Quo Vadis by Henryk Sienkiewicz (most popular novels of all time .txt) ๐
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Quo Vadis: A Narrative of the Time of Nero was first published in Polish as Quo vadis. Powieลฤ z czasรณw Nerona. Among Henryk Sienkiewiczโs inspirations was the painting Neroโs 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 Neroโs 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. Viniciusโs 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 novelโs title translates to โWhere are you going, Lord?โ, a quote from the apocryphal Christian text the Acts of Peter, which depicts Peterโs 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 Paulโs fate and the deaths of Nero and Petronius, Viniciusโs wise and worldly uncle and mentor. Sienkiewicz contrasts Petroniusโs and Neroโs hedonism with Viniciusโs and Lygiaโs journey to a deeper faith in their God, and with Peter and Paulโs faithful martyrdom, to great effect. As such, the novel is not just a love story, but also a thoughtful reflection on how oneโs way of living affects how they see death.
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- Author: Henryk Sienkiewicz
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And again appeared a pretorian cohort of gigantic Sicambrians, blue-eyed, bearded, blond and red haired. In front of them Roman eagles were carried by banner-bearers called imaginarii, tablets with inscriptions, statues of German and Roman gods, and finally statues and busts of Caesar. From under the skins and armor of the soldier appeared limbs sunburnt and mighty, looking like military engines capable of wielding the heavy weapons with which guards of that kind were furnished. The earth seemed to bend beneath their measured and weighty tread. As if conscious of strength which they could use against Caesar himself, they looked with contempt on the rabble of the street, forgetting, it was evident, that many of themselves had come to that city in manacles. But they were insignificant in numbers, for the pretorian force had remained in camp specially to guard the city and hold it within bounds. When they had marched past, Neroโs chained lions and tigers were led by, so that, should the wish come to him of imitating Dionysus, he would have them to attach to his chariots. They were led in chains of steel by Arabs and Hindus, but the chains were so entwined with garlands that the beasts seemed led with flowers. The lions and tigers, tamed by skilled trainers, looked at the crowds with green and seemingly sleepy eyes; but at moments they raised their giant heads, and breathed through wheezing nostrils the exhalations of the multitude, licking their jaws the while with spiny tongues.
Now came Caesarโs vehicles and litters, great and small, gold or purple, inlaid with ivory or pearls, or glittering with diamonds; after them came another small cohort of pretorians in Roman armor, pretorians composed of Italian volunteers only;12 then crowds of select slave servants, and boys; and at last came Caesar himself, whose approach was heralded from afar by the shouts of thousands.
In the crowd was the Apostle Peter, who wished to see Caesar once in life. He was accompanied by Lygia, whose face was hidden by a thick veil, and Ursus, whose strength formed the surest defense of the young girl in the wild and boisterous crowd. The Lygian seized a stone to be used in building the temple, and brought it to the Apostle, so that by standing on it he might see better than others.
The crowd muttered when Ursus pushed it apart, as a ship pushes waves; but when he carried the stone, which four of the strongest men could not raise, the muttering was turned into wonderment, and cries of โMacte!โ were heard round about.
Meanwhile Caesar appeared. He was sitting in a chariot drawn by six white Idumean stallions shod with gold. The chariot had the form of a tent with sides open, purposely, so that the crowds could see Caesar. A number of persons might have found place in the chariot; but Nero, desiring that attention should be fixed on him exclusively, passed through the city alone, having at his feet merely two deformed dwarfs. He wore a white tunic, and a toga of amethyst color, which cast a bluish tinge on his face. On his head was a laurel wreath. Since his departure from Naples he had increased notably in body. His face had grown wide; under his lower jaw hung a double chin, by which his mouth, always too near his nose, seemed to touch his nostrils. His bulky neck was protected, as usual, by a silk kerchief, which he arranged from moment to moment with a white and fat hand grown over with red hair, forming as it were bloody stains; he would not permit epilatores to pluck out this hair, since he had been told that to do so would bring trembling of the fingers and injure his lute-playing. Measureless vanity was depicted then, as at all times, on his face, together with tedium and suffering. On the whole, it was a face both terrible and trivial. While advancing he turned his head from side to side, blinking at times, and listening carefully to the manner in which the multitude greeted him. He was met by a storm of shouts and applause: โHail, divine Caesar! Imperator, hail, conqueror! hail, incomparable!โ โSon of Apollo, Apollo himself!โ
When he heard these words, he smiled; but at moments a cloud, as it were, passed over his face, for the Roman rabble was satirical and keen in reckoning, and let itself criticize even great triumphators, even men whom it loved and respected. It was known that on a time they shouted during the entrance to Rome of Julius Caesar: โCitizens, hide
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