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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In silence and in that calm night, the rider and the horse, covered with gleams of the moon, seemed like dream visions. The Idumean stallion, dropping his ears and stretching his neck, shot on like an arrow past the motionless cypresses and the white villas hidden among them. The sound of hoofs on the stone flags roused dogs here and there; these followed the strange vision with their barking; afterward, excited by its suddenness, they fell to howling, and raised their jaws toward the moon. The slaves hastening after Vinicius soon dropped behind, as their horses were greatly inferior. When he had rushed like a storm through sleeping Laurentum, he turned toward Ardea, in which, as in Aricia, Bovillae, and Ustrinum, he had kept relays of horses from the day of his coming to Antium, so as to pass in the shortest time possible the interval between Rome and him. Remembering these relays, he forced all the strength from his horse.
Beyond Ardea it seemed to him that the sky on the northeast was covered with a rosy reflection. That might be the dawn, for the hour was late, and in July daybreak came early. But Vinicius could not keep down a cry of rage and despair, for it seemed to him that that was the glare of the conflagration. He remembered the consul’s words, “The whole city is one sea of flame,” and for a while he felt that madness was threatening him really, for he had lost utterly all hope that he could save Lygia, or even reach the city before it was turned into one heap of ashes. His thoughts were quicker now than the rush of the stallion, they flew on ahead like a flock of birds, black, monstrous, and rousing despair. He knew not, it is true, in what part of the city the fire had begun; but he supposed that the Trans-Tiber division, as it was packed with tenements, timber-yards, storehouses, and wooden sheds serving as slave marts, might have become the first food of the flames.
In Rome fires happened frequently enough; during these fires, as frequently, deeds of violence and robbery were committed, especially in the parts occupied by a needy and half-barbarous population. What might happen, therefore, in a place like the Trans-Tiber, which was the retreat of a rabble collected from all parts of the earth? Here the thought of Ursus with his preterhuman power flashed into Vinicius’s head; but what could be done by a man, even were he a Titan, against the destructive force of fire?
The fear of servile rebellion was like a nightmare, which had stifled Rome for whole years. It was said that hundreds of thousands of those people were thinking of the times of Spartacus, and merely waiting for a favorable moment to seize arms against their oppressors and Rome. Now the moment had come! Perhaps war and slaughter were raging in the city together with fire. It was possible even that the pretorians had hurled themselves on the city, and were slaughtering at command of Caesar.
And that moment the hair rose from terror on his head. He recalled all the conversations about burning cities, which for some time had been repeated at Caesar’s court with wonderful persistence; he recalled Caesar’s complaints that he was forced to describe a burning city without having seen a real fire; his contemptuous answer to Tigellinus, who offered to burn Antium or an artificial wooden city; finally, his complaints against Rome, and the pestilential alleys of the Subura. Yes; Caesar has commanded the burning of the city! He alone could give such a command, as Tigellinus alone could accomplish it. But if Rome is burning at command of Caesar, who can be sure that the population will not be slaughtered at his command also? The monster is capable even of such a deed. Conflagration, a servile revolt, and slaughter! What a horrible chaos, what a letting loose of destructive elements and popular frenzy! And in all this is Lygia.
The groans of Vinicius were mingled with the snorting and groans of his horse; the beast, running on a road which rose continually toward Aricia, was using the last of its breath. Who will snatch her from the burning city; who can save her? Here Vinicius, stretching himself entirely on the horse, thrust his fingers into his own hair, ready to gnaw the beast’s neck from pain.
At that moment a horseman, rushing also like a whirlwind, but in the opposite direction, toward Antium, shouted as he raced past, “Rome is perishing!” and on he went. To the ears of Vinicius came only one more expression: “Gods!” the rest was drowned by the thunder of hoofs. But that expression sobered him—“Gods!”
Vinicius raised his head suddenly, and, stretching his arms toward the sky filled with stars, began to pray.
“Not to you do I call whose temples are burning, but to Thee! Thou Thyself hast suffered. Thou alone art merciful! Thou alone hast understood people’s pain; Thou didst come to this world to teach pity to mankind; then show it now. If Thou art what Peter and Paul declare, save for me Lygia, take her in Thy arms, bear her out of the flames. Thou hast the power to do that! Give her to me, and I will give Thee my blood. But if Thou art unwilling to do this for me, do it for her. She loves Thee and trusts in Thee. Thou dost promise life and happiness after death, but happiness after death will not pass away, and she does not wish to die yet. Let her live. Take her in
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