Quo Vadis by Henryk Sienkiewicz (most popular novels of all time .txt) 📕
Description
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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Ursus did not notice the two men, as they were in the shadow of the entrance, and he began quietly to sink in water vegetables which filled the sieve. It was evident that, after a whole night spent in the cemetery, he intended to prepare a meal. After a while the washing was finished; he took the wet sieve and disappeared behind the screen. Croton and Vinicius followed him, thinking that they would come directly to Lygia’s lodgings. Their astonishment was great when they saw that the screen divided from the court, not lodgings, but another dark corridor, at the end of which was a little garden containing a few cypresses, some myrtle bushes, and a small house fixed to the windowless stone wall of another stone building.
Both understood at once that this was for them a favoring circumstance. In the courtyard all the tenants might assemble; the seclusion of the little house facilitated the enterprise. They would set aside defenders, or rather Ursus, quickly, and would reach the street just as quickly with the captured Lygia; and there they would help themselves. It was likely that no one would attack them; if attacked, they would say that a hostage was fleeing from Caesar. Vinicius would declare himself then to the guards, and summon their assistance.
Ursus was almost entering the little house, when the sound of steps attracted his attention; he halted, and, seeing two persons, put his sieve on the balustrade and turned to them.
“What do ye want here?” asked he.
“Thee!” said Vinicius.
Then, turning to Croton, he said in a low, hurried voice:
“Kill!”
Croton rushed at him like a tiger, and in one moment, before the Lygian was able to think or to recognize his enemies, Croton had caught him in his arms of steel.
Vinicius was too confident in the man’s preternatural strength to wait for the end of the struggle. He passed the two, sprang to the door of the little house, pushed it open and found himself in a room a trifle dark, lighted, however, by a fire burning in the chimney. A gleam of this fire fell on Lygia’s face directly. A second person, sitting at the fire, was that old man who had accompanied the young girl and Ursus on the road from Ostrianum.
Vinicius rushed in so suddenly that before Lygia could recognize him he had seized her by the waist, and, raising her, rushed toward the door again. The old man barred the way, it is true; but pressing the girl with one arm to his breast, Vinicius pushed him aside with the other, which was free. The hood fell from his head, and at sight of that face, which was known to her and which at that moment was terrible, the blood grew cold in Lygia from fright, and the voice died in her throat. She wished to summon aid, but had not the power. Equally vain was her wish to grasp the door, to resist. Her fingers slipped along the stone, and she would have fainted but for the terrible picture which struck her eyes when Vinicius rushed into the garden.
Ursus was holding in his arms some man doubled back completely, with hanging head and mouth filled with blood. When he saw them, he struck the head once more with his fist, and in the twinkle of an eye sprang toward Vinicius like a raging wild beast.
“Death!” thought the young patrician.
Then he heard, as through a dream, the scream of Lygia, “Kill not!” He felt that something, as it were a thunderbolt, opened the arms with which he held Lygia; then the earth turned round with him, and the light of day died in his eyes.
Chilo, hidden behind the angle of the corner house, was waiting for what would happen, since curiosity was struggling with fear in him. He thought that if they succeeded in carrying off Lygia, he would fare well near Vinicius. He feared Urban no longer, for he also felt certain that Croton would kill him. And he calculated that in case a gathering should begin on the streets, which so far were empty—if Christians, or people of any kind, should offer resistance—he, Chilo, would speak to them as one representing authority, as an executor of Caesar’s will, and if need came, call the guards to aid the young patrician against the street rabble—thus winning to himself fresh favor. In his soul he judged yet that the young tribune’s method was unwise; considering, however, Croton’s terrible strength, he admitted that it might succeed, and thought, “If it go hard with him, Vinicius can carry the girl, and Croton clear the way.” Delay grew wearisome, however; the silence of the entrance which he watched alarmed him.
“If they do not hit upon her hiding-place, and make an uproar, they will frighten her.”
But this thought was not disagreeable; for Chilo understood that in that event he would be necessary again to Vinicius, and could squeeze afresh a goodly number of sestertia from the tribune.
“Whatever they do,” said he to himself, “they will work for me, though no one divines that. O gods! O gods! only permit me—”
And he stopped suddenly, for it seemed to him that someone was bending forward through the entrance; then, squeezing up to the wall, he began to look, holding the breath in his breast.
And he had not deceived himself, for a head thrust itself half out of the entrance and looked around. After a while, however, it vanished.
“That is Vinicius, or Croton,” thought Chilo; “but if they have taken the girl, why does she not scream, and why are they looking out to the street? They must meet people anyhow, for before they reach the Carinae there will be movement in the city—What is that? By the immortal gods!”
And suddenly the remnant of his hair stood on end.
In the door appeared Ursus, with the body of Croton hanging on his arm, and looking around once more, he began to run, bearing it along the empty street toward the
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