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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“Thou art a real Caesar!” said Chilo. “Permit me, lord, to dedicate my work to thee; but permit also that this evening I come only for the money, since Euricius told me that all the boats had been unloaded, and that new ones would come from Ostia only after some days. Peace be with you! Thus do Christians take farewell of one another. I will buy myself a slave woman—that is, I wanted to say a slave man. Fish are caught with a bait, and Christians with fish. Pax vobiscum! pax! pax! pax!”
XVPetronius to Vinicius:
“I send to thee from Antium, by a trusty slave, this letter, to which, though thy hand is more accustomed to the sword and the javelin than the pen, I think that thou wilt answer through the same messenger without needless delay. I left thee on a good trail, and full of hope; hence I trust that thou hast either satisfied thy pleasant desires in the embraces of Lygia, or wilt satisfy them before the real wintry wind from the summits of Soracte shall blow on the Campania. Oh, my Vinicius! may thy preceptress be the golden goddess of Cyprus; be thou, on thy part, the preceptor of that Lygian Aurora, who is fleeing before the sun of love. And remember always that marble, though most precious, is nothing of itself, and acquires real value only when the sculptor’s hand turns it into a masterpiece. Be thou such a sculptor, carissime! To love is not sufficient; one must know how to love; one must know how to teach love. Though the plebs, too, and even animals, experience pleasure, a genuine man differs from them in this especially, that he makes love in some way a noble art, and, admiring it, knows all its divine value, makes it present in his mind, thus satisfying not his body merely, but his soul. More than once, when I think here of the emptiness, the uncertainty, the dreariness of life, it occurs to me that perhaps thou hast chosen better, and that not Caesar’s court, but war and love, are the only objects for which it is worthwhile to be born and to live.
“Thou wert fortunate in war, be fortunate also in love; and if thou art curious as to what men are doing at the court of Caesar, I will inform thee from time to time. We are living here at Antium, and nursing our heavenly voice; we continue to cherish the same hatred of Rome, and think of betaking ourselves to Baiae for the winter, to appear in public at Naples, whose inhabitants, being Greeks, will appreciate us better than that wolf brood on the banks of the Tiber. People will hasten thither from Baiae, from Pompeii, Puteoli, Cumae, and Stabia; neither applause nor crowns will be lacking, and that will be an encouragement for the proposed expedition to Achaea.
“But the memory of the infant Augusta? Yes! we are bewailing her yet. We are singing hymns of our own composition, so wonderful that the sirens have been hiding from envy in Amphitrite’s deepest caves. But the dolphins would listen to us, were they not prevented by the sound of the sea. Our suffering is not allayed yet; hence we will exhibit it to the world in every form which sculpture can employ, and observe carefully if we are beautiful in our suffering and if people recognize this beauty. Oh, my dear! we shall die buffoons and comedians!
“All the Augustians are here, male and female, not counting ten thousand servants, and five hundred she asses, in whose milk Poppaea bathes. At times even it is cheerful here. Calvia Crispinilla is growing old. It is said that she has begged Poppaea to let her take the bath immediately after herself. Lucan slapped Nigidia on the face, because he suspected her of relations with a gladiator. Sporus lost his wife at dice to Senecio. Torquatus Silanus has offered me for Eunice four chestnut horses, which this year will win the prize beyond doubt. I would not accept! Thanks to thee, also, that thou didst not take her. As to Torquatus Silanus, the poor man does not even suspect that he is already more a shade than a man. His death is decided. And knowest what his crime is? He is the great-grandson of the deified Augustus. There is no rescue for him. Such is our world.
“As is known to thee, we have been expecting Tiridates here; meanwhile Vologeses has written an offensive letter. Because he has conquered Armenia, he asks that it be left to him for Tiridates; if not, he will not yield it in any case. Pure comedy! So we have decided on war. Corbulo will receive power such as Pompeius Magnus received in the war with pirates. There was a moment, however, when Nero hesitated. He seems afraid of the glory which Corbulo will win in case of victory. It was even thought to offer the chief command to our Aulus. This was opposed by Poppaea, for whom evidently Pomponia’s virtue is as salt in the eye.
“Vatinius described to us a remarkable fight of gladiators, which is to take place in Beneventum. See to what cobblers rise in our time, in spite of the saying, ‘Ne sutor ultra crepidam!’ Vitellius is the descendant of a cobbler; but Vatinius is the son of one! Perhaps he drew thread himself! The actor Aliturus represented Oedipus yesterday wonderfully. I asked him, by the way, as a Jew, if Christians and Jews were the same. He answered that the
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