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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At sight of him Chilo was twisted into a lump like a wounded snake, and from his mouth came a cry more like cawing than a human voice.
“Glaucus! Glaucus!”
In fact, Glaucus the physician looked down from the burning pillar at him. Glaucus was alive yet. His face expressed pain, and was inclined forward, as if to look closely for the last time at his executioner, at the man who had betrayed him, robbed him of wife and children, set a murderer on him, and who, when all this had been forgiven in the name of Christ, had delivered him to executioners. Never had one person inflicted more dreadful or bloody wrongs on another. Now the victim was burning on the pitched pillar, and the executioner was standing at his feet. The eyes of Glaucus did nor leave the face of the Greek. At moments they were hidden by smoke; but when the breeze blew this away, Chilo saw again those eyes fixed on him. He rose and tried to flee, but had not strength. All at once his legs seemed of lead; an invisible hand seemed to hold him at that pillar with superhuman force. He was petrified. He felt that something was overflowing in him, something giving way; he felt that he had had a surfeit of blood and torture, that the end of his life was approaching, that everything was vanishing, Caesar, the court, the multitude, and around him was only a kind of bottomless, dreadful black vacuum with no visible thing in it, save those eyes of a martyr which were summoning him to judgment. But Glaucus, bending his head lower down, looked at him fixedly. Those present divined that something was taking place between those two men. Laughter died on their lips, however, for in Chilo’s face there was something terrible: such pain and fear had distorted it as if those tongues of fire were burning his body. On a sudden he staggered, and, stretching his arms upward, cried in a terrible and piercing voice—
“Glaucus! in Christ’s name! forgive me!”
It grew silent round about, a quiver ran through the spectators, and all eyes were raised involuntarily.
The head of the martyr moved slightly, and from the top of the mast was heard a voice like a groan—
“I forgive!”
Chilo threw himself on his face, and howled like a wild beast; grasping earth in both hands, he sprinkled it on his head. Meanwhile the flames shot up, seizing the breast and face of Glaucus; they unbound the myrtle crown on his head, and seized the ribbons on the top of the pillar, the whole of which shone with great blazing.
Chilo stood up after a while with face so changed that to the Augustians he seemed another man. His eyes flashed with a light new to him, ecstasy issued from his wrinkled forehead; the Greek, incompetent a short time before, looked now like some priest visited by a divinity and ready to reveal unknown truths.
“What is the matter? Has he gone mad?” asked a number of voices.
But he turned to the multitude, and, raising his right hand, cried, or rather shouted, in a voice so piercing that not only the Augustians but the multitude heard him—
“Roman people! I swear by my death, that innocent persons are perishing here. That is the incendiary!”
And he pointed his finger at Nero.
Then came a moment of silence. The courtiers were benumbed. Chilo continued to stand with outstretched, trembling arm, and with finger pointed at Nero. All at once a tumult arose. The people, like a wave, urged by a sudden whirlwind, rushed toward the old man to look at him more closely. Here and there were heard cries, “Hold!” In another place, “Woe to us!” In the throng a hissing and uproar began. “Ahenobarbus! Matricide! Incendiary!” Disorder increased every instant. The bacchantes screamed in heaven-piercing voices, and began to hide in the chariots. Then some pillars which were burned through, fell, scattered sparks, and increased the confusion. A blind dense wave of people swept away Chilo, and bore him to the depth of the garden.
The pillars began to burn through in every direction and fall across the streets, filling alleys with smoke, sparks, the odor of burnt wood and burnt flesh. The nearer lights died. The gardens began to grow dark. The crowds, alarmed, gloomy, and disturbed, pressed toward the gates. News of what had happened passed from mouth to mouth, distorted and increased. Some said that Caesar had fainted; others that he had confessed, saying that he had given command to burn Rome; others that he had fallen seriously ill; and still others that he had been borne out, as if dead, in the chariot. Here and there were heard voices of sympathy for the Christians: “If they had not burned Rome, why so much blood, torture, and injustice? Will not the gods avenge the innocent, and what piacula can mollify them now?” The words innoxia corpora were repeated oftener and oftener. Women expressed aloud their pity for children thrown in such numbers to wild beasts, nailed to crosses or burned in those cursed gardens! And finally pity was turned into abuse of Caesar and Tigellinus. There were persons, too, who, stopping suddenly, asked themselves or others the question, “What kind of divinity is that which gives such strength to meet torture and death?” And they returned home in meditation.
But Chilo was wandering about in the gardens, not knowing where to go or where to turn. Again he felt himself a weak, helpless, sick old man.
Now he stumbled against partly burnt bodies; now he struck a torch, which sent a shower of sparks
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