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.
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- Author: Henryk Sienkiewicz
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“Thou art not to blame that instead of a head thou hast a bladder,” retorted Chilo.
“Maybe thou wilt become a gladiator! thou wouldst look well with a net on the arena.”
“If I should catch thee in it, I should catch a stinking hoopoe.”
“And how will it be with the Christians?” asked Festus, from Liguria. “Wouldst thou not like to be a dog and bite them?”
“I should not like to be thy brother.”
“Thou Maeotian copper-nose!”
“Thou Ligurian mule!”
“Thy skin is itching, evidently, but I don’t advise thee to ask me to scratch it.”
“Scratch thyself. If thou scratch thy own pimple, thou wilt destroy what is best in thee.”
And in this manner they attacked him. He defended himself venomously, amid universal laughter. Caesar, clapping his hands, repeated, “Macte!” and urged them on. After a while Petronius approached, and, touching the Greek’s shoulder with his carved ivory cane, said coldly—
“This is well, philosopher; but in one thing thou hast blundered: the gods created thee a pickpocket, and thou hast become a demon. That is why thou canst not endure.”
The old man looked at him with his red eyes, but this time somehow he did not find a ready insult. He was silent for a moment; then answered, as if with a certain effort—
“I shall endure.”
Meanwhile the trumpets announced the end of the interval. People began to leave the passages where they had assembled to straighten their legs and converse. A general movement set in with the usual dispute about seats occupied previously. Senators and patricians hastened to their places. The uproar ceased after a time, and the amphitheater returned to order. On the arena a crowd of people appeared whose work was to dig out here and there lumps of sand formed with stiffened blood.
The turn of the Christians was at hand. But since that was a new spectacle for people, and no one knew how the Christians would bear themselves, all waited with a certain curiosity. The disposition of the audience was attentive but unfriendly; they were waiting for uncommon scenes. Those people who were to appear had burned Rome and its ancient treasures. They had drunk the blood of infants, and poisoned water; they had cursed the whole human race, and committed the vilest crimes. The harshest punishment did not suffice the roused hatred; and if any fear possessed people’s hearts, it was this: that the torture of the Christians would not equal the guilt of those ominous criminals.
Meanwhile the sun had risen high; its rays, passing through the purple velarium, had filled the amphitheater with blood-colored light. The sand assumed a fiery hue, and in those gleams, in the faces of people, as well as in the empty arena, which after a time was to be filled with the torture of people and the rage of savage beasts, there was something terrible. Death and terror seemed hovering in the air. The throng, usually gladsome, became moody under the influence of hate and silence. Faces had a sullen expression.
Now the prefect gave a sign. The same old man appeared, dressed as Charon, who had called the gladiators to death, and, passing with slow step across the arena amid silence, he struck three times again on the door.
Throughout the amphitheater was heard the deep murmur—
“The Christians! the Christians!”
The iron gratings creaked; through the dark openings were heard the usual cries of the scourgers, “To the sand!” and in one moment the arena was peopled with crowds as it were of satyrs covered with skins. All ran quickly, somewhat feverishly, and, reaching the middle of the circle, they knelt one by another with raised heads. The spectators, judging this to be a prayer for pity, and enraged by such cowardice, began to stamp, whistle, throw empty wine-vessels, bones from which the flesh had been eaten, and shout, “The beasts! the beasts!” But all at once something unexpected took place. From out the shaggy assembly singing voices were raised, and then sounded that hymn heard for the first time in a Roman amphitheater, “Christus regnat!”23
Astonishment seized the spectators. The condemned sang with eyes raised to the velarium. The audience saw faces pale, but as it were inspired. All understood that those people were not asking for mercy, and that they seemed not to see the Circus, the audience, the Senate, or Caesar. “Christus regnat!” rose ever louder, and in the seats, far up to the highest, among the rows of spectators, more than one asked himself the question, “What is happening, and who is that Christus who reigns in the mouths of those people who are about to die?” But meanwhile a new grating was opened, and into the arena rushed, with mad speed and barking, whole packs of dogs—gigantic, yellow Molossians from the Peloponnesus, pied dogs from the Pyrenees, and wolf-like hounds from Hibernia, purposely famished; their sides lank, and their eyes bloodshot. Their howls and whines filled the amphitheater. When the Christians had finished their hymn, they remained kneeling, motionless, as if petrified, merely repeating in one groaning chorus, “Pro Christo! Pro Christo!” The dogs, catching the odor of people under the skins of beasts, and surprised by their silence, did not rush on them at once. Some stood against the walls of the boxes, as if wishing to go among the spectators; others ran around barking furiously, as though chasing some unseen beast. The people were angry. A thousand voices began to call; some howled like wild beasts; some barked like dogs; others urged them on in every language. The amphitheater was trembling from uproar. The excited dogs began to run to the kneeling people, then to draw back, snapping their teeth, till at last one of the Molossians drove his teeth into the shoulder of a woman kneeling in front, and dragged her under him.
Tens of dogs rushed into the crowd now, as if to break through it. The audience ceased to howl, so as
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