Quo Vadis by Henryk Sienkiewicz (most popular novels of all time .txt) 📕
Description
Quo Vadis: A Narrative of the Time of Nero was first published in Polish as Quo vadis. Powieść z czasów Nerona. Among Henryk Sienkiewicz’s inspirations was the painting Nero’s Torches (Pochodnie Nerona) by fellow Pole Henryk Siemiradzki; the painting, which depicts cruel persecution of Christians, serves as the cover art for this ebook edition. Sienkiewicz incorporates extensive historical detail into the plot, and notable historical figures serve as prominent characters, including the apostles Simon Peter and Paul of Tarsus, Gaius Petronius Arbiter, Ofonius Tigellinus, and the infamous Nero himself. Sienkiewicz used the historical basis of the novel as an opportunity to describe in detail the lives of the citizenry under Nero’s cruel and erratic rule.
Sienkiewicz was awarded the 1905 Nobel Prize in Literature in part for his authorship of Quo Vadis. The book was exceedingly popular both domestically and internationally: it was translated into more than 50 languages, sold 800,000 copies in the U.S. within a period of eighteenth months, and was the best selling book of 1900 in France.
The plot of Quo Vadis follows the love story of Marcus Vinicius and Lygia. He is a young, charming, up-and-coming Roman patrician; she is a high-ranking hostage, a former princess of a country conquered by Rome. Vinicius’s immediate infatuation with Lygia is complicated by her devout Christianity, a faith barely tolerated in Rome of the time. As the painting that inspired the novel foreshadows, Rome burns in a great fire, and Christians receive the blame. The subsequent persecution of the Christians in Rome serves as the main obstacle between the two lovers.
Sienkiewicz portrays a pro-Christian narrative throughout the book, with the apostles Peter and Paul serving as spiritual mentors to both Vinicius and Lygia. The novel’s title translates to “Where are you going, Lord?”, a quote from the apocryphal Christian text the Acts of Peter, which depicts Peter’s death. The text describes how while fleeing Rome, Peter asks a vision of Jesus the titular question, to which Jesus replies that he is returning to Rome to lead the Christians since Peter, their leader, is deserting them. Peter then realizes he must turn back and remain with his people, despite the cost. Quo Vadis depicts this exchange, along with Paul’s fate and the deaths of Nero and Petronius, Vinicius’s wise and worldly uncle and mentor. Sienkiewicz contrasts Petronius’s and Nero’s hedonism with Vinicius’s and Lygia’s journey to a deeper faith in their God, and with Peter and Paul’s faithful martyrdom, to great effect. As such, the novel is not just a love story, but also a thoughtful reflection on how one’s way of living affects how they see death.
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- Author: Henryk Sienkiewicz
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Wines, cooled in mountain snow, soon warmed the hearts and heads of the guests. Boats shaped as grasshoppers or butterflies shot forth from the bushes at the shore every moment. The blue surface of the pond seemed occupied by butterflies. Above the boats here and there flew doves, and other birds from India and Africa, fastened with silver and blue threads or strings. The sun had passed the greater part of the sky, but the day was warm and even hot, though in the beginning of May. The pond heaved from the strokes of oars, which beat the water in time with music; but in the air there was not the least breath of wind; the groves were motionless, as if lost in listening and in gazing at that which was happening on the water. The raft circled continually on the pond, bearing guests who were increasingly drunk and boisterous.
The feast had not run half its course yet, when the order in which all sat at the table was observed no longer. Caesar gave the example, for, rising himself, he commanded Vinicius, who sat next to Rubria the vestal, to move. Nero occupied the place, and began to whisper something in Rubria’s ear. Vinicius found himself next to Poppaea, who extended her arm and begged him to fasten her loosened bracelet. When he did so, with hands trembling somewhat, she cast at him from beneath her long lashes a glance as it were of modesty, and shook her golden head as if in resistance.
Meanwhile the sun, growing larger, ruddier, sank slowly behind the tops of the grove; the guests were for the greater part thoroughly intoxicated. The raft circled now nearer the shore, on which, among bunches of trees and flowers, were seen groups of people, disguised as fauns or satyrs, playing on flutes, bagpipes, and drums, with groups of maidens representing nymphs, dryads, and hamadryads. Darkness fell at last amid drunken shouts from the tent, shouts raised in honor of Luna. Meanwhile the groves were lighted with a thousand lamps. From the lupanaria on the shores shone swarms of lights; on the terraces appeared new naked groups, formed of the wives and daughters of the first Roman houses. These with voice and unrestrained manner began to lure partners. The raft touched the shore at last. Caesar and the Augustians vanished in the groves, scattered in lupanaria, in tents hidden in thickets, in grottos artificially arranged among fountains and springs. Madness seized all; no one knew whither Caesar had gone; no one knew who was a senator, who a knight, who a dancer, who a musician. Satyrs and fauns fell to chasing nymphs with shouting. They struck lamps with thyrses to quench them. Darkness covered certain parts of the grove. Everywhere, however, laughter and shouts were heard, and whispers, and panting breaths. In fact Rome had not seen anything like that before.
Vinicius was not drunk, as he had been at the feast in Nero’s palace, when Lygia was present; but he was roused and intoxicated by the sight of everything done round about, and at last the fever of pleasure seized him. Rushing into the forest, he ran, with others, examining who of the dryads seemed most beautiful. New flocks of these raced around him every moment with shouts and with songs; these flocks were pursued by fauns, satyrs, senators, knights, and by sounds of music. Seeing at last a band of maidens led by one arrayed as Diana, he sprang to it, intending to examine the goddess more closely. All at once the heart sank in his bosom, for he thought that in that goddess, with the moon on her forehead, he recognized Lygia.
They encircled him with a mad whirl, and, wishing evidently to incline him to follow, rushed away the next moment like a herd of deer. But he stood on the spot with beating heart, breathless; for though he saw that the Diana was not Lygia, and that at close sight she was not even like her, the too powerful impression deprived him of strength. Straightway he was seized by such yearning as he had never felt before, and love for Lygia rushed to his breast in a new, immense wave. Never had she seemed so dear, pure, and beloved as in that forest of madness and frenzied excess. A moment before, he himself wished to drink of that cup, and share in that shameless letting loose of the senses; now disgust and repugnance possessed him. He felt that infamy was stifling him; that his breast needed air and the stars which were hidden by the thickets of that dreadful grove. He determined to flee; but barely had he moved when before him stood some veiled figure, which placed its hands on his shoulders and whispered, flooding his face with burning breath, “I love thee! Come! no one will see us, hasten!”
Vinicius was roused, as if from a dream.
“Who art thou?”
But she leaned her breast on him and insisted—“Hurry! See how lonely it is here, and I love thee! Come!”
“Who art thou?” repeated Vinicius.
“Guess!”
As she said this, she pressed her lips to his through the veil, drawing toward her his head at the same time, till at last breath failed the woman and she tore her face from him.
“Night of love! night of madness!” said she, catching the air quickly. “Today is free! Thou hast me!”
But that kiss burned Vinicius; it filled him with disquiet. His soul and heart were elsewhere; in the whole world nothing existed for him except Lygia. So, pushing back the
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