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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“Lead us to death!”
Vinicius pressed his nails into his palms, for he felt that he was growing weak, and that presence of mind was deserting him. All that he had felt till then, all his love and pain, changed in him to one desire for death.
Just then near his side was heard the overseer of the “Putrid Pits”—
“How many corpses have ye today?”
“About a dozen,” answered the guardian of the prison, “but there will be more before morning; some are in agony at the walls.”
And he fell to complaining of women who concealed dead children so as to keep them near and not yield them to the “Putrid Pits.” “We must discover corpses first by the odor; through this the air, so terrible already, is spoiled still more. I would rather be a slave in some rural prison than guard these dogs rotting here while alive—”
The overseer of the pits comforted him, saying that his own service was no easier. By this time the sense of reality had returned to Vinicius. He began to search the dungeon; but sought in vain for Lygia, fearing meanwhile that he would never see her alive. A number of cellars were connected by newly made passages; the corpse-bearers entered only those from which corpses were to be carried. Fear seized Vinicius lest that privilege which had cost so much trouble might serve no purpose. Luckily his patron aided him.
“Infection spreads most through corpses,” said he. “Ye must carry out the bodies at once, or die yourselves, together with the prisoners.”
“There are only ten of us for all the cellars,” said the guardian, “and we must sleep.”
“I will leave four men of mine, who will go through the cellars at night to see if these are dead.”
“We will drink tomorrow if thou do that. Everybody must be taken to the test; for an order has come to pierce the neck of each corpse, and then to the ‘Putrid Pits’ at once with it.”
“Very well, but we will drink,” said the overseer.
Four men were selected, and among them Vinicius; the others he took to put the corpses on the biers.
Vinicius was at rest; he was certain now at least of finding Lygia. The young tribune began by examining the first dungeon carefully; he looked into all the dark corners hardly reached by the light of his torch; he examined figures sleeping at the walls under coarse cloths; he saw that the most grievously ill were drawn into a corner apart. But Lygia he found in no place. In a second and third dungeon his search was equally fruitless.
Meanwhile the hour had grown late; all corpses had been carried out. The guards, disposing themselves in the corridors between cellars, were asleep; the children, wearied with crying, were silent; nothing was heard save the breathing of troubled breasts, and here and there the murmur of prayer.
Vinicius went with his torch to the fourth dungeon, which was considerably smaller. Raising the light, he began to examine it, and trembled all at once, for it seemed to him that he saw, near a latticed opening in the wall, the gigantic form of Ursus. Then, blowing out the light, he approached him, and asked—
“Ursus, art thou here?”
“Who art thou?” asked the giant, turning his head.
“Dost not know me?”
“Thou hast quenched the torch; how could I know thee?”
But at that moment Vinicius saw Lygia lying on a cloak near the wall; so, without speaking further, he knelt near her. Ursus recognized him, and said—
“Praise be to Christ! but do not wake her, lord.”
Vinicius, kneeling down, gazed at her through his tears. In spite of the darkness he could distinguish her face, which seemed to him as pale as alabaster, and her emaciated arms. At that sight he was seized by a love which was like a rending pain, a love which shook his soul to its uttermost depth, and which at the same time was so full of pity, respect, and homage that he fell on his face, and pressed to his lips the hem of the cloak on which rested that head dearer to him than all else on earth.
Ursus looked at Vinicius for a long time in silence, but at last he pulled his tunic.
“Lord,” asked he, “how didst thou come, and hast thou come here to save her?”
Vinicius rose, and struggled for a time with his emotion. “Show me the means,” replied he.
“I thought that thou wouldst find them, lord. Only one method came to my head—”
Here he turned toward the grating in the wall, as if in answer to himself, and said—
“In that way—but there are soldiers outside—”
“A hundred pretorians.”
“Then we cannot pass?”
“No!”
The Lygian rubbed his forehead, and asked again—
“How didst thou enter?”
“I have a tessera from the overseer of the ‘Putrid Pits.’ ” Then Vinicius stopped suddenly, as if some idea had flashed through his head.
“By the Passion of the Redeemer,” said he, in a hurried voice, “I will stay here. Let her take my tessera; she can wrap her head in a cloth, cover her shoulders with a mantle, and pass out. Among the slaves who carry out corpses there are several youths
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