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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On seeing his uncle, though greeted with gladness, he replied to his questions unwillingly; but his feelings and thoughts, repressed for a long time, burst forth at last, and flowed from his mouth in a torrent of words. Once more he told in detail the history of his search for Lygia, his life among the Christians, everything which he had heard and seen there, everything which had passed through his head and heart; and finally he complained that he had fallen into a chaos, in which were lost composure and the gift of distinguishing and judging. Nothing, he said, attracted him, nothing was pleasing; he did not know what to hold to, nor how to act. He was ready both to honor and persecute Christ; he understood the loftiness of His teaching, but he felt also an irresistible repugnance to it. He understood that, even should he possess Lygia, he would not possess her completely, for he would have to share her with Christ. Finally, he was living as if not living—without hope, without a morrow, without belief in happiness; around him was darkness in which he was groping for an exit, and could not find it.
Petronius, during this narrative, looked at his changed face, at his hands, which while speaking he stretched forth in a strange manner, as if actually seeking a road in the darkness, and he fell to thinking. All at once he rose, and, approaching Vinicius, caught with his fingers the hair above his ear.
“Dost know,” asked he, “that thou hast gray hairs on thy temple?”
“Perhaps I have,” answered Vinicius; “I should not be astonished were all my hair to grow white soon.”
Silence followed. Petronius was a man of sense, and more than once he meditated on the soul of man and on life. In general, life, in the society in which they both lived, might be happy or unhappy externally, but internally it was at rest. Just as a thunderbolt or an earthquake might overturn a temple, so might misfortune crush a life. In itself, however, it was composed of simple and harmonious lines, free of complication. But there was something else in the words of Vinicius, and Petronius stood for the first time before a series of spiritual snarls which no one had straightened out hitherto. He was sufficiently a man of reason to feel their importance, but with all his quickness he could not answer the questions put to him. After a long silence, he said at last—
“These must be enchantments.”
“I too have thought so,” answered Vinicius; “more than once it seemed to me that we were enchanted, both of us.”
“And if thou,” said Petronius, “were to go, for example, to the priests of Serapis? Among them, as among priests in general, there are many deceivers, no doubt; but there are others who have reached wonderful secrets.”
He said this, however, without conviction and with an uncertain voice, for he himself felt how empty and even ridiculous that counsel must seem on his lips.
Vinicius rubbed his forehead, and said: “Enchantments! I have seen sorcerers who employed unknown and subterranean powers to their personal profit; I have seen those who used them to the harm of their enemies. But these Christians live in poverty, forgive their enemies, preach submission, virtue, and mercy; what profit could they get from enchantments, and why should they use them?”
Petronius was angry that his acuteness could find no reply; not wishing, however, to acknowledge this, he said, so as to offer an answer of some kind—“That is a new sect.” After a while he added: “By the divine dweller in Paphian groves, how all that injures life! Thou wilt admire the goodness and virtue of those people; but I tell thee that they are bad, for they are enemies of life, as are diseases, and death itself. As things are, we have enough of these enemies; we do not need the Christians in addition. Just count them: diseases, Caesar, Tigellinus, Caesar’s poetry, cobblers who
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