❞ رواية Quo Vadis ❝ ⏤ Henryk Sienkiewicz

هذا القسم يحتوي علي العديد من القصص والروايات باللغة الإنجليزية

(Stories and novels) القصص والروايات
الرواية هي سرد نثري طويل يصف شخصيات خيالية أو واقعية وأحداثاً على شكل قصة متسلسلة، كما أنها أكبر الأجناس القصصية من حيث الحجم وتعدد الشخصيات وتنوع الأحداث، وقد ظهرت في أوروبا بوصفها جنساً أدبياً مؤثراً في القرن الثامن عشر، والرواية حكاية تعتمد السرد بما فيه من وصف وحوار وصراع بين الشخصيات وما ينطوي عليه ذلك من تأزم وجدل وتغذيه الأحداث
A novel is a relatively long work of narrative fiction, normally written in prose form, and which is typically published as a book. The present English word for a long work of prose fiction derives from the Italian novella for "new", "news", or "short story of something new", itself from the Latin novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new". Walter Scott made a distinction between the novel, in which (as he saw it) "events are accommodated to the ordinary train of human events and the modern state of society" and the romance, which he defined as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents". However, many such romances, including the historical romances of Scott, Emily Brontë's Wuthering Heights and Herman Melville's Moby-Dick, are also frequently called novels, and Scott describes romance as a "kindred term". This sort of romance is in turn different from the genre fiction love romance or romance novel
A short story is a piece of prose fiction that typically can be read in one sitting and focuses on a self-contained incident or series of linked incidents, with the intent of evoking a "single effect" or mood.

A dictionary definition is "an invented prose narrative shorter than a novel usually dealing with a few characters and aiming at unity of effect and often concentrating on the creation of mood rather than plot."

The short story is a crafted form in its own right. Short stories make use of plot, resonance, and other dynamic components as in a novel, but typically to a lesser degree. While the short story is largely distinct from the novel or novella (a shorter novel), authors generally draw from a common pool of literary techniques.

Quo Vadis    

IN the trilogy “With Fire and Sword,” “The Deluge,” and “Pan Michael,” Sienkiewicz has
given pictures of a great and decisive epoch in modern history. The results of the struggle
begun under Bogdan Hmelnitski have been felt for more than two centuries, and they are
growing daily in importance. The Russia which rose out of that struggle has become a
power not only of European but of world–wide significance, and, to all human seeming,
she is yet in an early stage of her career.
In “Quo Vadis” the author gives us pictures of opening scenes in the conflict of moral
ideas with the Roman Empire,—a conflict from which Christianity issued as the leading
force in history.
The Slays are not so well known to Western Europe or to us as they are sure to be in the
near future; hence the trilogy, with all its popularity and merit, is not appreciated yet as it
will be.
The conflict described in “Quo Vadis” is of supreme interest to a vast number of persons
reading English; and this book will rouse, I think, more attention at first than anything
written by Sienkiewicz hitherto.

PETRONIUS woke only about midday, and as usual greatly wearied. The evening before
he had been at one of Nero’s feasts, which was prolonged till late at night. For some time
his health had been failing. He said himself that he woke up benumbed, as it were, and
without power of collecting his thoughts. But the morning bath and careful kneading of
the body by trained slaves hastened gradually the course of his slothful blood, roused him,
quickened him, restored his strength, so that he issued from the elæothesium, that is, the
last division of the bath, as if he had risen from the dead, with eyes gleaming from wit and
gladness, rejuvenated, filled with life, exquisite, so unapproachable that Otho himself
could not compare with him, and was really that which he had been called,—arbiter
elegantiarum.

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