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In "The Martyr of the Catacombs," James De Mille intertwines historical fiction and adventure to vividly depict the trials faced by early Christians in ancient Rome. Through the lens of gripping narrative and rich character development, De Mille explores themes of faith, persecution, and resilience. The novel is marked by its striking descriptions and suspenseful pacing, a style that encapsulates the socio-political undercurrents of its time, inviting readers to reflect on both the past and the enduring spirit of humanity amid adversity. James De Mille, a lesser-known but impactful figure of 19th-century literature, draws upon his extensive knowledge of classical history and theology, elements that inform the dramatic landscapes and emotional depth of this tale. His experience as a professor and his fascination with early Christian narratives inspired him to delve into this often-overlooked period, crafting a narrative that is both educational and profoundly moving. De Mille's unique perspective as a Canadian author seeking to bridge cultural divides enriches the reader's understanding of the broader implications of faith and power. This novel is highly recommended for readers seeking a profound narrative steeped in history and religious exploration. De Mille's work offers not only a thrilling adventure but also a poignant reflection on the cost of faith and the strength found in community. Whether one is a history enthusiast or a lover of classic literature, "The Martyr of the Catacombs" provides a powerful commentary on the trials of the human spirit.
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Veröffentlichungsjahr: 2019
CHAPTER VI.
THE CLOUD OF WITNESSES.
The new convert soon learned more of the Christians. After a brief repose he rose and was joined by Honorius[2], who offered to show him the nature of the place where they lived.
Those whom he had seen at the chapel service formed but a small part of the dwellers in the catacombs[1]. Their numbers rose to many thousands, and they were scattered throughout its wide extent in little communities, each of which had its own means of communication with the city.
He walked far on, accompanied by Honorius. He was astonished at the numbers of people whom he encountered; and though he knew that the Christians were numerous, yet he did not suppose that so vast a proportion would have the fortitude to choose a life in the catacombs.
Nor was he less interested in the dead than in the living. As he passed along he read the inscriptions upon their tombs, and found in them all the same strong faith and lofty hope. These he loved to read, and the fond interest which Honorius took in these pious memorials made him a congenial guide.
"There," said Honorius, "lies a witness for the truth."
Marcellus[4] looked where he pointed, and read as follows:
"These men," said Honorius, "show us how Christians ought to die. Yonder is another who suffered like Primitius."
"And there," said Honorius, "is the tomb of a noble lady, who showed that fortitude which Christ can always bestow even to the weakest of his followers in the hour of need."
"We do not die," said Honorius; "we but sleep, and when the last trump shall sound w[3]e shall awake to be forever with the Lord. Here," he continued, "lies Constans, doubly constant to his God by a double trial. Poison was given to him first, but it was powerless over him, so he was put to the sword:"
Thus they walked along, reading the inscriptions which appeared on every side. New feelings came to Marcellus as he read the glorious catalogue of names. It was to him a history of the Church of Christ. Here were the acts of the martyrs portrayed before him in words that burned. The rude pictures that adorned many of the tombs carried with them a pathos that the finest works of the skillful artist could not produce. The rudely carved letters, the bad spelling and grammatical errors, that characterized many of them, gave a touching proof of the treasure of the Gospel to the poor and lowly. Not many wise, not many mighty are called; but to the poor the Gospel is preached.
On many of them there was a monogram, which was formed of the initial letters of the name of Christ, "X" and "P" being joined so as to form one cypher. Some bore a palm branch, the emblem of victory and immortality, the token of that palm of glory which shall hereafter wave in the hands of the innumerable throng that are to stand around the throne. Others bore other devices.
"What is this?" said Marcellus, pointing to a picture of a ship.
"It shows that the redeemed spirit has sailed from earth to the haven of rest."
"And what is the meaning of this fish that I see represented so often?"
"The fish is used because the letters that form its name in Greek are the initials of words that express the glory and hope of the Christian. 'iota' stands for 'Jesus,' 'chi' for 'Christ,' 'theta' and 'gamma' for 'the Son of God,' and 'sigma' for 'Saviour,' so that the fish symbolizes under its name 'iota chi theta gamma sigma,' 'Jesus Christ, the Son of God, the Saviour.'"
"What means this picture that I see so often--a ship and a huge sea monster?"
"That is Jonah, a prophet of God, of whom as yet you are ignorant." Honorius then related the story of Jonah, and showed him how the escape from the bowels of the fish reminded the Christian of his deliverance from the darkness of the tomb. "This glorious hope of the resurrection is an unspeakable comfort," said he, "and we love to bring it to our thoughts by different symbols. There, too, is another symbol of the same blessed truth--the dove carrying an olive branch to Noah." He related to his companion the story of the flood, so that Marcellus might see the meaning of the representation. "But of all the symbols which are used," said he, "none is so clear as this," and he pointed to a picture of the resurrection of Lazarus.
"There too," said Honorius, "is an anchor, the sign of hope, by which the Christian, while tossing amid the stormy billows of life, holds on to his heavenly home.