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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Thus speaking, he placed his hand on his pale forehead and closed his eyes. His nature never knew bounds in love or anger. He spoke with enthusiasm, like a man who, having lost self-control, has no wish to observe any measure in words or feelings. But he spoke from the depth of his soul, and sincerely. It was to be felt that the pain, ecstasy, desire, and homage accumulated in his breast had burst forth at last in an irresistible torrent of words. To Lygia his words appeared blasphemous, but still her heart began to beat as if it would tear the tunic enclosing her bosom. She could not resist pity for him and his suffering. She was moved by the homage with which he spoke to her. She felt beloved and deified without bounds; she felt that that unbending and dangerous man belonged to her now, soul and body, like a slave; and that feeling of his submission and her own power filled her with happiness. Her recollections revived in one moment. He was for her again that splendid Vinicius, beautiful as a pagan god; he, who in the house of Aulus had spoken to her of love, and roused as if from sleep her heart half childlike at that time; he from whose embraces Ursus had wrested her on the Palatine, as he might have wrested her from flames. But at present, with ecstasy, and at the same time with pain in his eagle face, with pale forehead and imploring eyes—wounded, broken by love, loving, full of homage and submissive—he seemed to her such as she would have wished him, and such as she would have loved with her whole soul, therefore dearer than he had ever been before.
All at once she understood that a moment might come in which his love would seize her and bear her away, as a whirlwind; and when she felt this, she had the same impression that he had a moment before—that she was standing on the edge of a precipice. Was it for this that she had left the house of Aulus? Was it for this that she had saved herself by flight? Was it for this that she had hidden so long in wretched parts of the city? Who was that Vinicius? An Augustian, a soldier, a courtier of Nero! Moreover he took part in his profligacy and madness, as was shown by that feast, which she could not forget; and he went with others to the temples, and made offerings to vile gods, in whom he did not believe, perhaps, but still he gave them official honor. Still more he had pursued her to make her his slave and mistress, and at the same time to thrust her into that terrible world of excess, luxury, crime, and dishonor which calls for the anger and vengeance of God. He seemed changed, it is true, but still he had just said to her that if she would think more of Christ than of him, he was ready to hate Christ. It seemed to Lygia that the very idea of any other love than the love of Christ was a sin against Him and against religion. When she saw then that other feelings and desires might be roused in the depth of her soul, she was seized by alarm for her own future and her own heart.
At this moment of internal struggle appeared Glaucus, who had come to care for the patient and study his health. In the twinkle of an eye, anger and impatience were reflected on the face of Vinicius. He was angry that his conversation with Lygia had been interrupted; and when Glaucus questioned him, he answered with contempt almost. It is true that he moderated himself quickly; but if Lygia had any illusions as to this—that what he had heard in Ostrianum might have acted on his unyielding nature—those illusions must vanish. He had changed only for her; but beyond that single feeling there remained in his breast the former harsh and selfish heart, truly Roman and wolfish, incapable not only of the sweet sentiment of Christian teaching but even of gratitude.
She went away at last filled with internal care and anxiety. Formerly in her prayers she had offered to Christ a heart calm, and really pure as a tear. Now that
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