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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Every eye was turned with strained gaze to the place where the unfortunate lover was sitting. He was exceedingly pale, and his forehead was covered with drops of sweat; he was in as much doubt as were other spectators, but alarmed to the lowest depth of his soul. Petronius knew not what would happen; he was silent, except that, while turning from Nerva, he asked Vinicius whether he was ready for everything, and next, whether he would remain at the spectacle. To both questions Vinicius answered “Yes,” but a shudder passed through his whole body; he divined that Petronius did not ask without reason. For some time he had lived with only half his life—he had sunk in death, and reconciled himself to Lygia’s death, since for both it was to be liberation and marriage; but he learned now that it was one thing to think of the last moment when it was distant as of a quiet dropping asleep, and another to look at the torment of a person dearer to one than life. All sufferings endured formerly rose in him anew. Despair, which had been set at rest, began again to cry in his soul; the former desire to save Lygia at any price seized him anew. Beginning with the morning, he had tried to go to the cunicula to be sure that she was there; but the pretorians watched every entrance, and orders were so strict that the soldiers, even those whom he knew, would not be softened by prayers or gold. It seemed to the tribune that uncertainty would kill him before he should see the spectacle. Somewhere at the bottom of his heart the hope was still throbbing, that perhaps Lygia was not in the amphitheater, that his fears were groundless. At times he seized on this hope with all his strength. He said in his soul that Christ might take her to Himself out of the prison, but could not permit her torture in the Circus. Formerly he was resigned to the divine will in everything; now, when repulsed from the doors of the cunicula, he returned to his place in the amphitheater, and when he learned, from the curious glances turned on him, that the most dreadful suppositions might be true, he began to implore in his soul with passionateness almost approaching a threat. “Thou canst!” repeated he, clenching his fists convulsively, “Thou canst!” Hitherto he had not supposed that that moment when present would be so terrible. Now, without clear consciousness of what was happening in his mind, he had the feeling that if he should see Lygia tortured, his love for God would be turned to hatred, and his faith to despair. But he was amazed at the feeling, for he feared to offend Christ, whom he was imploring for mercy and miracles. He implored no longer for her life; he wished merely that she should die before they brought her to the arena, and from the abyss of his pain he repeated in spirit: “Do not refuse even this, and I will love Thee still more than hitherto.” And then his thoughts raged as a sea torn by a whirlwind. A desire for blood and vengeance was roused in him. He was seized by a mad wish to rush at Nero and stifle him there in presence of all the spectators; but he felt that desire to be a new offense against Christ, and a breach of His command. To his head flew at times flashes of hope that everything before which his soul was trembling would be turned aside by an almighty and merciful hand; but they were quenched at once, as if in measureless sorrow that He who could destroy that Circus with one word and save Lygia had abandoned her, though she trusted in Him and loved Him with all the strength of her pure heart. And he thought, moreover, that she was lying there in that dark place, weak, defenseless, deserted, abandoned to the whim or disfavor of brutal guards, drawing her last breath, perhaps, while he had to wait, helpless, in that dreadful amphitheater, without knowing what torture was prepared for her, or what he would witness in a moment. Finally, as a man falling over a precipice grasps at everything which grows on the edge of it, so did he grasp with both hands at the thought that faith of itself could save her. That one method remained! Peter had said that faith could move the earth to its foundations.
Hence he rallied; he crushed doubt in himself, he compressed his whole being into the sentence, “I believe,” and he looked for a miracle.
But as an overdrawn cord may break, so exertion broke him. The pallor of death covered his face, and his body relaxed. He thought then that his prayer had been heard, for he was dying. It seemed to him that Lygia must surely die too, and that Christ would take them to Himself in that way. The arena, the white togas, the countless spectators, the light of thousands of lamps and torches, all vanished from his vision.
But his weakness did not last long. After a while he roused himself, or rather the stamping of the impatient multitude roused him.
“Thou art ill,” said Petronius; “give command to bear thee home.”
And without regard to what Caesar would say, he rose to support Vinicius and go out with him. His heart was filled with pity, and, moreover, he was irritated beyond endurance because Caesar was looking through
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