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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“He wished to turn suspicion from himself. If he knew not what happened, he would have come to seek Lygia in my house.”
“He left a few words on a tablet, from which thou wilt see that, knowing Lygia to have been taken from his house by Caesar, at thy request and that of Petronius, he expected that she would be sent to thee, and this morning early he was at thy house, where they told him what had happened.”
When she had said this, she went to the cubiculum and returned soon with the tablet which Aulus had left.
Vinicius read the tablet, and was silent; Acte seemed to read the thoughts on his gloomy face, for she said after a while—“No, Marcus. That has happened which Lygia herself wished.”
“It was known to thee that she wished to flee!” burst out Vinicius.
“I knew that she would not become thy concubine.” And she looked at him with her misty eyes almost sternly.
“And thou—what hast thou been all thy life?”
“I was a slave, first of all.”
But Vinicius did not cease to be enraged. Caesar had given him Lygia; hence he had no need to inquire what she had been before. He would find her, even under the earth, and he would do what he liked with her. He would indeed! She should be his concubine. He would give command to flog her as often as he pleased. If she grew distasteful to him, he would give her to the lowest of his slaves, or he would command her to turn a hand mill on his lands in Africa. He would seek her out now, and find her only to bend her, to trample on her, and conquer her.
And, growing more and more excited, he lost every sense of measure, to the degree that even Acte saw that he was promising more than he could execute; that he was talking because of pain and anger. She might have had even compassion on him, but his extravagance exhausted her patience, and at last she inquired why he had come to her.
Vinicius did not find an answer immediately. He had come to her because he wished to come, because he judged that she would give him information; but really he had come to Caesar, and, not being able to see him, he came to her. Lygia, by fleeing, opposed the will of Caesar; hence he would implore him to give an order to search for her throughout the city and the empire, even if it came to using for that purpose all the legions, and to ransacking in turn every house within Roman dominion. Petronius would support his prayer, and the search would begin from that day.
“Have a care,” answered Acte, “lest thou lose her forever the moment she is found, at command of Caesar.”
Vinicius wrinkled his brows. “What does that mean?” inquired he.
“Listen to me, Marcus. Yesterday Lygia and I were in the gardens here, and we met Poppaea, with the infant Augusta, borne by an African woman, Lilith. In the evening the child fell ill, and Lilith insists that she was bewitched; that that foreign woman whom they met in the garden bewitched her. Should the child recover, they will forget this, but in the opposite case Poppaea will be the first to accuse Lygia of witchcraft, and wherever she is found there will be no rescue for her.”
A moment of silence followed; then Vinicius said—“But perhaps she did bewitch her, and has bewitched me.”
“Lilith repeats that the child began to cry the moment she carried her past us. And really the child did begin to cry. It is certain that she was sick when they took her out of the garden. Marcus, seek for Lygia whenever it may please thee, but till the infant Augusta recovers, speak not of her to Caesar, or thou wilt bring on her Poppaea’s vengeance. Her eyes have wept enough because of thee already, and may all the gods guard her poor head.”
“Dost thou love her, Acte?” inquired Vinicius, gloomily.
“Yes, I love her.” And tears glittered in the eyes of the freedwoman.
“Thou lovest her because she has not repaid thee with hatred, as she has me.”
Acte looked at him for a time as if hesitating, or as if wishing to learn if he spoke sincerely; then she said—“O blind and passionate man—she loved thee.”
Vinicius sprang up under the influence of those words, as if possessed. “It is not true.”
She hated him. How could Acte know? Would Lygia make a confession to her after one day’s acquaintance? What love is that which prefers wandering, the disgrace of poverty, the uncertainty of tomorrow, or a shameful death even, to a wreath-bedecked house, in which a lover is waiting with a feast? It is better for him not to hear such things, for he is ready to go mad. He would not have given that girl for all Caesar’s treasures, and she fled. What kind of love is that which dreads delight and gives pain? Who can understand it? Who can fathom it? Were it not for the hope that he should find her, he would sink a sword in himself. Love surrenders; it does not take away. There were moments at the house of Aulus when he himself believed in near happiness, but now he knows that she hated him, that she hates him, and will die with hatred in her heart.
But Acte, usually mild and timid, burst forth in her turn with indignation. How had he tried to win Lygia? Instead of bowing before Aulus and Pomponia to get her, he took the child away from her parents by stratagem. He wanted to make, not a wife, but a concubine of her, the foster daughter of an honorable house, and the daughter of a king. He had her brought to this abode of crime and infamy; he defiled her innocent eyes with the sight of a shameful feast; he
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