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, first of all, he was unwilling and unable to be reconciled with fate, for never in life had he so desired anything as Lygia. It seemed to him that he could not exist without her. He could not tell himself what he was to do without her on the morrow, how he was to survive the days following. At moments he was transported by a rage against her, which approached madness. He wanted to have her, to beat her, to drag her by the hair to the cubiculum, and gloat over her; then, again, he was carried away by a terrible yearning for her voice, her form, her eyes, and he felt that he would be ready to lie at her feet. He called to her, gnawed his fingers, clasped his head with his hands. He strove with all his might to think calmly about searching for her—and was unable. A thousand methods and means flew through his head, but one wilder than another. At last the thought flashed on him that no one else had intercepted her but Aulus, that in every case Aulus must know where she was hiding. And he sprang up to run to the house of Aulus.
If they will not yield her to him, if they have no fear of his threats, he will go to Caesar, accuse the old general of disobedience, and obtain a sentence of death against him; but before that, he will gain from them a confession of where Lygia is. If they give her, even willingly, he will be revenged. They received him, it is true, in their house and nursed him—but that is nothing! With this one injustice they have freed him from every debt of gratitude. Here his vengeful and stubborn soul began to take pleasure at the despair of Pomponia Graecina, when the centurion would bring the death sentence to old Aulus. He was almost certain that he would get it. Petronius would assist him. Moreover, Caesar never denies anything to his intimates, the Augustians, unless personal dislike or desire enjoins a refusal.
Suddenly his heart almost died within him, under the influence of this terrible supposition—“But if Caesar himself has taken Lygia?”
All knew that Nero from tedium sought recreation in night attacks. Even Petronius took part in these amusements. Their main object was to seize women and toss each on a soldier’s mantle till she fainted. Even Nero himself on occasions called these expeditions “pearl hunts,” for it happened that in the depth of districts occupied by a numerous and needy population they caught a real pearl of youth and beauty sometimes. Then the sagatio, as they termed the tossing, was changed into a genuine carrying away, and the pearl was sent either to the Palatine or to one of Caesar’s numberless villas, or finally Caesar yielded it to one of his intimates. So might it happen also with Lygia. Caesar had seen her during the feast; and Vinicius doubted not for an instant that she must have seemed to him the most beautiful woman he had seen yet. How could it be otherwise? It is true that Lygia had been in Nero’s own house on the Palatine, and he might have kept her openly. But, as Petronius said truly, Caesar had no courage in crime, and, with power to act openly, he chose to act always in secret. This time fear of Poppaea might incline him also to secrecy. It occurred now to the young soldier that Aulus would not have dared, perhaps, to carry off forcibly a girl given him, Vinicius, by Caesar. Besides, who would dare? Would that gigantic blue-eyed Lygian, who had the courage to enter the triclinium and carry her from the feast on his arm? But where could he hide with her; whither could he take her? No! a slave would not have ventured that far. Hence no one had done the deed except Caesar.
At this thought it grew dark in his eyes, and drops of sweat covered his forehead. In that case Lygia was lost to him forever. It was possible to wrest her from the hands of anyone else, but not from the hands of Caesar. Now, with greater truth than ever, could he exclaim, “Vae misero mihi!” His imagination represented Lygia in Nero’s arms, and, for the first time in life, he understood that there are thoughts which are simply beyond man’s endurance. He knew then, for the first time, how he loved her. As his whole life flashes through the memory of a drowning man, so Lygia began to pass through his. He saw her, heard every word of hers—saw her at the fountain, saw her at the house of Aulus, and at the feast; felt her near him, felt the odor of her hair, the warmth of her body, the delight of the kisses which at the feast he had pressed on her innocent lips. She seemed to him a hundred times sweeter, more beautiful, more desired than ever—a hundred times more the only one, the one chosen from among all mortals and divinities. And when he thought that all this which had become so fixed in his heart, which had become his blood and life, might be possessed by Nero, a pain seized him, which was purely physical, and so piercing that he wanted to beat his head against the wall of the atrium, until he should break it. He felt that he might go mad; and he would have gone mad beyond doubt, had not vengeance remained to him. But
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