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Historisk roman om livet i Pompeii i de sidste dage før ødelæggelsen år 79 f. Kr.

Reprint of the original, first published in 1867.

Classic Victorian tale of the last days of Pompeii, doomed city that lay at the feet of Mount Vesuvius. From poets to flower-girls, gladiators to Roman tribunes, here is a plausible story of their lives, their loves, and the tragic fate that awaited them. The novel uses its characters to contrast the decadent culture of first-century Rome with both older cultures and coming trends. The protagonist, Glaucus, represents the Greeks who have been subordinated by Rome, and his nemesis Arbaces the still older culture of Egypt. Olinthus is the chief representative of the nascent Christian religion, which is presented favorably but not uncritically.We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience

The Last Days of Pompeii is a novel written by the baron Edward Bulwer-Lytton in 1834. The novel was inspired by the painting The Last Day of Pompeii by the Russian painter Karl Briullov, which Bulwer-Lytton had seen in Milan. Once a very widely read book and now relatively neglected, it culminates in the cataclysmic destruction of the city of Pompeii by the eruption of Mount Vesuvius in AD 79.Edward George Earle Lytton Bulwer-Lytton, 1st Baron Lytton PC (25 May 1803 – 18 January 1873), was an English politician, poet, playwright, and novelist. He was immensely popular with the reading public and wrote a stream of bestselling novels which earned him a considerable fortune. He coined several phrases that would become clichés, especially "the great unwashed","the pen is mightier than the sword", as well as the famous opening line "It was a dark and stormy night".

The Last Days of Pompeii is a novel written by the baron Edward Bulwer-Lytton in 1834. The novel was inspired by the painting The Last Day of Pompeii by the Russian painter Karl Briullov, which Bulwer-Lytton had seen in Milan.[1] It culminates in the cataclysmic destruction of the city of Pompeii by the eruption of Mount Vesuvius in AD 79.The novel uses its characters to contrast the decadent culture of 1st-century Rome with both older cultures and coming trends. The protagonist, Glaucus, represents the Greeks who have been subordinated by Rome, and his nemesis Arbaces the still older culture of Egypt. Olinthus is the chief representative of the nascent Christian religion, which is presented favourably but not uncritically. The Witch of Vesuvius, though she has no supernatural powers, shows Bulwer-Lytton's interest in the occult - a theme which would emerge in his later writing, particularly The Coming Race.A popular sculpture by American sculptor Randolph Rogers, Nydia, the Blind Flower Girl of Pompeii (1856), was based on a character from the book.Plot Summary : Pompeii, A.D. 79. Athenian nobleman Glaucus arrives in the bustling and gaudy Roman town and quickly falls in love with the beautiful Greek Ione. Ione's former guardian, the malevolent Egyptian sorcerer Arbaces, has designs on Ione and sets out to destroy their budding happiness. Arbaces has already ruined Ione's sensitive brother Apaecides by luring him to join the vice-ridden priesthood of Isis.The blind slave Nydia is rescued from her abusive owners by Glaucus, for whom she secretly pines. Arbaces horrifies Ione by declaring his love for her, and flying into a rage when she refuses him. Glaucus and Apaecides rescue her from his grip, but Arbaces is struck down by an earthquake, a sign of Vesuvius' coming eruption.Glaucus and Ione exult in their love, much to Nydia's torment, while Apaecides finds a new religion in Christianity.Nydia unwittingly helps Julia, a rich young woman who has eyes for Glaucus, obtain a love potion from Arbaces to win Glaucus's love. But the love potion is really a poison that will turn Glaucus mad. Nydia steals the potion and administers it; Glaucus drinks only a small amount and begins raving wildly...Biography : Edward George Earle Lytton Bulwer-Lytton, 1st Baron Lytton PC (25 May 1803 - 18 January 1873), was an English novelist, poet, playwright, and politician. He was immensely popular with the reading public and wrote a stream of bestselling novels which earned him a considerable fortune. He coined the phrases "the great unwashed",[1] "pursuit of the almighty dollar", "the pen is mightier than the sword", "dweller on the threshold", and the well-known opening line "It was a dark and stormy night"Bulwer-Lytton was born on 25 May 1803 to General William Earle Bulwer of Heydon Hall and Wood Dalling, Norfolk and Elizabeth Barbara Lytton, daughter of Richard Warburton Lytton of Knebworth, Hertfordshire. He had two elder brothers, William Earle Lytton Bulwer (1799-1877) and Henry (1801-1872), later Lord Dalling and Bulwer.When Edward was four his father died and his mother moved to London. He was a delicate, neurotic child and was discontented at a number of boarding schools. But he was precocious and Mr Wallington at Baling encouraged him to publish, at the age of fifteen, an immature work, Ishmael and Other Poems.[citation needed]Extrait : IT will be remembered that, at the command of Arbaces, Nydia followed the Egyptian to his home, and conversing there with her, he learned from the confession of her despair and remorse, that her hand, and not Julia's, had administered to Glaucus the fatal potion. At another time the Egyptian might have conceived a philosophical interest in sounding the depths and origin of the strange and absorbing passion which, in blindness and in slavery...

'HO, Diomed, well met! Do you sup with Glaucus to-night?' said a young man of small stature, who wore his tunic in those loose and effeminate folds which proved him to be a gentleman and a coxcomb. 'Alas, no! dear Clodius; he has not invited me,' replied Diomed, a man of portly frame and of middle age. 'By Pollux, a scurvy trick! for they say his suppers are the best in Pompeii'. 'Pretty well—though there is never enough of wine for me. It is not the old Greek blood that flows in his veins, for he pretends that wine makes him dull the next morning.' 'There may be another reason for that thrift,' said Diomed, raising his brows. 'With all his conceit and extravagance he is not so rich, I fancy, as he affects to be, and perhaps loves to save his amphorae better than his wit.' 'An additional reason for supping with him while the sesterces last. Next year, Diomed, we must find another Glaucus.' 'He is fond of the dice, too, I hear.' 'He is fond of every pleasure; and while he likes the pleasure of giving suppers, we are all fond of him.' 'Ha, ha, Clodius, that is well said! Have you ever seen my wine-cellars, by-the-by?' 'I think not, my good Diomed.' 'Well, you must sup with me some evening; I have tolerable muraenae in my reservoir, and I ask Pansa the aedile to meet you.' 'O, no state with me!—Persicos odi apparatus, I am easily contented. Well, the day wanes; I am for the baths—and you...' 'To the quaestor—business of state—afterwards to the temple of Isis. Vale!' 'An ostentatious, bustling, ill-bred fellow,' muttered Clodius to himself, as he sauntered slowly away. 'He thinks with his feasts and his wine-cellars to make us forget that he is the son of a freedman—and so we will, when we do him the honour of winning his money; these rich plebeians are a harvest for us spendthrift nobles.' Thus soliloquising, Clodius arrived in the Via Domitiana, which was crowded with passengers and chariots, and exhibited all that gay and animated exuberance of life and motion which we find at this day in the streets of Naples. The bells of the cars as they rapidly glided by each other jingled merrily on the ear, and Clodius with smiles or nods claimed familiar acquaintance with whatever equipage was most elegant or fantastic: in fact, no idler was better known in Pompeii. 'What, Clodius! and how have you slept on your good fortune?' cried, in a pleasant and musical voice, a young man, in a chariot of the most fastidious and graceful fashion. Upon its surface of bronze were elaborately wrought, in the still exquisite workmanship of Greece, reliefs of the Olympian games; the two horses that drew the car were of the rarest breed of Parthia; their slender limbs seemed to disdain the ground and court the air, and yet at the slightest touch of the charioteer, who stood behind the young owner of the equipage, they paused motionless, as if suddenly transformed into stone—lifeless, but lifelike, as one of the breathing wonders of Praxiteles. The owner himself was of that slender and beautiful symmetry from which the sculptors of Athens drew their models; his Grecian origin betrayed itself in his light but clustering locks, and the perfect harmony of his features. He wore no toga, which in the time of the emperors had indeed ceased to be the general distinction of the Romans, and was especially ridiculed by the pretenders to fashion; but his tunic glowed in the richest hues of the Tyrian dye, and the fibulae, or buckles, by which it was fastened, sparkled with emeralds: around his neck was a chain of gold, which in the middle of his breast twisted itself into the form of a serpent's head, from the mouth of which hung pendent a large signet ring of elaborate and most exquisite workmanship; the sleeves of the tunic were loose, and fringed at the hand with gold: and across the waist a girdle wrought in arabesque designs