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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He read this letter with a suffering spirit, but at the same time it seemed to him impossible that Lygia should perish under the claws of wild beasts, and that Christ would not take compassion on her. But just in that were hidden hope and trust. When he returned home, he wrote that he would come every day to the walls of the Tullianum to wait till Christ crushed the walls and restored her. He commanded her to believe that Christ could give her to him, even in the Circus; that the great Apostle was imploring Him to do so, and that the hour of liberation was near. The converted centurion was to bear this letter to her on the morrow.
But when Vinicius came to the prison next morning, the centurion left the rank, approached him first, and said—
“Listen to me, lord. Christ, who enlightened thee, has shown thee favor. Last night Caesar’s freedman and those of the prefect came to select Christian maidens for disgrace; they inquired for thy betrothed, but our Lord sent her a fever, of which prisoners are dying in the Tullianum, and they left her. Last evening she was unconscious, and blessed be the name of the Redeemer, for the sickness which has saved her from shame may save her from death.”
Vinicius placed his hand on the soldier’s shoulder to guard himself from falling; but the other continued—
“Thank the mercy of the Lord! They took and tortured Linus, but, seeing that he was dying, they surrendered him. They may give her now to thee, and Christ will give back health to her.”
The young tribune stood some time with drooping head; then raised it and said in a whisper—
“True, centurion. Christ, who saved her from shame, will save her from death.” And sitting at the wall of the prison till evening, he returned home to send people for Linus and have him taken to one of his suburban villas.
But when Petronius had heard everything, he determined to act also. He had visited the Augusta; now he went to her a second time. He found her at the bed of little Rufius. The child with broken head was struggling in a fever; his mother, with despair and terror in her heart, was trying to save him, thinking, however, that if she did save him it might be only to perish soon by a more dreadful death.
Occupied exclusively with her own suffering, she would not even hear of Vinicius and Lygia; but Petronius terrified her.
“Thou hast offended,” said he to her, “a new, unknown divinity. Thou, Augusta, art a worshiper, it seems, of the Hebrew Jehovah; but the Christians maintain that Chrestos is his son. Reflect, then, if the anger of the father is not pursuing thee. Who knows but it is their vengeance which has struck thee? Who knows but the life of Rufius depends on this—how thou wilt act?”
“What dost thou wish me to do?” asked Poppaea, with terror.
“Mollify the offended deities.”
“How?”
“Lygia is sick; influence Caesar or Tigellinus to give her to Vinicius.”
“Dost thou think that I can do that?” asked she, in despair.
“Thou canst do something else. If Lygia recovers, she must die. Go thou to the temple of Vesta, and ask the virgo magna to happen near the Tullianum at the moment when they are leading prisoners out to death, and give command to free that maiden. The chief vestal will not refuse thee.”
“But if Lygia dies of the fever?”
“The Christians say that Christ is vengeful, but just; maybe thou wilt soften Him by thy wish alone.”
“Let Him give me some sign that will heal Rufius.”
Petronius shrugged his shoulders.
“I have not come as His envoy; O divinity, I merely say to thee, Be on better terms with all the gods, Roman and foreign.”
“I will go!” said Poppaea, with a broken voice.
Petronius drew a deep breath. “At last I have done something,” thought he, and returning to Vinicius he said to him—
“Implore thy God that Lygia die not of the fever, for should she survive, the chief vestal will give command to free her. The Augusta herself will ask her to do so.”
“Christ will free her,” said Vinicius, looking at him with eyes in which fever was glittering.
Poppaea, who for the recovery of Rufius was willing to burn hecatombs to all the gods of the world, went that same evening through the Forum to the vestals, leaving care over the sick child to her faithful nurse, Silvia, by whom she herself had been reared.
But on the Palatine sentence had been issued against the child already; for barely had Poppaea’s litter vanished behind the great gate when two freedmen entered the chamber in which her son was resting. One of these threw himself on old Silvia and gagged her; the other, seizing a bronze statue of the Sphinx, stunned the old woman with the first blow.
Then they approached Rufius. The little boy, tormented with fever and insensible, not knowing what was passing around him, smiled at them, and blinked with his beautiful eyes, as if trying to recognize the men. Stripping from the nurse her girdle, they put it around his neck and pulled it. The child called once for his mother, and died easily. Then they wound him in a sheet, and sitting on horses which were waiting, hurried to Ostia, where they threw the body into the sea.
Poppaea, not finding the virgo magna, who with other vestals was at the house of Vatinius, returned soon to the Palatine. Seeing the empty bed and the cold body of Silvia, she fainted, and when they restored her she began to scream; her wild cries were heard all that night and the day following.
But Caesar commanded her to appear at a feast on the third day; so, arraying herself in an amethyst-colored tunic, she came and sat with stony face, golden-haired, silent,
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