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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After they had passed vacant places beyond the wall, the Christians began to scatter. There was need, therefore, to follow Lygia more from a distance, and more carefully, so as not to rouse attention. Chilo fell to complaining of wounds, of pains in his legs, and dropped more and more to the rear. Vinicius did not oppose this, judging that the cowardly and incompetent Greek would not be needed. He would even have permitted him to depart, had he wished; but the worthy sage was detained by circumspection. Curiosity pressed him evidently, since he continued behind, and at moments even approached with his previous counsels; he thought too that the old man accompanying the Apostle might be Glaucus, were it not for his rather low stature.
They walked a good while before reaching the Trans-Tiber, and the sun was near rising when the group surrounding Lygia dispersed. The Apostle, an old woman, and a boy went up the river; the old man of lower stature, Ursus, and Lygia entered a narrow vicus, and, advancing still about a hundred yards, went into a house in which were two shops—one for the sale of olives, the other for poultry.
Chilo, who walked about fifty yards behind Vinicius and Croton, halted all at once, as if fixed to the earth, and, squeezing up to the wall, began to hiss at them to turn.
They did so, for they needed to take counsel.
“Go, Chilo,” said Vinicius, “and see if this house fronts on another street.” Chilo, though he had complained of wounds in his feet, sprang away as quickly as if he had had the wings of Mercury on his ankles, and returned in a moment.
“No,” said he, “there is but one entrance.”
Then, putting his hands together, he said, “I implore thee, lord, by Jupiter, Apollo, Vesta, Cybele, Isis, Osiris, Mithra Baal, and all the gods of the Orient and the Occident to drop this plan. Listen to me—”
But he stopped on a sudden, for he saw that Vinicius’s face was pale from emotion, and that his eyes were glittering like the eyes of a wolf. It was enough to look at him to understand that nothing in the world would restrain him from the undertaking. Croton began to draw air into his herculean breast, and to sway his undeveloped skull from side to side as bears do when confined in a cage, but on his face not the least fear was evident.
“I will go in first,” said he.
“Thou wilt follow me,” said Vinicius, in commanding tones.
And after a while both vanished in the dark entrance.
Chilo sprang to the corner of the nearest alley and watched from behind it, waiting for what would happen.
XXIIOnly inside the entrance did Vinicius comprehend the whole difficulty of the undertaking. The house was large, of several stories, one of the kind of which thousands were built in Rome, in view of profit from rent; hence, as a rule, they were built so hurriedly and badly that scarcely a year passed in which numbers of them did not fall on the heads of tenants. Real hives, too high and too narrow, full of chambers and little dens, in which poor people fixed themselves too numerously. In a city where many streets had no names, those houses had no numbers; the owners committed the collection of rent to slaves, who, not obliged by the city government to give names of occupants, were ignorant themselves of them frequently. To find someone by inquiry in such a house was often very difficult, especially when there was no gatekeeper.
Vinicius and Croton came to a narrow, corridor-like passage walled in on four sides, forming a kind of common atrium for the whole house, with a fountain in the middle whose stream fell into a stone basin fixed in the ground. At all the walls were internal stairways, some of stone, some of wood, leading to galleries from which there were entrances to lodgings. There were lodgings on the ground, also; some provided with wooden doors, others separated from the yard by woolen screens only. These, for the greater part, were worn, rent, or patched.
The hour was early, and there was not a living soul in the yard. It was evident that all were asleep in the house except those who had returned from Ostrianum.
“What shall we do, lord?” asked Croton, halting.
“Let us wait here; someone may appear,” replied Vinicius. “We should not be seen in the yard.”
At this moment, he thought Chilo’s counsel practical. If there were some tens of slaves present, it would be easy to occupy the gate, which seemed the only exit, search all the lodgings simultaneously, and thus come to Lygia’s; otherwise Christians, who surely were not lacking in that house, might give notice that people were seeking her. In view of this, there was risk in inquiring of strangers. Vinicius stopped to think whether it would not be better to go for his slaves. Just then, from behind a screen hiding a remoter lodging, came a man with a sieve in his hand, and approached the fountain.
At the first glance the young tribune recognized Ursus.
“That is the Lygian!” whispered Vinicius.
“Am I to break his bones now?”
“Wait
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