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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Here he raised his hands and, striking the strings, pronounced the words of Priam.
“O nest of my fathers, O dear cradle!” His voice in the open air, with the roar of the conflagration, and the distant murmur of crowding thousands, seemed marvelously weak, uncertain, and low, and the sound of the accompaniment like the buzzing of insects. But senators, dignitaries, and Augustians, assembled on the aqueduct, bowed their heads and listened in silent rapture. He sang long, and his motive was ever sadder. At moments, when he stopped to catch breath, the chorus of singers repeated the last verse; then Nero cast the tragic “syrma”18 from his shoulder with a gesture learned from Aliturus, struck the lute, and sang on. When at last he had finished the lines composed, he improvised, seeking grandiose comparisons in the spectacle unfolded before him. His face began to change. He was not moved, it is true, by the destruction of his country’s capital; but he was delighted and moved with the pathos of his own words to such a degree that his eyes filled with tears on a sudden. At last he dropped the lute to his feet with a clatter, and, wrapping himself in the “syrma,” stood as if petrified, like one of those statues of Niobe which ornamented the courtyard of the Palatine.
Soon a storm of applause broke the silence. But in the distance this was answered by the howling of multitudes. No one doubted then that Caesar had given command to burn the city, so as to afford himself a spectacle and sing a song at it. Nero, when he heard that cry from hundreds of thousands, turned to the Augustians with the sad, resigned smile of a man who is suffering from injustice.
“See,” said he, “how the Quirites value poetry and me.”
“Scoundrels!” answered Vatinius. “Command the pretorians, lord, to fall on them.”
Nero turned to Tigellinus—
“Can I count on the loyalty of the soldiers?”
“Yes, divinity,” answered the prefect.
But Petronius shrugged his shoulders, and said—
“On their loyalty, yes, but not on their numbers. Remain meanwhile where thou art, for here it is safest; but there is need to pacify the people.”
Seneca was of this opinion also, as was Licinus the consul. Meanwhile the excitement below was increasing. The people were arming with stones, tent-poles, sticks from the wagons, planks, and various pieces of iron. After a while some of the pretorian leaders came, declaring that the cohorts, pressed by the multitude, kept the line of battle with extreme difficulty, and, being without orders to attack, they knew not what to do.
“O gods,” said Nero, “what a night!” On one side a fire, on the other a raging sea of people. And he fell to seeking expressions the most splendid to describe the danger of the moment, but, seeing around him alarmed looks and pale faces, he was frightened, with the others.
“Give me my dark mantle with a hood!” cried he; “must it come really to battle?”
“Lord,” said Tigellinus, in an uncertain voice, “I have done what I could, but danger is threatening. Speak, O lord, to the people, and make them promises.”
“Shall Caesar speak to the rabble? Let another do that in my name. Who will undertake it?”
“I!” answered Petronius, calmly.
“Go, my friend; thou art most faithful to me in every necessity. Go, and spare no promises.”
Petronius turned to the retinue with a careless, sarcastic expression—
“Senators here present, also Piso, Nerva, and Senecio, follow me.”
Then he descended the aqueduct slowly. Those whom he had summoned followed, not without hesitation, but with a certain confidence which his calmness had given them. Petronius, halting at the foot of the arches, gave command to bring him a white horse, and, mounting, rode on, at the head of the cavalcade, between the deep ranks of pretorians, to the black, howling multitude; he was unarmed, having only a slender ivory cane which he carried habitually.
When he had ridden up, he pushed his horse into the throng. All around, visible in the light of the burning, were upraised hands, armed with every manner of weapon, inflamed eyes, sweating faces, bellowing and foaming lips. A mad sea of people surrounded him and his attendants; round about was a sea of heads, moving, roaring, dreadful.
The outbursts increased and became an unearthly roar; poles, forks, and even swords were brandished above Petronius; grasping hands were stretched toward his horse’s reins and toward him, but he rode farther; cool, indifferent, contemptuous. At moments he struck the most insolent heads with his cane, as if clearing a road for himself in an ordinary crowd; and that confidence of his, that calmness, amazed the raging rabble. They recognized him at length, and numerous voices began to shout—
“Petronius! Arbiter Elegantiarum! Petronius! Petronius!” was heard on all sides. And as that name was repeated, the faces about became less terrible, the uproar less savage: for that exquisite patrician, though he had never striven for the favor of the populace, was still their favorite. He passed for a humane and magnanimous man; and his popularity had increased, especially since the affair of Pedanius Secundus, when he spoke in favor of mitigating the cruel sentence condemning all the slaves of that prefect to death. The slaves more especially loved him thenceforward with that unbounded love which the oppressed or unfortunate are accustomed to give those who show them even small sympathy. Besides, in that moment was added curiosity as to what Caesar’s envoy would say, for no one doubted that Caesar had sent him.
He removed his white toga, bordered with scarlet, raised it in the air, and waved it above his head, in sign that he wished to speak.
“Silence! Silence!” cried the people on all sides.
After a while there was silence. Then he straightened himself on the horse and said in a clear, firm voice—
“Citizens, let those who hear me repeat my words to those who are more
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