Quo Vadis by Henryk Sienkiewicz (most popular novels of all time .txt) 📕
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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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Vitellius grew pale, but began to laugh.
“My fat,” answered he, “might start the fire again.”
But Nero had something else on his mind; in his soul he was looking for a victim who might really satisfy the people’s anger, and he found him.
“Tigellinus,” said he after a while, “it was thou who didst burn Rome!” A shiver ran through those present. They understood that Caesar had ceased to jest this time, and that a moment had come which was pregnant with events.
The face of Tigellinus was wrinkled, like the lips of a dog about to bite.
“I burnt Rome at thy command!” said he.
And the two glared at each other like a pair of devils. Such silence followed that the buzzing of flies was heard as they flew through the atrium.
“Tigellinus,” said Nero, “dost thou love me?”
“Thou knowest, lord.”
“Sacrifice thyself for me.”
“O divine Caesar,” answered Tigellinus, “why present the sweet cup which I may not raise to my lips? The people are muttering and rising; dost thou wish the pretorians also to rise?”
A feeling of terror pressed the hearts of those present. Tigellinus was pretorian prefect, and his words had the direct meaning of a threat. Nero himself understood this, and his face became pallid.
At that moment Epaphroditus, Caesar’s freedman, entered, announcing that the divine Augusta wished to see Tigellinus, as there were people in her apartments whom the prefect ought to hear.
Tigellinus bowed to Caesar, and went out with a face calm and contemptuous. Now, when they had wished to strike him, he had shown his teeth; he had made them understand who he was, and, knowing Nero’s cowardice, he was confident that that ruler of the world would never dare to raise a hand against him.
Nero sat in silence for a moment; then, seeing that those present expected some answer, he said—
“I have reared a serpent in my bosom.”
Petronius shrugged his shoulders, as if to say that it was not difficult to pluck the head from such a serpent.
“What wilt thou say? Speak, advise!” exclaimed Nero, noticing this motion. “I trust in thee alone, for thou hast more sense than all of them, and thou lovest me.”
Petronius had the following on his lips: “Make me pretorian prefect, I will deliver Tigellinus to the people, and pacify the city in a day.” But his innate slothfulness prevailed. To be prefect meant to bear on his shoulder’s Caesar’s person and also thousands of public affairs. And why should he perform that labor? Was it not better to read poetry in his splendid library, look at vases and statues, or hold to his breast the divine body of Eunice, twining her golden hair through his fingers, and inclining his lips to her coral mouth? Hence he said—
“I advise the journey to Achaea.”
“Ah!” answered Nero, “I looked for something more from thee. The Senate hates me. If I depart, who will guarantee that it will not revolt and proclaim someone else Caesar? The people have been faithful to me so far, but now they will follow the Senate. By Hades! if that Senate and that people had one head!—”
“Permit me to say, O divinity, that if thou desire to save Rome, there is need to save even a few Romans,” remarked Petronius, with a smile.
“What care I for Rome and Romans?” complained Nero. “I should be obeyed in Achaea. Here only treason surrounds me. All desert me, and ye are making ready for treason. I know it, I know it. Ye do not even imagine what future ages will say of you if ye desert such an artist as I am.”
Here he tapped his forehead on a sudden, and cried—
“True! Amid these cares even I forget who I am.”
Then he turned to Petronius with a radiant face.
“Petronius,” said he, “the people murmur; but if I take my lute and go to the Campus Martius, if I sing that song to them which I sang during the conflagration, dost thou not think that I will move them, as Orpheus moved wild beasts?”
To this Tullius Senecio, who was impatient to return to his slave women brought in from Antium, and who had been impatient a long time, replied—
“Beyond doubt, O Caesar, if they permit thee to begin.”
“Let us go to Hellas!” cried Nero, with disgust.
But at that moment Poppaea appeared, and with her Tigellinus. The eyes of those present turned to him unconsciously, for never had triumphator ascended the Capitol with pride such as his when he stood before Caesar. He began to speak slowly and with emphasis, in tones through which the bite of iron, as it were, was heard—
“Listen. O Caesar, for I can say: I have found! The people want vengeance, they want not one victim, but hundreds, thousands. Hast heard, lord, who Christos was—he who was crucified by Pontius Pilate? And knowest thou who the Christians are? Have I not told thee of their crimes and foul ceremonies, of their predictions that fire would cause the end of the world? People hate and suspect them. No one has seen them in a temple at any time, for they consider our gods evil spirits; they are not in the Stadium, for they despise horse races. Never have the hands of a Christian done thee honor with plaudits. Never has one of them recognized thee as god. They are enemies of the human race, of the city, and of thee. The people murmur against thee; but thou hast given me no command to burn Rome, and I did not burn it. The people want vengeance; let them have it. The people want blood and games; let them have them. The people suspect thee; let their suspicion turn in another direction.”
Nero listened with amazement at first; but as Tigellinus proceeded, his actor’s face changed, and assumed in succession expressions of anger, sorrow, sympathy, indignation. Suddenly he rose, and, casting off the toga, which dropped at his feet, he raised both hands and stood silent for a time. At last
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