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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Among the new victims whose turn was to come soon was Crispus. The lions had not had time to rend him; hence he was appointed to the cross. He, ready at all times for death, was delighted with the thought that his hour was approaching. He seemed another man, for his emaciated body was wholly naked—only a girdle of ivy encircled his hips, on his head was a garland of roses. But in his eyes gleamed always that same exhaustless energy; that same fanatical stern face gazed from beneath the crown of roses. Neither had his heart changed; for, as once in the cuniculum he had threatened with the wrath of God his brethren sewed up in the skins of wild beasts, so today he thundered in place of consoling them.
“Thank the Redeemer,” said Crispus, “that He permits you to die the same death that He Himself died. Maybe a part of your sins will be remitted for this cause; but tremble, since justice must be satisfied, and there cannot be one reward for the just and the wicked.”
His words were accompanied by the sound of the hammers nailing the hands and feet of victims. Every moment more crosses were raised on the arena; but he, turning to the crowd standing each man by his own cross, continued—
“I see heaven open, but I see also the yawning abyss. I know not what account of my life to give the Lord, though I have believed, and hated evil. I fear, not death, but resurrection; I fear, not torture, but judgment, for the day of wrath is at hand.”
At that moment was heard from between the nearest rows some voice, calm and solemn—
“Not the day of wrath, but of mercy, the day of salvation and happiness; for I say that Christ will gather you in, will comfort you and seat you at His right hand. Be confident, for heaven is opening before you.”
At these words all eyes were turned to the benches; even those who were hanging on the crosses raised their pale, tortured faces, and looked toward the man who was speaking.
But he went to the barrier surrounding the arena, and blessed them with the sign of the cross.
Crispus stretched out his arm as if to thunder at him; but when he saw the man’s face, he dropped his arm, the knees bent under him, and his lips whispered, “Paul the Apostle!”
To the great astonishment of the servants of the Circus, all of those who were not nailed to the crosses yet knelt down. Paul turned to Crispus and said—
“Threaten them not, Crispus, for this day they will be with thee in paradise. It is thy thought that they may be condemned. But who will condemn?
“Will God, who gave His Son for them? Will Christ, who died for their salvation, condemn when they die for His name? And how is it possible that He who loves can condemn? Who will accuse the chosen of God? Who will say of this blood, ‘It is cursed’?”
“I have hated evil,” said the old priest.
“Christ’s command to love men was higher than that to hate evil, for His religion is not hatred, but love.”
“I have sinned in the hour of death,” answered Crispus, beating his breast. The manager of the seats approached the Apostle, and inquired—
“Who art thou, speaking to the condemned?”
“A Roman citizen,” answered Paul, calmly. Then, turning to Crispus, he said: “Be confident, for today is a day of grace; die in peace, O servant of God.”
The black men approached Crispus at that moment to place him on the cross; but he looked around once again, and cried—
“My brethren, pray for me!”
His face had lost its usual sternness; his stony features had taken an expression of peace and sweetness. He stretched his arms himself along the arms of the cross, to make the work easier, and, looking directly into heaven, began to pray earnestly. He seemed to feel nothing; for when the nails entered his hands, not the least quiver shook his body, nor on his face did there appear any wrinkle of pain. He prayed when they raised the cross and trampled the earth around it. Only when crowds began to fill the amphitheater with shouts and laughter did his brows frown somewhat, as if in anger that a pagan people were disturbing the calm and peace of a sweet death.
But all the crosses had been raised, so that in the arena there stood as it were a forest, with people hanging on the trees. On the arms of the crosses and on the heads of the martyrs fell the gleam of the sun; but on the arena was a deep shadow, forming a kind of black involved grating through which glittered the golden sand. That was a spectacle in which the whole delight of the audience consisted in looking at a lingering death. Never before had men seen such a density of crosses. The arena was packed so closely that the servants squeezed between them only with effort. On the edges were women especially; but Crispus, as a leader, was raised almost in front of Caesar’s podium, on an immense cross, wreathed below with honeysuckle. None of the victims had died yet, but some of those fastened earlier had fainted. No one groaned; no one called for mercy. Some were hanging with head inclined on one arm, or dropped on the breast, as if seized by sleep; some were as if in meditation; some, looking toward heaven, were moving their lips quietly. In this terrible forest of crosses, among those crucified bodies, in that silence of victims there was something ominous. The people who, filled by the feast and gladsome, had returned to the Circus with shouts, became silent, not knowing on which body to rest their eyes, or what to think of the
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