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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And she pressed the maiden’s head to her bosom still more firmly. Lygia dropped to her knees after a while, and, covering her eyes in the folds of Pomponia’s peplus, she remained thus a long time in silence; but when she stood up again, some calmness was evident on her face.
“I grieve for thee, mother, and for father and for my brother; but I know that resistance is useless, and would destroy all of us. I promise thee that in the house of Caesar I will never forget thy words.”
Once more she threw her arms around Pomponia’s neck; then both went out to the oecus, and she took farewell of little Aulus, of the old Greek their teacher, of the dressing-maid who had been her nurse, and of all the slaves. One of these, a tall and broad-shouldered Lygian, called Ursus in the house, who with other servants had in his time gone with Lygia’s mother and her to the camp of the Romans, fell now at her feet, and then bent down to the knees of Pomponia, saying—“O domina! permit me to go with my lady, to serve her and watch over her in the house of Caesar.”
“Thou art not our servant, but Lygia’s,” answered Pomponia; “but if they admit thee through Caesar’s doors, in what way wilt thou be able to watch over her?”
“I know not, domina; I know only that iron breaks in my hands just as wood does.”
When Aulus, who came up at that moment, had heard what the question was, not only did he not oppose the wishes of Ursus, but he declared that he had not even the right to detain him. They were sending away Lygia as a hostage whom Caesar had claimed, and they were obliged in the same way to send her retinue, which passed with her to the control of Caesar. Here he whispered to Pomponia that under the form of an escort she could add as many slaves as she thought proper, for the centurion could not refuse to receive them.
There was a certain comfort for Lygia in this. Pomponia also was glad that she could surround her with servants of her own choice. Therefore, besides Ursus, she appointed to her the old tire-woman, two maidens from Cyprus well skilled in hairdressing, and two German maidens for the bath. Her choice fell exclusively on adherents of the new faith; Ursus, too, had professed it for a number of years. Pomponia could count on the faithfulness of those servants, and at the same time consoled herself with the thought that soon grains of truth would be in Caesar’s house.
She wrote a few words also, committing care over Lygia to Nero’s freedwoman, Acte. Pomponia had not seen her, it is true, at meetings of confessors of the new faith; but she had heard from them that Acte had never refused them a service, and that she read the letters of Paul of Tarsus eagerly. It was known to her also that the young freedwoman lived in melancholy, that she was a person different from all other women of Nero’s house, and that in general she was the good spirit of the palace.
Hasta engaged to deliver the letter himself to Acte. Considering it natural that the daughter of a king should have a retinue of her own servants, he did not raise the least difficulty in taking them to the palace, but wondered rather that there should be so few. He begged haste, however, fearing lest he might be suspected of want of zeal in carrying out orders.
The moment of parting came. The eyes of Pomponia and Lygia were filled with fresh tears; Aulus placed his hand on her head again, and after a while the soldiers, followed by the cry of little Aulus, who in defense of his sister threatened the centurion with his small fists, conducted Lygia to Caesar’s house.
The old general gave command to prepare his litter at once; meanwhile, shutting himself up with Pomponia in the pinacotheca adjoining the oecus, he said to her—“Listen to me, Pomponia. I will go to Caesar, though I judge that my visit will be useless; and though Seneca’s word means nothing with Nero now, I will go also to Seneca. Today Sophonius, Tigellinus, Petronius, or Vatinius have more influence. As to Caesar, perhaps he has never even heard of the Lygian people; and if he has demanded the delivery of Lygia, the hostage, he has done so because someone persuaded him to it—it is easy to guess who could do that.”
She raised her eyes to him quickly.
“Is it Petronius?”
“It is.”
A moment of silence followed; then the general continued—“See what it is to admit over the threshold any of those people without conscience or honor. Cursed be the moment in which Vinicius entered our house, for he brought Petronius. Woe to Lygia, since those men are not seeking a hostage, but a concubine.”
And his speech became more hissing than usual, because of helpless rage and of sorrow for his adopted daughter. He struggled with himself some time, and only his clenched fists showed how severe was the struggle within him.
“I have revered the gods so far,”
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