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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He could not bring himself so far as to call it Christian, but, thinking of Lygia, he could not separate her from the religion which she confessed. He understood, even, that if all the others had gone to rest, and she alone were watching, she whom he had injured, it was because her religion commanded her to watch. But that thought, which filled him with wonder for the religion, was disagreeable to him. He would rather that Lygia acted thus out of love for him, his face, his eyes, his statuesque form—in a word for reasons because of which more than once snow-white Grecian and Roman arms had been wound around his neck.
Still he felt all at once, that, were she like other women, something would be lacking in her. He was amazed, and knew not what was happening in him; for he saw that new feelings of some kind were rising in him, new likings, strange to the world in which he had lived hitherto.
She opened her eyes then, and, seeing that Vinicius was gazing at her, she approached him and said—“I am with thee.”
“I saw thy soul in a dream,” replied he.
XXVINext morning he woke up weak, but with a cool head and free of fever. It seemed to him that a whispered conversation had roused him; but when he opened his eyes, Lygia was not there. Ursus, stooping before the chimney, was raking apart the gray ashes, and seeking live coals beneath them. When he found some, he began to blow, not with his mouth, but as it were with the bellows of a blacksmith. Vinicius, remembering how that man had crushed Croton the day before, examined with attention befitting a lover of the arena his gigantic back, which resembled the back of a Cyclops, and his limbs strong as columns.
“Thanks to Mercury that my neck was not broken by him,” thought Vinicius. “By Pollux! if the other Lygians are like this one, the Danubian legions will have heavy work some time!”
But aloud he said, “Heia, slave!”
Ursus drew his head out of the chimney, and, smiling in a manner almost friendly, said—“God give thee a good day, lord, and good health; but I am a free man, not a slave.”
On Vinicius who wished to question Ursus touching Lygia’s birthplace, these words produced a certain pleasant impression; for discourse with a free though a common man was less disagreeable to his Roman and patrician pride, than with a slave, in whom neither law nor custom recognized human nature.
“Then thou dost not belong to Aulus?” asked he.
“No, lord, I serve Callina, as I served her mother, of my own will.”
Here he hid his head again in the chimney, to blow the coals, on which he had placed some wood. When he had finished, he took it out and said—“With us there are no slaves.”
“Where is Lygia?” inquired Vinicius.
“She has gone out, and I am to cook food for thee. She watched over thee the whole night.”
“Why didst thou not relieve her?”
“Because she wished to watch, and it is for me to obey.” Here his eyes grew gloomy, and after a while he added:
“If I had disobeyed her, thou wouldst not be living.”
“Art thou sorry for not having killed me?”
“No, lord. Christ has not commanded us to kill.”
“But Atacinus and Croton?”
“I could not do otherwise,” muttered Ursus. And he looked with regret on his hands, which had remained pagan evidently, though his soul had accepted the cross. Then he put a pot on the crane, and fixed his thoughtful eyes on the fire.
“That was thy fault, lord,” said he at last. “Why didst thou raise thy hand against her, a king’s daughter?”
Pride boiled up, at the first moment, in Vinicius, because a common man and a barbarian had not merely dared to speak to him thus familiarly, but to blame him in addition. To those uncommon and improbable things which had met him since yesterday, was added another. But being weak and without his slaves, he restrained himself, especially since a wish to learn some details of Lygia’s life gained the upper hand in him.
When he had calmed himself, therefore, he inquired about the war of the Lygians against Vannius and the Suevi. Ursus was glad to converse, but could not add much that was new to what in his time Aulus Plautius had told. Ursus had not been in battle, for he had attended the hostages to the camp of Atelius Hister. He knew only that the Lygians had beaten the Suevi and the Yazigi, but that their leader and king had fallen from the arrows of the Yazigi. Immediately after they received news that the Semnones had set fire to forests on their boundaries, they returned in haste to avenge the wrong, and the hostages remained with Atelius, who ordered at first to give them kingly honors. Afterward Lygia’s mother died. The Roman commander knew not what to do with the child. Ursus wished to return with her to their own country, but the road was unsafe because of wild beasts and wild tribes. When news came that an embassy of Lygians had visited Pomponius, offering him aid against the Marcomanni, Hister sent him with Lygia to Pomponius. When they came to him they learned, however, that no ambassadors had been there, and in that way they remained in the camp; whence Pomponius took them to Rome, and at the conclusion of his triumph he gave the king’s daughter to Pomponia Graecina.
Though only certain small details of this narrative had been unknown to Vinicius, he listened with pleasure, for his enormous pride of family was pleased that an eyewitness had confirmed Lygia’s royal descent. As a king’s daughter she might
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