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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“Lygia, dost thou wish me to go directly to Vinicius, rouse him, if he is sleeping, and tell him what I have told thee? Yes, my precious one, I will go to him and say, ‘Vinicius, this is a king’s daughter, and a dear child of the famous Aulus; if thou love her, return her to Aulus and Pomponia, and take her as wife from their house.’ ”
But the maiden answered with a voice so low that Acte could barely hear it—
“I would rather flee to the Lygians.” And two tears were hanging on her drooping lids.
Further conversation was stopped by the rustle of approaching steps, and before Acte had time to see who was coming, Poppaea Sabina appeared in front of the bench with a small retinue of slave women. Two of them held over her head bunches of ostrich feathers fixed to golden wires; with these they fanned her lightly, and at the same time protected her from the autumn sun, which was hot yet. Before her a woman from Egypt, black as ebony, and with bosom swollen as if from milk, bore in her arms an infant wrapped in purple fringed with gold. Acte and Lygia rose, thinking that Poppaea would pass the bench without turning attention to either; but she halted before them and said—“Acte, the bells sent by thee for the doll were badly fastened; the child tore off one and put it to her mouth; luckily Lilith saw it in season.”
“Pardon, divinity,” answered Acte, crossing her arms on her breast and bending her head.
But Poppaea began to gaze at Lygia.
“What slave is this?” asked she, after a pause.
“She is not a slave, divine Augusta, but a foster child of Pomponia Graecina, and a daughter of the Lygian king given by him as hostage to Rome.”
“And has she come to visit thee?”
“No, Augusta. She is dwelling in the palace since the day before yesterday.”
“Was she at the feast last night?”
“She was, Augusta.”
“At whose command?”
“At Caesar’s command.”
Poppaea looked still more attentively at Lygia, who stood with bowed head, now raising her bright eyes to her with curiosity, now covering them with their lids. Suddenly a frown appeared between the brows of the Augusta. Jealous of her own beauty and power, she lived in continual alarm lest at some time a fortunate rival might ruin her, as she had ruined Octavia. Hence every beautiful face in the palace roused her suspicion. With the eye of a critic she took in at once every part of Lygia’s form, estimated every detail of her face, and was frightened. “That is simply a nymph,” thought she, “and ’twas Venus who gave birth to her.” On a sudden this came to her mind which had never come before at sight of any beauty—that she herself had grown notably older! Wounded vanity quivered in Poppaea, alarm seized her, and various fears shot through her head. “Perhaps Nero has not seen the girl, or, seeing her through the emerald, has not appreciated her. But what would happen should he meet such a marvel in the daytime, in sunlight? Moreover she is not a slave, she is the daughter of a king—a king of barbarians, it is true, but a king. Immortal gods! she is as beautiful as I am, but younger!” The wrinkle between her brows increased, and her eyes began to shine under their golden lashes with a cold gleam.
“Hast thou spoken with Caesar?”
“No, Augusta.”
“Why dost thou choose to be here rather than in the house of Aulus?”
“I do not choose, lady. Petronius persuaded Caesar to take me from Pomponia. I am here against my will.”
“And wouldst thou return to Pomponia?”
This last question Poppaea gave with a softer and milder voice; hence a sudden hope rose in Lygia’s heart.
“Lady,” said she, extending her hand to her, “Caesar promised to give me as a slave to Vinicius, but do thou intercede and return me to Pomponia.”
“Then Petronius persuaded Caesar to take thee from Aulus, and give thee to Vinicius?”
“True, lady. Vinicius is to send for me today, but thou art good, have compassion on me.” When she had said this, she inclined, and, seizing the border of Poppaea’s robe, waited for her word with beating heart. Poppaea looked at her for a while, with a face lighted by an evil smile, and said—“Then I promise that thou wilt become the slave of Vinicius this day.” And she went on, beautiful as a vision, but evil. To the ears of Lygia and Acte came only the wail of the infant, which began to cry, it was unknown for what reason.
Lygia’s eyes too were filled with tears; but after a while she took Acte’s hand and said—“Let us return. Help is to be looked for only whence it can come.” And they returned to the atrium, which they did not leave till evening.
When darkness had come and slaves brought in tapers with great flames, both women were very pale. Their conversation failed every moment. Both were listening to hear if someone were coming. Lygia repeated again and again that, though grieved to leave Acte, she preferred that all should take place that day, as Ursus must be waiting in the dark for her then. But her breathing grew quicker from emotion, and louder. Acte collected feverishly such jewels as she could, and, fastening them in a corner of Lygia’s peplus, implored her not to reject that gift and means of escape. At moments came a deep silence full of deceptions for the ear. It seemed to both that they heard at one time a whisper beyond the curtain, at another the distant weeping of a child, at another the barking of dogs.
Suddenly the curtain of the entrance moved without noise, and a tall, dark man, his face marked with smallpox, appeared like a spirit in the atrium. In one moment Lygia recognized Atacinus, a freedman of Vinicius, who had visited the house
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