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.
Read free book «Quo Vadis by Henryk Sienkiewicz (most popular novels of all time .txt) 📕» - read online or download for free at americanlibrarybooks.com
- Author: Henryk Sienkiewicz
Read book online «Quo Vadis by Henryk Sienkiewicz (most popular novels of all time .txt) 📕». Author - Henryk Sienkiewicz
Now a more important contest was to come—rousing interest not only in the herd, but in exquisites; during this contest young patricians made enormous bets at times, often losing all they owned. Straightway from hand to hand went tablets on which were written names of favorites, and also the number of sestertia which each man wagered on his favorite. Spectati—that is, champions who had appeared already on the arena and gained victories—found most partisans; but among betters were also those who risked considerably on gladiators who were new and quite unknown, hoping to win immense sums should these conquer. Caesar himself bet; priests, vestals, senators, knights bet; the populace bet. People of the crowd, when money failed them, bet their own freedom frequently. They waited with heart-beating and even with fear for the combatants, and more than one made audible vows to the gods to gain their protection for a favorite.
In fact, when the shrill sound of trumpets was heard, there was a stillness of expectation in the amphitheater. Thousands of eyes were turned to the great bolts, which a man approached dressed like Charon, and amid the universal silence struck three times with a hammer, as if summoning to death those who were hidden behind them. Then both halves of the gate opened slowly, showing a black gully, out of which gladiators began to appear in the bright arena. They came in divisions of twenty-five, Thracians, Mirmillones, Samnites, Gauls, each nation separately, all heavily armed; and last the retiarii, holding in one hand a net, in the other a trident. At sight of them, here and there on the benches rose applause, which soon turned into one immense and unbroken storm. From above to below were seen excited faces, clapping hands, and open mouths, from which shouts burst forth. The gladiators encircled the whole arena with even and springy tread, gleaming with their weapons and rich outfit; they halted before Caesar’s podium, proud, calm, and brilliant. The shrill sound of a horn stopped the applause; the combatants stretched their right hands upward, raised their eyes and heads toward Caesar, and began to cry or rather to chant with drawling voice—
“Ave, Caesar imperator!
Morituri te salutant!”
Then they pushed apart quickly, occupying their places on the arena. They were to attack one another in whole detachments; but first it was permitted the most famous fencers to have a series of single combats, in which the strength, dexterity, and courage of opponents were best exhibited. In fact, from among the Gauls appeared a champion, well known to lovers of the amphitheater under the name of Lanio, a victor in many games. With a great helmet on his head, and in mail which formed a ridge in front of his powerful breast and behind, he looked in the gleam of the golden arena like a giant beetle. The no less famous retiarius Calendio came out against him.
Among the spectators people began to bet.
“Five hundred sestertia on the Gaul!”
“Five hundred on Calendio!”
“By Hercules, one thousand!”
“Two thousand!”
Meanwhile the Gaul, reaching the center of the arena, began to withdraw with pointed sword, and, lowering his head, watched his opponent carefully through the opening of his visor; the light retiarius, stately, statuesque, wholly naked save a belt around his loins, circled quickly about his heavy antagonist, waving the net with graceful movement, lowering or raising his trident, and singing the usual song of the retiarius—
“Non te peto, piscem peto;
Quid me fugis, Galle?”21
But the Gaul was not fleeing, for after a while he stopped, and standing in one place began to turn with barely a slight movement, so as to have his enemy always in front, in his form and monstrously large head there was now something terrible. The spectators understood perfectly that that heavy body encased in bronze was preparing for a sudden throw to decide the battle. The retiarius meanwhile sprang up to him, then sprang away, making with his three-toothed fork motions so quick that the eye hardly followed them. The sound of the teeth on the shield was heard repeatedly; but the Gaul did not quiver, giving proof by this of his gigantic strength. All his attention seemed fixed, not on the trident, but the net which was circling above his head, like a bird of ill omen. The spectators held the breath in their breasts, and followed the masterly play of the gladiators. The Gaul waited, chose the moment, and rushed at last on his enemy; the latter with equal quickness shot past under his sword, straightened himself with raised arm, and threw the net.
The Gaul, turning where he stood, caught it on his shield; then both sprang apart. In the amphitheater shouts of “Macte!” thundered; in the lower rows they began to make new bets. Caesar himself, who at first had been talking with Rubria, and so far had not paid much attention to the spectacle, turned his head toward the arena.
They began to struggle again, so regularly and with such precision in their movements, that sometimes it seemed that with them it was not a question of life or death, but of exhibiting skill. The Gaul escaping twice more from the net, pushed toward the edge of the arena; those who held bets against him, not wishing the champion to rest, began to cry, “Bear on!” The Gaul obeyed, and attacked. The arm of the retiarius was
Comments (0)