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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Eyes turned upward seemed to see someone far above, there on high, and outstretched hands seemed to implore him to descend. When the hymn ceased, there followed a moment as it were of suspense—so impressive that Vinicius and his companions looked unwittingly toward the stars, as if in dread that something uncommon would happen, and that someone would really descend to them.
Vinicius had seen a multitude of temples of most various structure in Asia Minor, in Egypt, and in Rome itself; he had become acquainted with a multitude of religions, most varied in character, and had heard many hymns; but here, for the first time, he saw people calling on a divinity with hymns—not to carry out a fixed ritual, but calling from the bottom of the heart, with the genuine yearning which children might feel for a father or a mother. One had to be blind not to see that those people not merely honored their God, but loved him with the whole soul. Vinicius had not seen the like, so far, in any land, during any ceremony, in any sanctuary; for in Rome and in Greece those who still rendered honor to the gods did so to gain aid for themselves or through fear; but it had not even entered anyone’s head to love those divinities.
Though his mind was occupied with Lygia, and his attention with seeking her in the crowd, he could not avoid seeing those uncommon and wonderful things which were happening around him. Meanwhile a few more torches were thrown on the fire, which filled the cemetery with ruddy light and darkened the gleam of the lanterns. That moment an old man, wearing a hooded mantle but with a bare head, issued from the hypogeum. This man mounted a stone which lay near the fire.
The crowd swayed before him. Voices near Vinicius whispered, “Peter! Peter!” Some knelt, others extended their hands toward him. There followed a silence so deep that one heard every charred particle that dropped from the torches, the distant rattle of wheels on the Via Nomentana, and the sound of wind through the few pines which grew close to the cemetery.
Chilo bent toward Vinicius and whispered—“This is he! The foremost disciple of Christ—a fisherman!”
The old man raised his hand, and with the sign of the cross blessed those present, who fell on their knees simultaneously. Vinicius and his attendants, not wishing to betray themselves, followed the example of others. The young man could not seize his impressions immediately, for it seemed to him that the form which he saw there before him was both simple and uncommon, and, what was more, the uncommonness flowed just from the simplicity. The old man had no miter on his head, no garland of oak-leaves on his temples, no palm in his hand, no golden tablet on his breast, he wore no white robe embroidered with stars; in a word, he bore no insignia of the kind worn by priests—Oriental, Egyptian, or Greek—or by Roman flamens. And Vinicius was struck by that same difference again which he felt when listening to the Christian hymns; for that “fisherman,” too, seemed to him, not like some high priest skilled in ceremonial, but as it were a witness, simple, aged, and immensely venerable, who had journeyed from afar to relate a truth which he had seen, which he had touched, which he believed as he believed in existence, and he had come to love this truth precisely because he believed it. There was in his face, therefore, such a power of convincing as truth itself has. And Vinicius, who had been a skeptic, who did not wish to yield to the charm of the old man, yielded, however, to a certain feverish curiosity to know what would flow from the lips of that companion of the mysterious “Christus,” and what that teaching was of which Lygia and Pomponia Graecina were followers.
Meanwhile Peter began to speak, and he spoke from the beginning like a father instructing his children and teaching them how to live. He enjoined on them to renounce excess and luxury, to love poverty, purity of life, and truth, to endure wrongs and persecutions patiently, to obey the government and those placed above them, to guard against treason, deceit, and calumny; finally, to give an example in their own society to each other, and even to pagans.
Vinicius, for whom good was only that which could bring back to him Lygia, and evil everything which stood as a barrier between them, was touched and angered by certain of those counsels. It seemed to him that by enjoining purity and a struggle with desires the old man dared, not only to condemn his love, but to rouse Lygia against him and confirm her in opposition. He understood that if she were in the assembly listening to those words, and if she took them to heart, she must think of him as an enemy of that teaching and an outcast.
Anger seized him at this thought. “What have I heard that is new?” thought he. “Is this the new religion? Everyone knows this, everyone has heard it. The Cynics enjoined poverty and a restriction of necessities; Socrates enjoined virtue as an old thing
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