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 Chilo did not appear for some time, and Vinicius knew not at last what to think of his absence. In vain he repeated to himself that searching, if continued to a certain and successful issue, must be gradual. His blood and impulsive nature rebelled against the voice of judgment. To do nothing, to wait, to sit with folded arms, was so repulsive to him that he could not be reconciled to it in any way. To search the alleys of the city in the dark garb of a slave, through this alone, that it was useless, seemed to him merely a mask for his own inefficiency, and could give no satisfaction. His freedmen, persons of experience, whom he commanded to search independently, turned out a hundred times less expert than Chilo. Meanwhile there rose in him, besides his love for Lygia, the stubbornness of a player resolved to win. Vinicius had been always a person of this kind. From earliest youth he had accomplished what he desired with the passionateness of one who does not understand failure, or the need of yielding something. For a time military discipline had put his self-will within bounds, but also it had engrafted into him the conviction that every command of his to subordinates must be fulfilled; his prolonged stay in the Orient, among people pliant and inured to slavish obedience, confirmed in him the faith that for his “I wish” there were no limits. At present his vanity, too, was wounded painfully. There was, besides, in Lygia’s opposition and resistance, and in her flight itself, which was to him incomprehensible, a kind of riddle. In trying to solve this riddle he racked his head terribly. He felt that Acte had told the truth, and that Lygia was not indifferent. But if this were true, why had she preferred wandering and misery to his love, his tenderness, and a residence in his splendid mansion? To this question he found no answer, and arrived only at a kind of dim understanding that between him and Lygia, between their ideas, between the world which belonged to him and Petronius, and the world of Lygia and Pomponia, there existed some sort of difference, some kind of misunderstanding as deep as an abyss, which nothing could fill up or make even. It seemed to him, then, that he must lose Lygia; and at this thought he lost the remnant of balance which Petronius wished to preserve in him. There were moments in which he did not know whether he loved Lygia or hated her; he understood only that he must find her, and he would rather that the earth swallowed her than that he should not see and possess her. By the power of imagination he saw her as clearly at times as if she had been before his face. He recalled every word which he had spoken to her; every word which he had heard from her. He felt her near; felt her on his bosom, in his arms; and then desire embraced him like a flame. He loved her and called to her.
And when he thought that he was loved, that she might do with willingness all that he wished of her, sore and endless sorrow seized him, and a kind of deep tenderness flooded his heart, like a mighty wave. But there were moments, too, in which he grew pale from rage, and delighted in thoughts of the humiliation and tortures which he would inflict on Lygia when he found her. He wanted not only to have her, but to have her as a trampled slave. At the same time he felt that if the choice were left him, to be her slave or not to see her in life again, he would rather be her slave. There were days in which he thought of the marks which the lash would leave on her rosy body, and at the same time he wanted to kiss those marks. It came to his head also that he would be happy if he could kill her.
In this torture, torment, uncertainty, and suffering, he lost health, and even beauty. He became a cruel and incomprehensible master. His slaves, and even his freedmen, approached him with trembling; and when punishments fell on them causelessly—punishments as merciless as undeserved—they began to hate him in secret; while he, feeling this, and feeling his own isolation, took revenge all the more on them. He restrained himself with Chilo alone, fearing lest he might cease his searches; the Greek, noting this, began to gain control of him, and grew more and more exacting. At first he assured Vinicius at each visit that the affair would proceed easily and quickly; now he began to discover difficulties, and without ceasing, it is true, to guarantee the undoubted success of the searches, he did not hide the fact that they must continue yet for a good while.
At last he came, after long days of waiting, with a face so gloomy that the young man grew pale at sight of him, and springing up had barely strength to ask—“Is she not among the Christians?” “She is, lord,” answered Chilo; “but I found Glaucus among them.” “Of what art thou speaking, and who is Glaucus?” “Thou hast forgotten, lord, it seems, that old man with whom I journeyed from Naples to Rome, and in whose defense I lost these two fingers—a loss which prevents me from writing. Robbers, who bore away his wife and child, stabbed him with a knife. I left him dying at an inn in Minturnae, and bewailed him long. Alas! I have convinced myself that he is alive
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