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9781906814540: Classics Illustrated 28: The Last Days of Pompeii
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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...
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This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.

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