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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Uri engaged the best Greek sculptors Rome offered and, working with them, devised a way of making the fountains harmonize with one another to resonate like a water organ. They were delighted with the idea, though one sculptor did remark that Nero had himself designed an organ, only he had not yet put it on show. Uri took fright and broached with his commissioners the matter of Nero’s plans, which, as it turned out, had been produced by an old Syrian slave, so he manumitted him and pulled him into the planning work. He conversed with him in Aramaic, and they took a liking to one another. The old Syrian had never read in his life, but had at his disposal incredible talents for mathematics and music; Uri while at work would whistle two-part melodies, with the old Syrian joining in with his deep and hoarse voice. Their performances would be entirely ad libbed, but they still always managed to stay in harmony; the other foremen would gather around to listen and applaud.

The fountains were completed, but the music they made was jumbled, as Uri could hear; he was not at all happy with that. The old Syrian then hit on a way of regulating the pressure in the water pipes that ran in the garden, allowing the three fountains to play a melody as if they were parts of a single flute. Uri had the pipes relaid, and on the fourth attempt it worked. He made sure it was engraved on the pedestals of the statues that the water organ had been the invention of divine Nero.

So much was Uri involved in planning that his mind would not rest, and just coincidentally he worked out how it would be possible to lift beams and marble tablets several stories high with minimal human exertion. His first effort was by hydraulics: cylinders filled with water and linked together underneath by parallel tubes, and the screw devised for raising water by Archimedes of Syracusa helped somewhat, but this needed a lot of water and the tube would always puncture somewhere, resulting in a minor local flood. He was then reminded of the principle of a device that used compressed air to project missiles, developed by military engineers in Alexandria, which fired all right but usually inaccurately.

Air may be invisible but if it is compressible it must be present. But then an idea he had entertained a long time ago came again to mind: if it was possible to compress air, it must also be possible to rarify it. If it is rarefied, then it will be pressurized by the surrounding air. What if that idea could be used for raising weights? Heavy weights might be packed into a tube resting on the ground, and a second tube, which ended high up, would lift the building materials if an appropriate quantity of air could be sucked out. The only question was how accurately the cylinders could be manufactured, so that air did not leak back in. He even made drawings but then he found had no need for them because in the meantime work on the palace had been finished and he did not get the chance to build the special crane. He therefore took the plans to the library and got Salutius to enter them in the catalogue under the heading “Gaius Theodurus’s Pneumatic Crane.”

What would Plotius say to that? Not the drunken, sick-minded beast he had become but the individual with whom he had once drunk wine in a tavern in Syracusa.

When Nero took up occupation in the palace a big housewarming was held, those leading the architects and builders were granted huge bonuses and banqueted with the emperor. Uri got nothing and was not even invited to the celebrations. The fountains did not make music: the tubes had been sawn through the day before.

By then the Jewish War was in full swing.

Unbelievable stories were told throughout Rome proper and Far Side; it was hard to tell what was exaggeration and what was outright fabrication, but then a stream of refugees arrived in Ostia and made their way by foot to Rome and Far Side. At first the elders only accepted those with money, but the pressure grew so great that the others had to be admitted too. The municipal authority placed on the Jews the entire burden of responsibility for keeping discipline, so the elders recruited a Jewish volunteer police force. Iustus issued an order for them to put a lid on the talk, and that they did, only somehow or other news continued to get around. Salutius used to walk out to Uri’s place from Far Side to take the air, as he put it, and he would relate what had been going on in Far Side.

Uri now lived on his own in the Via Sacra, having bought the whole house; he now took rent from the jeweler. He got no more commissions from the state, but private builders passed him on by word of mouth and he could take on just as much as he wanted. Hagar eventually moved back to Far Side into Eulogia’s place, solemnly swearing that she would drink no more; Uri gave them money to extend the house.

The story that went around Far Side was that the war broke out when on the Day of Atonement one of Gessius Florus’s soldiers bared his prick to a crowd of Jews from the roof of the Temple colonnade. As a matter of fact it had broke out when the Greeks of Caesarea assailed the Jews and massacred ten thousand of them in the course of a single night. That marked the start of a general slaughter in the cities of Syria, with Sebaste and Askelon being razed to the ground; at Scythopolis the Jews wisely came to an agreement with the Greeks that they would not harm each other, then during the night of the third day of the compact, as they lay unguarded and asleep, all the Jews — more than thirteen thousand persons — had their throats cut.

The number of victims was doubted: it was far too high.

Those who had fled from Caesarea asserted that many high priests, such as Jonathan and John, the alabarch of Caesarea, had been slain. Florus was a poor commander, constantly losing against Jewish troops who were led either by the scions of high priests or robber chiefs of peasant parentage. Eleazar, son of the high priest Ananias, had acquired a considerable name for himself as a military leader, it was said, permitting his soldiers to commit all kinds of cruelties. At breakneck speeds, the Jews of Jerusalem were digging tunnels beneath the Temple with their exits at the Sheep’s Pool or Bethesda, but no, that could not be right, because it was past even the northern wall and anyway those passages have existed for a thousand years and more. This was the northern wall that Agrippa I was so assiduous about having built, but construction on which he was forced to halt on strict orders from his friend Claudius.

Then news came through that in clashes between pro- and anti-Roman Jews the house of Ananias the high priest, Herod’s palace, the palace of the Hasmoneans, and the Antonia fortress had been set fire to, along with the repository of the archives — indeed, that had been the very first target, including all contracts belonging to creditors.

That was quite credible.

The list of the edifices did not hold any great significance for most of Rome’s Jews, as few of them had ever been to Jerusalem.

There was also great turmoil in Alexandria; Tuscus, the prefect in Egypt, was not master of the situation, with constant clashes occurring between Greeks and Jews. Nero had Tuscus replaced and executed for bathing in the bath that had been specially constructed for the emperor’s intended visit to Alexandria. That visit did not come about, and Alexandria was left without a prefect for a while before Nero finally appointed Tija prefect of Egypt.

Alexandria at last had a Jewish prefect at its head!

The Jews of Far Side were ecstatic, although there were the eternal whiners and gripers who insisted that in his time as prefect of Galilee Tiberius Julius Alexander had executed Jewish malcontents, though to no avail because a certain Menahem — the son of a crucified rebel leader called Judas the Galilean, who was said to be literate — had taken up his father’s generalship and broken open the armory at Masada and given arms not only to his own people but to other robbers. Then he had entered Jerusalem with his hordes, had the high priest Ananias pulled out of his hiding place in the aqueduct, and killed him along with his younger brother Ezekiel. All the same, Far Siders were on the whole delighted that at last Rome had a Jewish prefect of Egypt, and in any case since then Menahem had been captured, tortured, and slain by the men of his rival Eleazar.

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