Quo Vadis by Henryk Sienkiewicz (most popular novels of all time .txt) ๐
Description
Quo Vadis: A Narrative of the Time of Nero was first published in Polish as Quo vadis. Powieลฤ z czasรณw Nerona. Among Henryk Sienkiewiczโs inspirations was the painting Neroโs 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 Neroโs 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. Viniciusโs 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 novelโs title translates to โWhere are you going, Lord?โ, a quote from the apocryphal Christian text the Acts of Peter, which depicts Peterโs 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 Paulโs fate and the deaths of Nero and Petronius, Viniciusโs wise and worldly uncle and mentor. Sienkiewicz contrasts Petroniusโs and Neroโs hedonism with Viniciusโs and Lygiaโs journey to a deeper faith in their God, and with Peter and Paulโs faithful martyrdom, to great effect. As such, the novel is not just a love story, but also a thoughtful reflection on how oneโs way of living affects how they see death.
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- Author: Henryk Sienkiewicz
Read book online ยซQuo Vadis by Henryk Sienkiewicz (most popular novels of all time .txt) ๐ยป. Author - Henryk Sienkiewicz
The Gaul tried to rise, but in a twinkle he was covered by the fatal meshes, in which he was entangled more and more by every movement of his feet and hands. Meanwhile stabs of the trident fixed him time after time to the earth. He made one more effort, rested on his arm, and tried to rise; in vain! He raised to his head his falling hand which could hold the sword no longer, and fell on his back. Calendio pressed his neck to the ground with the trident, and, resting both hands on the handle of it, turned toward Caesarโs box.
The whole Circus was trembling from plaudits and the roar of people. For those who had bet on Calendio he was at that moment greater than Caesar; but for this very reason animosity against the Gaul vanished from their hearts. At the cost of his blood he had filled their purses. The voices of the audience were divided. On the upper seats half the signs were for death, and half for mercy; but the retiarius looked only at the box of Caesar and the vestals, waiting for what they would decide.
To the misfortune of the fallen gladiator, Nero did not like him, for at the last games before the fire he had bet against the Gaul, and had lost considerable sums to Licinus; hence he thrust his hand out of the podium, and turned his thumb toward the earth.
The vestals supported the sign at once. Calendio knelt on the breast of the Gaul, drew a short knife from his belt, pushed apart the armor around the neck of his opponent, and drove the three-edged blade into his throat to the handle.
โPeractum est!โ sounded voices in the amphitheater.
The Gaul quivered a time, like a stabbed bullock, dug the sand with his heels, stretched, and was motionless.
Mercury had no need to try with heated iron if he were living yet. He was hidden away quickly, and other pairs appeared. After them came a battle of whole detachments. The audience took part in it with soul, heart, and eyes. They howled, roared, whistled, applauded, laughed, urged on the combatants, grew wild. The gladiators on the arena, divided into two legions, fought with the rage of wild beasts; breast struck breast, bodies were intertwined in a death grapple, strong limbs cracked in their joints, swords were buried in breasts and in stomachs, pale lips threw blood on to the sand. Toward the end such terrible fear seized some novices that, tearing themselves from the turmoil, they fled; but the scourgers drove them back again quickly to the battle with lashes tipped with lead. On the sand great dark spots were formed; more and more naked and armed bodies lay stretched like grain sheaves. The living fought on the corpses; they struck against armor and shields, cut their feet against broken weapons, and fell. The audience lost self-command from delight; and intoxicated with death breathed it, sated their eyes with the sight of it, and drew into their lungs the exhalations of it with ecstasy.
The conquered lay dead, almost every man. Barely a few wounded knelt in the middle of the arena, and trembling stretched their hands to the audience with a prayer for mercy. To the victors were given rewardsโ โcrowns, olive wreaths. And a moment of rest came, which, at command of the all-powerful Caesar, was turned into a feast. Perfumes were burned in vases. Sprinklers scattered saffron and violet rain on the people. Cooling drinks were served, roasted meats, sweet cakes, wine, olives, and fruits. The people devoured, talked, and shouted in honor of Caesar, to incline him to greater bounteousness. When hunger and thirst had been satisfied, hundreds of slaves bore around baskets full of gifts, from which boys, dressed as Cupids, took various objects and threw them with both hands among the seats. When lottery tickets were distributed, a battle began. People crowded, threw, trampled one another; cried for rescue, sprang over rows of seats, stifled one another in the terrible crush, since whoever got a lucky number might win possibly a house with a garden, a slave, a splendid dress, or a wild beast which he could sell to the amphitheater afterward. For this reason there were such disorders that frequently the pretorians had to interfere; and after every distribution they carried out people with broken arms or legs, and some were even trampled to death in the throng.
But the more wealthy took no part in the fight for tesserae. The Augustians amused themselves now with the spectacle of Chilo, and with making sport of his vain efforts to show that he could look at fighting and blood-spilling as well as any man. But in vain did the unfortunate Greek wrinkle his brow, gnaw his lips, and squeeze his fists till the nails entered his palms. His Greek nature and his personal cowardice were unable to endure such sights. His face grew pale, his forehead was dotted with drops of sweat, his lips were blue, his eyes turned in, his teeth began to chatter, and a trembling seized his body. At the end of the battle he recovered somewhat; but when they attacked him with tongues, sudden anger seized him, and he defended himself desperately.
โHa, Greek! the sight of torn skin on a man is beyond thy strength!โ said Vatinius, taking him by the beard.
Chilo bared his last two yellow teeth at him and answeredโ โ
โMy father was not a cobbler, so I cannot mend it.โ
โMacte! habet!โ22 called a number of voices; but others jeered on.
โHe is not to blame that instead of a heart he has a piece of
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