György Spiró - Captivity

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Captivity: краткое содержание, описание и аннотация

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The epic bestseller and winner of the prestigious Aegon Literary Award in Hungary, Captivity is an enthralling and illuminating historical saga set in the time of Jesus about a Roman Jew on a quest to the Holy Land.
A literary sensation in Hungary, György Spiró’s Captivity is both a highly sophisticated historical novel and a gripping page-turner. Set in the tumultuous first century A.D., between the year of Christ’s death and the outbreak of the Jewish War, Captivity recounts the adventures of the feeble-bodied, bookish Uri, a young Roman Jew.
Frustrated with his hapless son, Uri’s father sends the young man to the Holy Land to regain the family’s prestige. In Jerusalem, Uri is imprisoned by Herod and meets two thieves and (perhaps) Jesus before their crucifixion. Later, in cosmopolitan Alexandria, he undergoes a scholarly and sexual awakening — but must also escape a pogrom. Returning to Rome at last, he finds an entirely unexpected inheritance.
Equal parts Homeric epic, brilliantly researched Jewish history, and picaresque adventure, Captivity is a dramatic tale of family, fate, and fortitude. In its weak-yet-valiant hero, fans will be reminded of Robert Graves’ classics of Ancient Rome, I, Claudius and Claudius the God.
"With the novel Captivity, Spiró proved that he is well-versed in both historical and human knowledge. It appears that in our times, it is playfulness that is expected of literary works, rather than the portrayal of realistic questions and conflicts. As if the two, playfulness and seriousness were inconsistent with each other! On the contrary (at least for me) playfulness begins with seriousness. Literature is a serious game. So is Spiró’s novel.?"
— Imre Kertész, Nobel Prize — winning author of Fatelessness
"Like the authors of so many great novels, György Spiró sends his hero, Uri, out into the wide world. Uri is a Roman Jew born into a poor family, and the wide world is an overripe civilization — the Roman Empire. Captivity can be read as an adventure novel, a Bildungsroman, a richly detailed portrait of an era, and a historico-philosophical parable. The long series of adventures — in which it is only a tiny episode that Uri is imprisoned together with Jesus and the two thieves — at once suggest the vanity of human endeavors and a passion for life. A masterpiece."
— László Márton
“[Captivity is] an important work by yet another representative of Hungarian letters who has all the chances to become a household name among the readers of literature in translation, just like Nadas, Esterhazy and Krasznahorkai.… Meticulously researched.… The novel has been a tremendous success in Hungary, having gone through more than a dozen editions. The critics lauded its page-turning quality along with the wealth of ideas and the ambitious recreation of historical detail.”
— The Untranslated
“A novel of education and a novel of adventure that brings to life ancient Rome, Alexandria and Jerusalem with a vividness of detail that is stunning. Spiró’s prose is crisp and colloquial, the kind of prose that aims for precision rather than literary thrills. A serious and sophisticated novel that is also engrossing and highly readable is a rare thing. Captivity is such a novel.”
— Ivan Sanders, Columbia University
“György Spiró aspired at nothing less than (…) present a theory in novelistic form about the interweavedness of religion and politics, lay bare the inner workings of power and give an insight into the art of survival….This book is an incredible page turner, it reads easily and avidly like the greatest bestsellers while also going as deep as the greatest thinkers of European philosophy.”
— Aegon Literary Award 2006 jury recommendation
“What this sensational novel outlines is the demonic nature of History. Ethically as well as historically, this an especially grand-scale parable. Captivity gets its feet under any literary table you care to mention."
— István Margócsy, Élet és Irodalom
“This book is a major landmark for the year.”
— Pál Závada, Népszabadság
“It would not be surprising if literary historians were soon calling him the re-assessor and regenerator of the post-modern novel.”
— Gergely Mézes, Magyar Hírlap
“Impossibly engrossing from the very first page….Building on a huge volume of reference material, the novel rings true from both a historical and a literary point of view.”
— Magda Ferch, Magyar Nemzet

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“You might at least ask to be given back your tessera!” Uri would growl.

Marcellus would be offended:

“I endowed that on the congregation! I can’t ask for it back! It’s my gift!”

“Endowments are for the rich to make! You’re poor!”

“No, I’m not poor! I became rich through giving it to them!”

Uri was silenced; there was some truth in that dialectic.

“You’re just Jews who’ve gotten taken for a ride, my dear son,” he eventually grumbled irately. “You don’t even know what you’re scared of!”

“Of what, then?” Marcellus riposted insolently.

“Of Rome, my dear son!”

That was far over Marcellus’s head. He blinked at his father. The old fool! He’s a captive of the old, invalidated world, ripe for dying! Such a pity that he too would be resurrected.

Uri was quite sure that he had been invited back to the assemblies of the Nazarenes, but apparently they had sent their messages via Marcellus, who had chosen not to pass them on. Uri would not have gone among them another time anyway, but he was grateful to his son for making it possible to have visited the one time, and he pondered why it was that he viewed these pleasant, pure, noble-spirited people as frightening.

He tried to discount Marcellus, but even so they remained frightening.

Idolizing an emperor who is setting himself up as a god is very human because it holds out the promise of any number of advantages, and so everyone at least pretends to believe in it. An emperor is like his currency: a real object given in return for simulated belief.

It is superstitious to believe in the succor of a pagan deity, but what is a bewildered person, left on his own and terrified of death, supposed to do if he gets into trouble, or if a fatal disease afflicts him or one of those whom he loves? He will race over to a statue of the deity, embrace its feet, and whisper his wishes into its ear, and if by any chance these should be fulfilled, he will put up a plaque of thanksgiving.

Believing in an Eternal One who does not have a human face and demonstrably has had no hand in human affairs for millenia is also not foolish: a person thereby belongs to a community that protects him in direst need with the alms and pe’ah, nurses them in the event of illness, and does not even cast aside unwanted children, irrespective of whether a person is a Sadducee, a Pharisee, or an Essene. All these systems of belief, as Uri now saw it, were in fact mutually exclusive in a radical fashion, and it was merely out of laziness that believers in these various religions were all called Jews. They believed themselves to be the chosen people of a one and only God; fair enough, but so did the Samaritans, who slaughtered other Jews because they had in turn slaughtered them.

The religion of the Jews had long not been one religion; maybe there never had been just one, not even when Moses led them out of Egypt.

There were still Jews only among those living in minority communities, threatened and hard-pressed, like in Alexandria. Wherever they were in the majority — as in large parts of Judaea and Galilee — there were no longer any Jews, though no one had put it into words, and the Jews themselves were not aware of it either yet.

In the rural villages, Jews were still Jews, and there, they were ignorant of any other faith; although their naïve faith was not that of the priests, they were not aware of this and they were happy to offer ritual dues to the Temple.

The religion of the Jews of Rome was also faithless — like every Roman religion. Customs and ceremonies half-heartedly adhered to, strictly supervised. The Kahal as an institution operated in an earthly fashion, committing earthly crimes; just like any other community, its true god was Mammon. The Jews of Rome were wrong to protest that the ancient laws of crafts did not apply to them — the Jew-hating officials of Rome saw that much more clearly.

But to believe in a man who was killed and rose again from the dead, and to say that He is the Anointed, even though there had been no drastic change in the world — that was more grievous than any superstition.

Maybe it was a folly sprung from the general lack of belief.

He pictured the million-strong mass thronging toward Jerusalem, and all of a sudden being converted and becoming followers of the Anointed. He shuddered.

It was fortunate that the Judaean peasants were conservative; it was quite impossible to drive anything new into their skulls.

He had already encountered narrow looks like Marcellus’s; he had seen blind fanatics before. The ecstatic looks in Beth Zechariah as they had waited for the First Fruits to be collected had been like that; the expressions of the pilgrims going to Jerusalem had been like that; the faces of the Judaeophobic Greek rabble in Alexandria had been like that. He tried to picture who among his seemingly normal acquaintances he could imagine turning blindly irrational. He could not imagine such blindness in Kainis’s eyes, nor Theo’s — but in Narcissus’s, Claudius’s, and Philo’s he could. He wondered if Tija’s eyes could turn into those of a fanatic. Hardly: in his eyes there was a glint that from the outset had something inhuman, distant, cold about it.

He also tried to picture how Apollos, a skilled orator, would speak to a congregation of ecstatic believers. He just couldn’t; he could not see the new eyes, only the old, rational ones. Apollos did not believe in this folly; he just hoped that Greeks and Jews might be able to approach one another via this resurrected Anointed, in the same way that Philo had wanted this to happen, the hatred driven from their hearts and minds in the same way as wise men like Simon the Magus exorcised demons from the sick.

Priscilla’s eyes were rational eyes; she was no ecstatic believer, just pretending to be profoundly convinced of something that had no reality at all. She was lying. What was going on in her mind, he wondered? Was she resolving the loneliness of widowhood by extending hospitality to believers? Maybe she was unable to mourn her husband. Had she never loved him anyway, and so was feeling guilt on that account, persuading herself that he had not actually died? Had she committed serious offenses against her husband, and instead of being repentant was she declaring the offenses nonexistent because there was no wrong if there was no death? Why did they have no children? Were there never any? It might easily have been a dreadful marriage.

Otherwise nothing happened. Marcellus ate, drank, slept, and loafed around; Hagar cooked, with the girls helping her out of sheer boredom, and Uri did his job. The murals he painted were met with general approval. Construction work on a new house took them to Quirinal Hill, and while the walls were raised he worked on tiling the floor and, if any time was left, familiarized himself with the encaustic technique.

There were practitioners of this ancient Oriental technique in Rome, and it was possible to obtain the pigments and tools needed for it in their small boutiques, the most important tool being a metal implement, with a spoon at one end and a spatula at the other, offering a cold surface for applying the pigments to the molten binder without working away the thickness, thereby producing what were almost relief paintings, with it added the possibility of mixing all the primary colors — red, yellow, white, black — according to taste, on one palette, producing innumerable shades. A well-executed work was not just a colored drawing as it would have been made centuries ago but a genuine painting that almost vied with sculpture, with the advantage over tempera that there was no need to treat the finished surface, and air would not harm it.

In those same small boutiques it was also possible to obtain original Greek pictures, and Uri was fascinated by their depiction of perspective, which despite having been discovered long ago by the Greek masters had never become prevalent in Rome. Uri could see that the masters were guided by the painterly depiction of eminent buildings in that they came to realize that parallel lines converged in the distance to come together at a point on an imaginary horizon; in Nature there were no parallel lines, they were a construct of man, interfering in Nature, further elaborating on God’s work. Without man there would be no parallels. Perhaps there were many things not present in the Creation that man had introduced; the Creator may wonder as He pleases at what has come out of this creature’s imagination.

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