.）

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他的目光停在两个字母上：P.S.

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那一刻，兰登感到索尼埃留下的所有令人费解的象征符号有了明确的意义。象征学和历史研究的意义顷刻间呈现出来。雅克。索尼埃的所作所为得到了完全合理的解释。

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兰登在脑海中快速地将所有符号的象征含义联系在一起。他转过身，看着来时的方向。

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还有时间吗？

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他知道这并不重要。他毫不犹豫地冲着楼梯跑了回去。

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Emerging from the shadows, Langdon and Sophie moved stealthily up the deserted Grand Gallerycorridor toward the emergency exit stairwell.

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As he moved, Langdon felt like he was trying to assemble a jigsaw puzzle in the dark. The newestaspect of this mystery was a deeply troubling one: The captain of the Judicial Police is trying toframe me for murder"Do you think," he whispered, "that maybe Fache wrote that message on the floor?"Sophie didn’t even turn. "Impossible."Langdon wasn’t so sure. "He seems pretty intent on making me look guilty. Maybe he thoughtwriting my name on the floor would help his case?""The Fibonacci sequence? The P.S.? All the Da Vinci and goddess symbolism? That had to be mygrandfather."Langdon knew she was right. The symbolism of the clues meshed too perfectly—the pentacle, TheVitruvian Man, Da Vinci, the goddess, and even the Fibonacci sequence. A coherent symbolic set,as iconographers would call it. All inextricably tied.

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"And his phone call to me this afternoon," Sophie added. "He said he had to tell me something. I’mcertain his message at the Louvre was his final effort to tell me something important, something hethought you could help me understand."Langdon frowned. O, Draconian devil! Oh, lame saint.! He wished he could comprehend themessage, both for Sophie’s well-being and for his own. Things had definitely gotten worse since hefirst laid eyes on the cryptic words. His fake leap out the bathroom window was not going to helpLangdon’s popularity with Fache one bit. Somehow he doubted the captain of the French policewould see the humor in chasing down and arresting a bar of soap.

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"The doorway isn’t much farther," Sophie said.

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"Do you think there’s a possibility that the numbers in your grandfather’s message hold the key tounderstanding the other lines?" Langdon had once worked on a series of Baconian manuscripts thatcontained epigraphical ciphers in which certain lines of code were clues as to how to decipher theother lines.

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"I’ve been thinking about the numbers all night. Sums, quotients, products. I don’t see anything.

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Mathematically, they’re arranged at random. Cryptographic gibberish.""And yet they’re all part of the Fibonacci sequence. That can’t be coincidence.""It’s not. Using Fibonacci numbers was my grandfather’s way of waving another flag at me—likewriting the message in English, or arranging himself like my favorite piece of art, or drawing apentacle on himself. All of it was to catch my attention.""The pentacle has meaning to you?""Yes. I didn’t get a chance to tell you, but the pentacle was a special symbol between mygrandfather and me when I was growing up. We used to play Tarot cards for fun, and my indicatorcard always turned out to be from the suit of pentacles. I’m sure he stacked the deck, but pentaclesgot to be our little joke."Langdon felt a chill. They played Tarot? The medieval Italian card game was so replete withhidden heretical symbolism that Langdon had dedicated an entire chapter in his new manuscript tothe Tarot. The game’s twenty-two cards bore names like The Female Pope, The Empress, and TheStar. Originally, Tarot had been devised as a secret means to pass along ideologies banned by theChurch. Now, Tarot’s mystical qualities were passed on by modern fortune-tellers.

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The Tarot indicator suit for feminine divinity is pentacles, Langdon thought, realizing that ifSaunière had been stacking his granddaughter’s deck for fun, pentacles was an apropos inside joke.

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They arrived at the emergency stairwell, and Sophie carefully pulled open the door. No alarmsounded. Only the doors to the outside were wired. Sophie led Langdon down a tight set ofswitchback stairs toward the ground level, picking up speed as they went.

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"Your grandfather," Langdon said, hurrying behind her, "when he told you about the pentacle, didhe mention goddess worship or any resentment of the Catholic Church?"Sophie shook her head. "I was more interested in the mathematics of it—the Divine Proportion,PHI, Fibonacci sequences, that sort of thing."Langdon was surprised. "Your grandfather taught you about the number PHI?""Of course. The Divine Proportion." Her expression turned sheepish. "In fact, he used to joke that Iwas half divine... you know, because of the letters in my name."Langdon considered it a moment and then groaned.

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s-o-PHI-e.

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Still descending, Langdon refocused on PHI. He was starting to realize that Saunière’s clues wereeven more consistent than he had first imagined.

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Da Vinci... Fibonacci numbers... the pentacle.

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Incredibly, all of these things were connected by a single concept so fundamental to art history thatLangdon often spent several class periods on the topic.

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PHI.

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He felt himself suddenly reeling back to Harvard, standing in front of his "Symbolism in Art" class,writing his favorite number on the chalkboard.

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1.618Langdon turned to face his sea of eager students. "Who can tell me what this number is?"A long-legged math major in back raised his hand. "That’s the number PHI." He pronounced it fee.

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"Nice job, Stettner," Langdon said. "Everyone, meet PHI.""Not to be confused with PI," Stettner added, grinning. "As we mathematicians like to say: PHI isone H of a lot cooler than PI!"Langdon laughed, but nobody else seemed to get the joke.

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Stettner slumped.

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"This number PHI," Langdon continued, "one-point-six-one-eight, is a very important number inart. Who can tell me why?"Stettner tried to redeem himself. "Because it’s so pretty?"Everyone laughed.

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"Actually," Langdon said, "Stettner’s right again. PHI is generally considered the most beautifulnumber in the universe."The laughter abruptly stopped, and Stettner gloated.

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As Langdon loaded his slide projector, he explained that the number PHI was derived from theFibonacci sequence—a progression famous not only because the sum of adjacent terms equaled thenext term, but because the quotients of adjacent terms possessed the astonishing property ofapproaching the number 1.618—PHI!

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Despite PHI’s seemingly mystical mathematical origins, Langdon explained, the truly mind-boggling aspect of PHI was its role as a fundamental building block in nature. Plants, animals, andeven human beings all possessed dimensional properties that adhered with eerie exactitude to theratio of PHI to 1.

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"PHI’s ubiquity in nature," Langdon said, killing the lights, "clearly exceeds coincidence, and sothe ancients assumed the number PHI must have been preordained by the Creator of the universe.

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Early scientists heralded one-point-six-one-eight as the Divine Proportion.""Hold on," said a young woman in the front row. "I’m a bio major and I’ve never seen this DivineProportion in nature.""No?" Langdon grinned. "Ever study the relationship between females and males in a honeybeecommunity?""Sure. The female bees always outnumber the male bees.""Correct. And did you know that if you divide the number of female bees by the number of malebees in any beehive in the world, you always get the same number?""You do?""Yup. PHI."The girl gaped. "NO WAY!""Way!" Langdon fired back, smiling as he projected a slide of a spiral seashell. "Recognize this?""It’s a nautilus," the bio major said. "A cephalopod mollusk that pumps gas into its chambered shellto adjust its buoyancy.""Correct. And can you guess what the ratio is of each spiral’s diameter to the next?"The girl looked uncertain as she eyed the concentric arcs of the nautilus spiral.

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Langdon nodded. "PHI. The Divine Proportion. One-point-six-one-eight to one."The girl looked amazed.

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Langdon advanced to the next slide—a close-up of a sunflower’s seed head. "Sunflower seeds growin opposing spirals. Can you guess the ratio of each rotation’s diameter to the next?""PHI?" everyone said.

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"Bingo." Langdon began racing through slides now—spiraled pinecone petals, leaf arrangement onplant stalks, insect segmentation—all displaying astonishing obedience to the Divine Proportion.

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"This is amazing!" someone cried out.

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"Yeah," someone else said, "but what does it have to do with art?""Aha!" Langdon said. "Glad you asked." He pulled up another slide—a pale yellow parchmentdisplaying Leonardo da Vinci’s famous male nude—The Vitruvian Man—named for MarcusVitruvius, the brilliant Roman architect who praised the Divine Proportion in his text DeArchitectura.

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"Nobody understood better than Da Vinci the divine structure of the human body. Da Vinciactually exhumed corpses to measure the exact proportions of human bone structure. He was thefirst to show that the human body is literally made of building blocks whose proportional ratiosalways equal PHI."Everyone in class gave him a dubious look.

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"Don’t believe me?" Langdon challenged. "Next time you’re in the shower, take a tape measure."A couple of football players snickered.

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"Not just you insecure jocks," Langdon prompted. "All of you. Guys and girls. Try it. Measure thedistance from the tip of your head to the floor. Then divide that by the distance from your bellybutton to the floor. Guess what number you get.""Not PHI!" one of the jocks blurted out in disbelief.

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"Yes, PHI," Langdon replied. "One-point-six-one-eight. Want another example? Measure thedistance from your shoulder to your fingertips, and then divide it by the distance from your elbowto your fingertips. PHI again. Another? Hip to floor divided by knee to floor. PHI again. Fingerjoints. Toes. Spinal divisions. PHI. PHI. PHI. My friends, each of you is a walking tribute to theDivine Proportion."Even in the darkness, Langdon could see they were all astounded. He felt a familiar warmth inside.

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This is why he taught. "My friends, as you can see, the chaos of the world has an underlying order.

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When the ancients discovered PHI, they were certain they had stumbled across God’s buildingblock for the world, and they worshipped Nature because of that. And one can understand why.

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God’s hand is evident in Nature, and even to this day there exist pagan, Mother Earth-reveringreligions. Many of us celebrate nature the way the pagans did, and don’t even know it. May Day isa perfect example, the celebration of spring... the earth coming back to life to produce her bounty.

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The mysterious magic inherent in the Divine Proportion was written at the beginning of time. Manis simply playing by Nature’s rules, and because art is man’s attempt to imitate the beauty of theCreator’s hand, you can imagine we might be seeing a lot of instances of the Divine Proportion inart this semester."Over the next half hour, Langdon showed them slides of artwork by Michelangelo, Albrecht Dürer,Da Vinci, and many others, demonstrating each artist’s intentional and rigorous adherence to theDivine Proportion in the layout of his compositions. Langdon unveiled PHI in the architecturaldimensions of the Greek Parthenon, the pyramids of Egypt, and even the United Nations Buildingin New York. PHI appeared in the organizational structures of Mozart’s sonatas, Beethoven’s FifthSymphony, as well as the works of Bartók, Debussy, and Schubert. The number PHI, Langdon toldthem, was even used by Stradivarius to calculate the exact placement of the f-holes in theconstruction of his famous violins.

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"In closing," Langdon said, walking to the chalkboard, "we return to symbols" He drew fiveintersecting lines that formed a five-pointed star. "This symbol is one of the most powerful imagesyou will see this term. Formally known as a pentagram—or pentacle, as the ancients called it—thissymbol is considered both divine and magical by many cultures. Can anyone tell me why thatmight be?"Stettner, the math major, raised his hand. "Because if you draw a pentagram, the linesautomatically divide themselves into segments according to the Divine Proportion."Langdon gave the kid a proud nod. "Nice job. Yes, the ratios of line segments in a pentacle allequal PHI, making this symbol the ultimate expression of the Divine Proportion. For this reason,the five-pointed star has always been the symbol for beauty and perfection associated with thegoddess and the sacred feminine."The girls in class beamed.

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"One note, folks. We’ve only touched on Da Vinci today, but we’ll be seeing a lot more of him thissemester. Leonardo was a well-documented devotee of the ancient ways of the goddess.

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It can’t be that simple, Langdon thought.

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But he knew of course that it was.

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