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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The amazing dexterity of Petronius confirmed people in the conviction that his influence would outlive every other. They did not see how Caesar could dispense with him—with whom could he converse touching poetry, music, and comparative excellence; in whose eyes could he look to learn whether his creation was indeed perfect? Petronius, with his habitual indifference, seemed to attach no importance to his position. As usual, he was remiss, slothful, skeptical, and witty. He produced on people frequently the impression of a man who made light of them, of himself, of Caesar, of the whole world. At moments he ventured to criticize Caesar to his face, and when others judged that he was going too far, or simply preparing his own ruin, he was able to turn the criticism suddenly in such a way that it came out to his profit; he roused amazement in those present, and the conviction that there was no position from which he could not issue in triumph.
About a week after the return of Vinicius from Rome, Caesar read in a small circle an extract from his Troyad; when he had finished and the shouts of rapture had ended, Petronius, interrogated by a glance from Caesar, replied—
“Common verses, fit for the fire.”
The hearts of those present stopped beating from terror. Since the years of his childhood Nero had never heard such a sentence from any man. The face of Tigellinus was radiant with delight. But Vinicius grew pale, thinking that Petronius, who thus far had never been drunk, was drunk this time.
Nero, however, inquired in a honeyed voice, in which more or less deeply wounded vanity was quivering—
“What defect dost thou find in them?”
“Do not believe them,” said Petronius, attacking him, and pointing to those present; “they understand nothing. Thou hast asked what defect there is in thy verses. If thou desire truth, I will tell thee. Thy verses would be worthy of Virgil, of Ovid, even of Homer, but they are not worthy of thee. Thou art not free to write such. The conflagration described by thee does not blaze enough; thy fire is not hot enough. Listen not to Lucan’s flatteries. Had he written those verses, I should acknowledge him a genius, but thy case is different. And knowest thou why? Thou art greater than they. From him who is gifted of the gods as thou art, more is demanded. But thou art slothful—thou wouldst rather sleep after dinner than sit to wrinkles. Thou canst create a work such as the world has not heard of to this day; hence I tell thee to thy eyes, write better!”
And he said this carelessly, as if bantering and also chiding; but Caesar’s eyes were mist-covered from delight.
“The gods have given me a little talent,” said he, “but they have given me something greater, a true judge and friend, the only man able to speak the truth to my eyes.”
Then he stretched his fat hand, grown over with reddish hair, to a golden candelabrum plundered from Delphi, to burn the verses. But Petronius seized them before the flame touched the paper.
“No, no!” said he; “even thus they belong to mankind. Leave them to me.”
“In such case let me send them to thee in a cylinder of my own invention,” answered Nero, embracing Petronius.
“True; thou art right,” said he, after a while. “My conflagration of Troy does not blaze enough; my fire is not hot enough. But I thought it sufficient to equal Homer. A certain timidity and low estimate of my power have fettered me always. Thou hast opened my eyes. But knowest why it is, as thou sayest? When a sculptor makes the statue of a god, he seeks a model; but never have I had a model. I never have seen a burning city; hence there is a lack of truth in my description.”
“Then I will say that only a great artist understands this.”
Nero grew thoughtful, and after a while he said—“Answer one question, Petronius. Dost thou regret the burning of Troy?”
“Do I regret? By the lame consort of Venus, not in the least! And I will tell thee the reason. Troy would not have been consumed if Prometheus had not given fire to man, and the Greeks made war on Priam. Aeschylus would not have written his Prometheus had there been no fire, just as Homer would not have written the Iliad had there been no Trojan war. I think it better to have Prometheus and the Iliad than a small and shabby city, which was unclean, I think, and wretched, and in which at best
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