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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Petronius was well known to those crowds. Vinicius’s ears were struck continually by “Hic est!”.3 They loved him for his munificence; and his peculiar popularity increased from the time when they learned that he had spoken before Caesar in opposition to the sentence of death issued against the whole “familia,” that is, against all the slaves of the prefect Pedanius Secundus, without distinction of sex or age, because one of them had killed that monster in a moment of despair. Petronius repeated in public, it is true, that it was all one to him, and that he had spoken to Caesar only privately, as the arbiter elegantiarum whose aesthetic taste was offended by a barbarous slaughter befitting Scythians and not Romans. Nevertheless, people who were indignant because of the slaughter loved Petronius from that moment forth. But he did not care for their love. He remembered that that crowd of people had loved also Britannicus, poisoned by Nero; and Agrippina, killed at his command; and Octavia, smothered in hot steam at the Pandataria, after her veins had been opened previously; and Rubellius Plautus, who had been banished; and Thrasea, to whom any morning might bring a death sentence. The love of the mob might be considered rather of ill omen; and the skeptical Petronius was superstitious also. He had a twofold contempt for the multitude—as an aristocrat and an aesthetic person. Men with the odor of roast beans, which they carried in their bosoms, and who besides were eternally hoarse and sweating from playing morra on the street-corners and peristyles, did not in his eyes deserve the term “human.” Hence he gave no answer whatever to the applause, or the kisses sent from lips here and there to him. He was relating to Marcus the case of Pedanius, reviling meanwhile the fickleness of that rabble which, next morning after the terrible butchery, applauded Nero on his way to the temple of Jupiter Stator. But he gave command to halt before the bookshop of Avirnus, and, descending from the litter, purchased an ornamented manuscript, which he gave to Vinicius.
“Here is a gift for thee,” said he.
“Thanks!” answered Vinicius. Then, looking at the title, he inquired, “Satyricon? Is this something new? Whose is it?”
“Mine. But I do not wish to go in the road of Rufinus, whose history I was to tell thee, nor of Fabricius Veiento; hence no one knows of this, and do thou mention it to no man.”
“Thou hast said that thou art no writer of verses,” said Vinicius, looking at the middle of the manuscript; “but here I see prose thickly interwoven with them.”
“When thou art reading, turn attention to Trimalchio’s feast. As to verses, they have disgusted me, since Nero is writing an epic. Vitellius, when he wishes to relieve himself, uses ivory fingers to thrust down his throat; others serve themselves with flamingo feathers steeped in olive oil or in a decoction of wild thyme. I read Nero’s poetry, and the result is immediate. Straightway I am able to praise it, if not with a clear conscience, at least with a clear stomach.”
When he had said this, he stopped the litter again before the shop of Idomeneus the goldsmith, and, having settled the affair of the gems, gave command to bear the litter directly to Aulus’s mansion.
“On the road I will tell thee the story of Rufinus,” said he, “as proof of what vanity in an author may be.”
But before he had begun, they turned in to the Vicus Patricius, and soon found themselves before the dwelling of Aulus. A young and sturdy “janitor” opened the door leading to the ostium, over which a magpie confined in a cage greeted them noisily with the word, “Salve!”
On the way from the second
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