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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But the number of the legions guarding Roman peace did not pacify Domitius.
No, no! Rome must perish; for faith in the gods was lost, and so were strict habits! Rome must perish; and it was a pity, for still life was pleasant there. Caesar was gracious, wine was good! Oh, what a pity!
And hiding his head on the arm of a Syrian bacchanal, he burst into tears. “What is a future life! Achilles was right—better be a slave in the world beneath the sun than a king in Cimmerian regions. And still the question whether there are any gods—since it is unbelief—is destroying the youth.”
Lucan meanwhile had blown all the gold powder from Nigidia’s hair, and she being drunk had fallen asleep. Next he took wreaths of ivy from the vase before him, put them on the sleeping woman, and when he had finished looked at those present with a delighted and inquiring glance. He arrayed himself in ivy too, repeating, in a voice of deep conviction, “I am not a man at all, but a faun.”
Petronius was not drunk; but Nero, who drank little at first, out of regard for his “heavenly” voice, emptied goblet after goblet toward the end, and was drunk. He wanted even to sing more of his verses—this time in Greek—but he had forgotten them, and by mistake sang an ode of Anacreon. Pythagoras, Diodorus, and Terpnos accompanied him; but failing to keep time, they stopped. Nero as a judge and an aesthete was enchanted with the beauty of Pythagoras, and fell to kissing his hands in ecstasy. “Such beautiful hands I have seen only once, and whose were they?” Then placing his palm on his moist forehead, he tried to remember. After a while terror was reflected on his face.
Ah! His mother’s—Agrippina’s!
And a gloomy vision seized him forthwith.
“They say,” said he, “that she wanders by moonlight on the sea around Baiae and Bauli. She merely walks—walks as if seeking for something. When she comes near a boat, she looks at it and goes away; but the fisherman on whom she has fixed her eye dies.”
“Not a bad theme,” said Petronius.
But Vestinius, stretching his neck like a stork, whispered mysteriously—“I do not believe in the gods; but I believe in spirits—Oi!”
Nero paid no attention to their words, and continued—“I celebrated the Lemuria, and have no wish to see her. This is the fifth year—I had to condemn her, for she sent assassins against me; and, had I not been quicker than she, ye would not be listening tonight to my song.”
“Thanks be to Caesar, in the name of the city and the world!” cried Domitius Afer.
“Wine! and let them strike the tympans!”
The uproar began anew. Lucan, all in ivy, wishing to outshout him, rose and cried—“I am not a man, but a faun; and I dwell in the forest. Eho-o-o-oo!” Caesar drank himself drunk at last; men were drunk, and women were drunk. Vinicius was not less drunk than others; and in addition there was roused in him, besides desire, a wish to quarrel, which happened always when he passed the measure. His dark face became paler, and his tongue stuttered when he spoke, in a voice now loud and commanding—“Give me thy lips! Today, tomorrow, it is all one! Enough of this!
“Caesar took thee from Aulus to give thee to me, dost understand? Tomorrow, about dusk, I will send for thee, dost understand? Caesar promised thee to me before he took thee. Thou must be mine! Give me thy lips! I will not wait for tomorrow—give thy lips quickly.”
And he moved to embrace her; but Acte began to defend her, and she defended herself with the remnant of her strength, for she felt that she was perishing. But in vain did she struggle with both hands to remove his hairless arm; in vain, with a voice in which terror and grief were quivering, did she implore him not to be what he was, and to have pity on her. Sated with wine, his breath blew around her nearer and nearer, and his face was there near her face. He was no longer the former kind Vinicius, almost dear to her soul; he was a drunken, wicked satyr, who filled her with repulsion and terror. But her strength deserted her more and more. In vain did she bend and turn away her face to escape his kisses. He rose to his feet, caught her in both arms, and drawing her head to his breast, began, panting, to press her pale lips with his.
But at this instant a tremendous power removed his arms from her neck with as much ease as if they had been the arms of a child, and pushed him aside, like a dried limb or a withered leaf. What had happened? Vinicius rubbed his astonished eyes, and saw before him the gigantic figure of the Lygian, called Ursus, whom he had seen at the house of Aulus.
Ursus stood calmly, but looked at Vinicius so strangely with his blue eyes that the blood stiffened in the veins of the young man; then the giant took his queen on his arm, and walked out of the triclinium with an even, quiet step.
Acte in that moment went after him.
Vinicius sat for the twinkle of an eye as if petrified; then he sprang up and ran toward the entrance crying—“Lygia! Lygia!”
But desire, astonishment, rage, and wine cut the legs from under him. He staggered once and a second time, seized the naked arm of one of the bacchanals, and began to inquire, with blinking eyes, what had happened. She, taking a goblet of
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