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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Pretorians surrounded the groves on the banks of the pond of Agrippa, lest over-numerous throngs of spectators might annoy Caesar and his guests; though it was said that everything in Rome distinguished for wealth, beauty, or intellect was present at that feast, which had no equal in the history of the city. Tigellinus wished to recompense Caesar for the deferred journey to Achaea, to surpass all who had ever feasted Nero, and prove that no man could entertain as he could. With this object in view, while with Caesar in Naples, and later in Beneventum, he had made preparations and sent orders to bring from the remotest regions of the earth beasts, birds, rare fish, and plants, not omitting vessels and cloths, which were to enhance the splendor of the feast. The revenues of whole provinces went to satisfy mad projects; but the powerful favorite had no need to hesitate. His influence grew daily. Tigellinus was not dearer than others to Nero yet, perhaps, but he was becoming more and more indispensable. Petronius surpassed him infinitely in polish, intellect, wit; in conversation he knew better how to amuse Caesar: but to his misfortune he surpassed in conversation Caesar himself, hence he roused his jealousy; moreover he could not be an obedient instrument in everything, and Caesar feared his opinion when there were questions in matters of taste. But before Tigellinus, Nero never felt any restraint. The very title, Arbiter Elegantiarum, which had been given to Petronius, annoyed Nero’s vanity, for who had the right to bear that title but himself? Tigellinus had sense enough to know his own deficiencies; and seeing that he could not compete with Petronius, Lucan, or others distinguished by birth, talents, or learning, he resolved to extinguish them by the suppleness of his services, and above all by such a magnificence that the imagination of Nero himself would be struck by it. He had arranged to give the feast on a gigantic raft, framed of gilded timbers. The borders of this raft were decked with splendid shells found in the Red Sea and the Indian Ocean, shells brilliant with the colors of pearls and the rainbow. The banks of the pond were covered with groups of palm, with groves of lotus, and blooming roses. In the midst of these were hidden fountains of perfumed water, statues of gods and goddesses, and gold or silver cages filled with birds of various colors. In the center of the raft rose an immense tent, or rather, not to hide the feasters, only the roof of a tent, made of Syrian purple, resting on silver columns; under it were gleaming, like suns, tables prepared for the guests, loaded with Alexandrian glass, crystal, and vessels simply beyond price—the plunder of Italy, Greece, and Asia Minor. The raft, which because of plants accumulated on it had the appearance of an island and a garden, was joined by cords of gold and purple to boats shaped like fish, swans, mews, and flamingoes, in which sat at painted oars naked rowers of both sexes, with forms and features of marvelous beauty, their hair dressed in Oriental fashion, or gathered in golden nets. When Nero arrived at the main raft with Poppaea and the Augustians, and sat beneath the purple tent-roof, the oars struck the water, the boats moved, the golden cords stretched, and the raft with the feast and the guests began to move and describe circles on the pond. Other boats surrounded it, and other smaller rafts, filled with women playing on citharae and harps, women whose rosy bodies on the blue background of the sky and the water and in the reflections from golden instruments seemed to absorb that blue and those reflections, and to change and bloom like flowers.
From the groves at the banks, from fantastic buildings reared for that day and hidden among thickets, were heard music and song. The neighborhood resounded, the groves resounded; echoes bore around the voices of horns and trumpets. Caesar himself, with Poppaea on one side of him, and Pythagoras on the other, was amazed; and more especially when among the boats young slave maidens appeared as sirens, and were covered with green network in imitation of scales, he did not spare praises on Tigellinus. But he looked at Petronius from habit, wishing to learn the opinion of the “arbiter,” who seemed indifferent for a long time, and only when questioned outright, answered—“I judge, lord, that ten thousand naked maidens make less impression than one.”
But the “floating feast” pleased Caesar, for it was something new. Besides, such exquisite dishes were served that the imagination of Apicius would have failed at sight of them, and wines of so many kinds that Otho, who used to serve eighty, would have hidden under water with shame, could he have witnessed the luxury of that feast. Besides women, the Augustians sat down at the table, among whom Vinicius excelled all with his beauty. Formerly his figure and face indicated too clearly the soldier by profession; now mental suffering and the physical pain through which he had passed had chiseled his features, as if the delicate hand of a master had passed over them. His complexion had lost its former swarthiness, but the yellowish gleam of Numidian marble remained on it. His eyes had grown larger and more pensive. His body had retained its former powerful outlines, as if created for armor; but above the body
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