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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“Formerly he felt real reproaches only in so far as he was a coward; now, when he is convinced that the earth is under his feet as before, and that no god is taking vengeance, he feigns them only to move people by his fate. He springs up at night sometimes declaring that the Furies are hunting him; he rouses us, looks around, assumes the posture of an actor playing the role of Orestes, and the posture of a bad actor too; he declaims Greek verses, and looks to see if we are admiring him. We admire him apparently; and instead of saying to him, Go to sleep, thou buffoon! we bring ourselves also to the tone of tragedy, and protect the great artist from the Furies. By Castor! this news at least must have reached thee, that he has appeared in public at Naples. They drove in from the city and the surrounding towns all the Greek ruffians, who filled the arena with such a vile odor of sweat and garlic that I thank the gods that, instead of sitting in the first rows with the Augustians, I was behind the scenes with Ahenobarbus. And wilt thou believe it, he was afraid really! He took my hand and put it to his heart, which was beating with increased pulsation; his breath was short; and at the moment when he had to appear he grew as pale as a parchment, and his forehead was covered with drops of sweat. Still he saw that in every row of seats were pretorians, armed with clubs, to rouse enthusiasm if the need came. But there was no need. No herd of monkeys from the environs of Carthage could howl as did this rabble. I tell thee that the smell of garlic came to the stage; but Nero bowed, pressed his hand to his heart, sent kisses from his lips, and shed tears. Then he rushed in among us, who were waiting behind the scenes, like a drunken man, crying, ‘What were the triumphs of Julius compared with this triumph of mine?’ But the rabble was howling yet and applauding, knowing that it would applaud to itself favors, gifts, banquets, lottery tickets, and a fresh exhibition by the Imperial buffoon. I do not wonder that they applauded, for such a sight had not been seen till that evening. And every moment he repeated: ‘See what the Greeks are! see what the Greeks are!’ From that evening it has seemed to me that his hatred for Rome is increasing. Meanwhile special couriers were hurried to Rome announcing the triumph, and we expect thanks from the Senate one of these days. Immediately after Nero’s first exhibition, a strange event happened here. The theater fell in on a sudden, but just after the audience had gone. I was there, and did not see even one corpse taken from the ruins. Many, even among the Greeks, see in this event the anger of the gods, because the dignity of Caesar was disgraced; he, on the contrary, finds in it favor of the gods, who have his song, and those who listen to it, under their evident protection. Hence there are offerings in all the temples, and great thanks. For Nero it is a great encouragement to make the journey to Achaea. A few days since he told me, however, that he had doubts as to what the Roman people might say; that they might revolt out of love for him, and fear touching the distribution of grain and touching the games, which might fail them in case of his prolonged absence.
“We are going, however, to Beneventum to look at the cobbler magnificence which Vatinius will exhibit, and thence to Greece, under the protection of the divine brothers of Helen. As to me, I have noted one thing, that when a man is among the mad he grows mad himself, and, what is more, finds a certain charm in mad pranks. Greece and the journey in a thousand ships; a kind of triumphal advance of Bacchus among nymphs and bacchantes crowned with myrtle, vine, and honeysuckle; there will be women in tiger skins harnessed to chariots; flowers, thyrses, garlands, shouts of ‘Evoe!’ music, poetry, and applauding Hellas. All this is well; but we cherish besides more daring projects. We wish to create a species of Oriental Imperium—an empire of palm-trees, sunshine, poetry, and reality turned into a dream, reality turned into the delight of life only. We want to forget Rome; to fix the balancing point of the world somewhere between Greece, Asia, and Egypt; to live the life not of men but of gods; not to know what commonness is; to wander in golden galleys under the shadow of purple sails along the Archipelago; to be Apollo, Osiris, and Baal in one person; to be rosy with the dawn, golden with the sun, silver with the moon; to command, to sing, to dream. And wilt thou believe that I, who have still sound judgment to the value of a sestertium, and sense to the value of an as, let myself be borne away by these fantasies, and I do this for the reason that, if they are not possible,
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