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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Vinicius shook his head. He might die in that amphitheater, but he could not go out of it. Moreover the spectacle might begin any moment.
In fact, at that very instant almost, the prefect of the city waved a red handkerchief, the hinges opposite Caesar’s podium creaked, and out of the dark gully came Ursus into the brightly lighted arena.
The giant blinked, dazed evidently by the glitter of the arena; then he pushed into the center, gazing around as if to see what he had to meet. It was known to all the Augustians and to most of the spectators that he was the man who had stifled Croton; hence at sight of him a murmur passed along every bench. In Rome there was no lack of gladiators larger by far than the common measure of man, but Roman eyes had never seen the like of Ursus. Cassius, standing in Caesar’s podium, seemed puny compared with that Lygian. Senators, vestals, Caesar, the Augustians, and the people gazed with the delight of experts at his mighty limbs as large as tree-trunks, at his breast as large as two shields joined together, and his arms of a Hercules. The murmur rose every instant. For those multitudes there could be no higher pleasure than to look at those muscles in play in the exertion of a struggle. The murmur rose to shouts, and eager questions were put: “Where do the people live who can produce such a giant?” He stood there, in the middle of the amphitheater, naked, more like a stone colossus than a man, with a collected expression, and at the same time the sad look of a barbarian; and while surveying the empty arena, he gazed wonderingly with his blue childlike eyes, now at the spectators, now at Caesar, now at the grating of the cunicula, whence, as he thought, his executioners would come.
At the moment when he stepped into the arena his simple heart was beating for the last time with the hope that perhaps a cross was waiting for him; but when he saw neither the cross nor the hole in which it might be put, he thought that he was unworthy of such favor—that he would find death in another way, and surely from wild beasts. He was unarmed, and had determined to die as became a confessor of the “Lamb,” peacefully and patiently. Meanwhile he wished to pray once more to the Saviour; so he knelt on the arena, joined his hands, and raised his eyes toward the stars which were glittering in the lofty opening of the amphitheater.
That act displeased the crowds. They had had enough of those Christians who died like sheep. They understood that if the giant would not defend himself the spectacle would be a failure. Here and there hisses were heard. Some began to cry for scourgers, whose office it was to lash combatants unwilling to fight. But soon all had grown silent, for no one knew what was waiting for the giant, nor whether he would not be ready to struggle when he met death eye to eye.
In fact, they had not long to wait. Suddenly the shrill sound of brazen trumpets was heard, and at that signal a grating opposite Caesar’s podium was opened, and into the arena rushed, amid shouts of beast-keepers, an enormous German aurochs, bearing on his head the naked body of a woman.
“Lygia! Lygia!” cried Vinicius.
Then he seized his hair near the temples, squirmed like a man who feels a sharp dart in his body, and began to repeat in hoarse accents—
“I believe! I believe! O Christ, a miracle!”
And he did not even feel that Petronius covered his head that moment with the toga. It seemed to him that death or pain had closed his eyes. He did not look, he did not see. The feeling of some awful emptiness possessed him. In his head there remained not a thought; his lips merely repeated, as if in madness—
“I believe! I believe! I believe!”
This time the amphitheater was silent. The Augustians rose in their places, as one man, for in the arena something uncommon had happened. That Lygian, obedient and ready to die, when he saw his queen on the horns of the wild beast, sprang up, as if touched by living fire, and bending forward he ran at the raging animal.
From all breasts a sudden cry of amazement was heard, after which came deep silence.
The Lygian fell on the raging bull in a twinkle, and seized him by the horns.
“Look!” cried Petronius, snatching the toga from the head of Vinicius. The latter rose and bent back his head; his face was as pale as linen, and he looked into the arena with a glassy, vacant stare.
All breasts ceased to breathe. In the amphitheater a fly might be heard on the wing. People could not believe their own eyes. Since Rome was Rome, no one had seen such a spectacle.
The Lygian held the wild beast by the horns. The man’s feet sank in the sand to his ankles, his back was bent like a drawn bow, his head was hidden between his shoulders, on his arms the muscles came out so that the skin almost burst from their pressure; but he had stopped the bull in his tracks. And the man and the beast remained so still that the spectators thought themselves looking at a picture showing a deed of Hercules or Theseus, or a group hewn from stone. But in that apparent repose there was a tremendous exertion of two struggling forces. The bull sank his feet as well as did the man in the sand, and his dark, shaggy body was curved so that it seemed a gigantic ball. Which of the two would fail first, which would fall first—that was the question for those spectators enamored of such struggles; a
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