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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At last some began to leave the cemetery, and Chilo whispered—“Let us go out before the gate, lord, we have not removed our hoods, and people look at us.”
Such was the case, for during the discourse of the Apostle all had cast aside their hoods so as to hear better, and they had not followed the general example. Chilo’s advice seemed wise, therefore. Standing before the gate, they could look at all who passed; Ursus it was easy to recognize by his form and size.
“Let us follow them,” said Chilo; “we shall see to what house they go. Tomorrow, or rather today, thou wilt surround the entrances with slaves and take her.”
“No!” said Vinicius.
“What dost thou wish to do, lord?”
“We will follow her to the house and take her now, if thou wilt undertake that task, Croton?”
“I will,” replied Croton, “and I will give myself to thee as a slave if I do not break the back of that bison who is guarding her.”
But Chilo fell to dissuading and entreating them by all the gods not to do so. Croton was taken only for defense against attack in case they were recognized, not to carry off the girl. To take her when there were only two of them was to expose themselves to death, and, what was worse, they might let her out of their hands, and then she would hide in another place or leave Rome. And what could they do? Why not act with certainty? Why expose themselves to destruction and the whole undertaking to failure?
Though Vinicius restrained himself with the greatest effort from seizing Lygia in his arms at once, right there in the cemetery, he felt that the Greek was right, and would have lent ear, perhaps, to his counsels, had it not been for Croton, to whom reward was the question.
“Lord, command that old goat to be silent,” said he, “or let me drop my fist on his head. Once in Buxentum, whither Lucius Saturninus took me to a play, seven drunken gladiators fell on me at an inn, and none of them escaped with sound ribs. I do not say to take the girl now from the crowd, for they might throw stones before our feet, but once she is at home I will seize her, carry her away, and take her whithersoever thou shalt indicate.”
Vinicius was pleased to hear those words, and answered—“Thus let it be, by Hercules! Tomorrow we may not find her at home; if we surprise them they will remove the girl surely.”
“This Lygian seems tremendously strong!” groaned Chilo.
“No one will ask thee to hold his hands,” answered Croton.
But they had to wait long yet, and the cocks had begun to crow before dawn when they saw Ursus coming through the gate, and with him Lygia. They were accompanied by a number of other persons. It seemed to Chilo that he recognized among them the Great Apostle; next to him walked another old man, considerably lower in stature, two women who were not young, and a boy, who lighted the way with a lantern. After that handful followed a crowd, about two hundred in number; Vinicius, Chilo, and Croton walked with these people.
“Yes, lord,” said Chilo, “thy maiden is under powerful protection. That is the Great Apostle with her, for see how passing people kneel to him.”
People did in fact kneel before him, but Vinicius did not look at them. He did not lose Lygia from his eyes for a moment; he thought only of bearing her away and, accustomed as he had been in wars to stratagems of all sorts, he arranged in his head the whole plan of seizure with soldierly precision. He felt that the step on which he had decided was bold, but he knew well that bold attacks give success generally.
The way was long; hence at moments he thought too of the gulf which that wonderful religion had dug between him and Lygia. Now he understood everything that had happened in the past, and why it had happened. He was sufficiently penetrating for that. Lygia he had not known hitherto. He had seen in her a maiden wonderful beyond others, a maiden toward whom his feelings were inflamed: he knew now that her religion made her different from other women, and his hope that feeling, desire, wealth, luxury, would attract her he knew now to be a vain illusion. Finally he understood this, which he and Petronius had not understood, that the new religion ingrafted into the soul something unknown to that world in which he lived, and that Lygia, even if she loved him, would not sacrifice any of her Christian truths for his sake, and that, if pleasure existed for her, it was a pleasure different altogether from that which he and Petronius and Caesar’s court and all Rome were pursuing. Every other woman whom he knew might become his mistress, but that Christian would become only his victim. And when he thought of this, he felt anger and burning pain, for he felt that his anger was powerless. To carry off Lygia seemed to him possible; he was almost sure that he could take her, but he was equally sure that, in view of her religion, he himself with his bravery was nothing, that his power was nothing, and that through it he could effect nothing. That Roman military tribune, convinced that the power of the sword and the fist which had conquered the world, would command it forever, saw for the first time in life that beyond that power there might be something else; hence he asked himself with amazement what it was. And he could
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