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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The willing people helped guards and pretorians in hunting Christians. That was no difficult labor for whole groups of them camped with the other population in the midst of the gardens, and confessed their faith openly. When surrounded, they knelt, and while singing hymns let themselves be borne away without resistance. But their patience only increased the anger of the populace, who, not understanding its origin, considered it as rage and persistence in crime. A madness seized the persecutors. It happened that the mob wrested Christians from pretorians, and tore them to pieces; women were dragged to prison by the hair; children’s heads were dashed against stones. Thousands of people rushed, howling, night and day through the streets. Victims were sought in ruins, in chimneys, in cellars. Before the prison bacchanalian feasts and dances were celebrated at fires, around casks of wine.
In the evening was heard with delight bellowing which was like thunder, and which sounded throughout the city. The prisons were overflowing with thousands of people; every day the mob and pretorians drove in new victims. Pity had died out. It seemed that people had forgotten to speak, and in their wild frenzy remembered one shout alone: “To the lions with Christians!” Wonderfully hot days came, and nights more stifling than ever before; the very air seemed filled with blood, crime, and madness.
And that surpassing measure of cruelty was answered by an equal measure of desire for martyrdom—the confessors of Christ went to death willingly, or even sought death till they were restrained by the stern commands of superiors. By the injunction of these superiors they began to assemble only outside the city, in excavations near the Appian Way, and in vineyards belonging to patrician Christians, of whom none had been imprisoned so far. It was known perfectly on the Palatine that to the confessors of Christ belonged Flavius, Domitilla, Pomponia Graecina, Cornelius Pudens, and Vinicius. Caesar himself, however, feared that the mob would not believe that such people had burned Rome, and since it was important beyond everything to convince the mob, punishment and vengeance were deferred till later days. Others were of the opinion, but erroneously, that those patricians were saved by the influence of Acte. Petronius, after parting with Vinicius, turned to Acte, it is true, to gain assistance for Lygia; but she could offer him only tears, for she lived in oblivion and suffering, and was endured only in so far as she hid herself from Poppaea and Caesar.
But she had visited Lygia in prison, she had carried her clothing and food, and above all had saved her from injury on the part of the prison-guards, who, moreover, were bribed already.
Petronius, unable to forget that had it not been for him and his plan of taking Lygia from the house of Aulus, probably she would not be in prison at that moment, and, besides, wishing to win the game against Tigellinus, spared neither time nor efforts. In the course of a few days he saw Seneca, Domitius Afer, Crispinilla, and Diodorus, through whom he wished to reach Poppaea; he saw Terpnos, and the beautiful Pythagoras, and finally Aliturus and Paris, to whom Caesar usually refused nothing. With the help of Chrysothemis, then mistress of Vatinius, he tried to gain even his aid, not sparing in this case and in others promises and money.
But all these efforts were fruitless. Seneca, uncertain of the morrow, fell to explaining to him that the Christians, even if they had not burned Rome, should be exterminated, for the good of the city—in a word, he justified the coming slaughter for political reasons. Terpnos and Diodorus took the money, and did nothing in return for it. Vatinius reported to Caesar that they had been trying to bribe him. Aliturus alone, who at first was hostile to the Christians, took pity on them then, and made bold to mention to Caesar the imprisoned maiden, and to implore in her behalf. He obtained nothing, however, but the answer—
“Dost thou think that I have a soul inferior to that of Brutus, who spared not his own sons for the good of Rome?”
When this answer was repeated to Petronius, he said—
“Since Nero has compared himself to Brutus, there is no salvation.”
But he was sorry for Vinicius, and dread seized him lest he might attempt his own life. “Now,” thought the arbiter, “he is upheld by the efforts which he makes to save her, by the sight of her, and by his own suffering; but when all means fail and the last ray of hope is quenched, by Castor! he will not survive, he will throw himself on his sword.” Petronius understood better how to die thus than to love and suffer like Vinicius.
Meanwhile Vinicius did all that he could think of to save Lygia. He visited Augustians; and he, once so proud, now begged their assistance. Through Vitellius he offered Tigellinus all his Sicilian estates, and whatever else the man might ask; but Tigellinus, not wishing apparently to offend the Augusta, refused. To go to Caesar himself, embrace
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