Quo Vadis by Henryk Sienkiewicz (most popular novels of all time .txt) ๐
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Quo Vadis: A Narrative of the Time of Nero was first published in Polish as Quo vadis. Powieลฤ z czasรณw Nerona. Among Henryk Sienkiewiczโs inspirations was the painting Neroโs 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 Neroโs 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. Viniciusโs 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 novelโs title translates to โWhere are you going, Lord?โ, a quote from the apocryphal Christian text the Acts of Peter, which depicts Peterโs 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 Paulโs fate and the deaths of Nero and Petronius, Viniciusโs wise and worldly uncle and mentor. Sienkiewicz contrasts Petroniusโs and Neroโs hedonism with Viniciusโs and Lygiaโs journey to a deeper faith in their God, and with Peter and Paulโs faithful martyrdom, to great effect. As such, the novel is not just a love story, but also a thoughtful reflection on how oneโs way of living affects how they see death.
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- Author: Henryk Sienkiewicz
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โShe must have beautiful eyes.โ
โAs the seaโ โand I was drowned in them, as in the sea. Believe me that the archipelago is less blue. After a while a little son of Plautius ran up with a question. But I did not understand what he wanted.โ
โO Athene!โ exclaimed Petronius, โremove from the eyes of this youth the bandage with which Eros has bound them; if not, he will break his head against the columns of Venusโs temple.
โO thou spring bud on the tree of life,โ said he, turning to Vinicius, โthou first green shoot of the vine! Instead of taking thee to the Plautiuses, I ought to give command to bear thee to the house of Gelocius, where there is a school for youths unacquainted with life.โ
โWhat dost thou wish in particular?โ
โBut what did she write on the sand? Was it not the name of Amor, or a heart pierced with his dart, or something of such sort, that one might know from it that the satyrs had whispered to the ear of that nymph various secrets of life? How couldst thou help looking on those marks?โ
โIt is longer since I have put on the toga than seems to thee,โ said Vinicius, โand before little Aulus ran up, I looked carefully at those marks, for I know that frequently maidens in Greece and in Rome draw on the sand a confession which their lips will not utter. But guess what she drew!โ
โIf it is other than I supposed, I shall not guess.โ
โA fish.โ
โWhat dost thou say?โ
โI say, a fish. What did that meanโ โthat cold blood is flowing in her veins? So far I do not know; but thou, who hast called me a spring bud on the tree of life, wilt be able to understand the sign certainly.โ
โCarissime! ask such a thing of Pliny. He knows fish. If old Apicius were alive, he could tell thee something, for in the course of his life he ate more fish than could find place at one time in the bay of Naples.โ
Further conversation was interrupted, since they were borne into crowded streets where the noise of people hindered them.
From the Vicus Apollinis they turned to the Boarium, and then entered the Forum Romanum, where on clear days, before sunset, crowds of idle people assembled to stroll among the columns, to tell and hear news, to see noted people borne past in litters, and finally to look in at the jewelery-shops, the bookshops, the arches where coin was changed, shops for silk, bronze, and all other articles with which the buildings covering that part of the market placed opposite the Capitol were filled.
One-half of the Forum, immediately under the rock of the Capitol, was buried already in shade; but the columns of the temples, placed higher, seemed golden in the sunshine and the blue. Those lying lower cast lengthened shadows on marble slabs. The place was so filled with columns everywhere that the eye was lost in them as in a forest.
Those buildings and columns seemed huddled together. They towered some above others, they stretched toward the right and the left, they climbed toward the height, and they clung to the wall of the Capitol, or some of them clung to others, like greater and smaller, thicker and thinner, white or gold colored tree-trunks, now blooming under architraves, flowers of the acanthus, now surrounded with Ionic corners, now finished with a simple Doric quadrangle. Above that forest gleamed colored triglyphs; from tympans stood forth the sculptured forms of gods; from the summits winged golden quadrigae seemed ready to fly away through space into the blue dome, fixed serenely above that crowded place of temples. Through the middle of the market and along the edges of it flowed a river of people; crowds passed under the arches of the basilica of Julius Caesar; crowds were sitting on the steps of Castor and Pollux, or walking around the temple of Vesta, resembling on that great marble background many-colored swarms of butterflies or beetles. Down immense steps, from the side of the temple on the Capitol dedicated to Jupiter Optimus Maximus, came new waves; at the rostra people listened to chance orators; in one place and another rose the shouts of hawkers selling fruit, wine, or water mixed with fig-juice; of tricksters; of vendors of marvelous medicines; of soothsayers; of discoverers of hidden treasures; of interpreters of dreams. Here and there, in the tumult of conversations and cries, were mingled sounds of the Egyptian sistra, of the sambucae, or of Grecian flutes. Here and there the sick, the pious, or the afflicted were bearing offerings to the temples. In the midst of the people, on the stone flags, gathered flocks of doves, eager for the grain given them, and like movable many-colored and dark spots, now rising for a moment with a loud sound of wings, now dropping down again to places left vacant by people. From time to time the crowds opened before litters in which were visible the affected faces of women, or the heads of senators and knights, with features, as it were, rigid and exhausted from living. The many-tongued population repeated aloud their names, with the addition of some term of praise or ridicule. Among the unordered groups pushed from time to time, advancing with measured tread, parties of soldiers, or watchers, preserving order on the streets. Around about, the Greek language was heard as often as Latin.
Vinicius, who
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