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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Acte screamed; but Atacinus bent low and said—“A greeting, divine Lygia, from Marcus Vinicius, who awaits thee with a feast in his house which is decked in green.”
The lips of the maiden grew pale.
“I go,” said she.
Then she threw her arms around Acte’s neck in farewell.
XThe house of Vinicius was indeed decked in the green of myrtle and ivy, which had been hung on the walls and over the doors. The columns were wreathed with grape vine. In the atrium, which was closed above by a purple woolen cloth as protection from the night cold, it was as clear as in daylight. Eight and twelve flamed lamps were burning; these were like vessels, trees, animals, birds, or statues, holding cups filled with perfumed olive oil, lamps of alabaster, marble, or gilded Corinthian bronze, not so wonderful as that famed candlestick used by Nero and taken from the temple of Apollo, but beautiful and made by famous masters. Some of the lights were shaded by Alexandrian glass, or transparent stuffs from the Indus, of red, blue, yellow, or violet color, so that the whole atrium was filled with many colored rays. Everywhere was given out the odor of nard, to which Vinicius had grown used, and which he had learned to love in the Orient. The depths of the house, in which the forms of male and female slaves were moving, gleamed also with light. In the triclinium a table was laid for four persons. At the feast were to sit, besides Vinicius and Lygia, Petronius and Chrysothemis. Vinicius had followed in everything the words of Petronius, who advised him not to go for Lygia, but to send Atacinus with the permission obtained from Caesar, to receive her himself in the house, receive her with friendliness and even with marks of honor.
“Thou wert drunk yesterday,” said he; “I saw thee. Thou didst act with her like a quarryman from the Alban Hills. Be not over-insistent, and remember that one should drink good wine slowly. Know too that it is sweet to desire, but sweeter to be desired.”
Chrysothemis had her own and a somewhat different opinion on this point; but Petronius, calling her his vestal and his dove, began to explain the difference which must exist between a trained charioteer of the Circus and the youth who sits on the quadriga for the first time. Then, turning to Vinicius, he continued—“Win her confidence, make her joyful, be magnanimous. I have no wish to see a gloomy feast. Swear to her, by Hades even, that thou wilt return her to Pomponia, and it will be thy affair that tomorrow she prefers to stay with thee.”
Then pointing to Chrysothemis, he added—“For five years I have acted thus more or less with this timid dove, and I cannot complain of her harshness.”
Chrysothemis struck him with her fan of peacock feathers, and said—“But I did not resist, thou satyr!”
“Out of consideration for my predecessor—”
“But wert thou not at my feet?”
“Yes; to put rings on thy toes.”
Chrysothemis looked involuntarily at her feet, on the toes of which diamonds were really glittering; and she and Petronius began to laugh. But Vinicius did not give ear to their bantering. His heart was beating unquietly under the robes of a Syrian priest, in which he had arrayed himself to receive Lygia.
“They must have left the palace,” said he, as if in a monologue.
“They must,” answered Petronius. “Meanwhile I may mention the predictions of Apollonius of Tyana, or that history of Rufinus which I have not finished, I do not remember why.”
But Vinicius cared no more for Apollonius of Tyana than for the history of Rufinus. His mind was with Lygia; and though he felt that it was more appropriate to receive her at home than to go in the role of a myrmidon to the palace, he was sorry at moments that he had not gone, for the single reason that he might have seen her sooner, and sat near her in the dark, in the double litter.
Meanwhile slaves brought in a tripod ornamented with rams’ heads, bronze dishes with coals, on which they sprinkled bits of myrrh and nard.
“Now they are turning toward the Carinae,” said Vinicius, again.
“He cannot wait; he will run to meet the litter, and is likely to miss them!” exclaimed Chrysothemis.
Vinicius smiled without thinking, and said—“On the contrary, I will wait.”
But he distended his nostrils and panted; seeing which, Petronius shrugged his shoulders, and said—“There is not in him a philosopher to the value of one sestertium, and I shall never make a man of that son of Mars.”
“They are now in the Carinae.”
In fact, they were turning toward the Carinae. The slaves called lampadarii were in front; others called pedisequi, were on both sides of the litter. Atacinus was right behind, overseeing the advance. But they moved slowly, for lamps showed the way badly in a place not lighted at all. The streets near the palace were empty; here and there only some man moved forward with a lantern, but farther on the place was uncommonly crowded. From almost every alley people were pushing out in threes and fours, all without lamps, all in dark mantles. Some walked on with the procession, mingling with the slaves; others in greater numbers came from the opposite direction. Some staggered as if drunk. At moments the advance grew so difficult that the lampadarii cried—“Give way to the noble tribune, Marcus Vinicius!”
Lygia saw those dark crowds through the curtains which were pushed aside, and trembled with emotion. She was carried away at one moment by hope, at another by fear.
“That is he!—that is Ursus and the Christians! Now it will happen quickly,” said she, with trembling lips. “O Christ, aid! O Christ, save!”
Atacinus himself, who at first did not notice the uncommon animation of the street, began at last to be alarmed. There was something strange in this. The lampadarii had to cry
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