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Lepidus the Centurion: A Roman of Today
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
312 pages, Paperback
First published January 1, 1901
16 people want to read
About the author
Edwin Lester Arnold
90 books7 followersEdwin Lester Linden Arnold, (1857 – 1 March 1935) was an English author. Most of his works were issued under his working name of Edwin Lester Arnold.
Son of Sir Edwin Arnold. Most of his childhood was spent in India, but he returned to England to study agriculture and ornithology. He became a journalist in 1883, and published his first books 1877 and 1887 before writing his first novel The Wonderful Adventures of Phra the Phoenician. Phra was first published in 24 parts in the prestigious Illustrated London News, and later published in book form in the United States and the United Kingdom.
Son of Sir Edwin Arnold. Most of his childhood was spent in India, but he returned to England to study agriculture and ornithology. He became a journalist in 1883, and published his first books 1877 and 1887 before writing his first novel The Wonderful Adventures of Phra the Phoenician. Phra was first published in 24 parts in the prestigious Illustrated London News, and later published in book form in the United States and the United Kingdom.
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Displaying 1 - 2 of 2 reviews
January 5, 2009
"Lepidus the Centurion: A Roman of Today" is the another book by Edwin Lester Lindon Arnold. It has not been suggested as a possible influence on Edgar Rice Burroughs, unlike Arnold's better known "Phra" and "Gullivar Jones" books, but there are some similarities between the three stories. There are also significant differences between this book and the other two.
As with "Phra", "Lepidus" deals with a character from an ancient civilization coming back to life many years later. In this case, though, it is a Centurion instead of a Phoenician, he comes to life in modern times (1901 is when the book was written), and it is told not by the character himself, but by the man who discovers the Centurion and helps to bring him back to life (Louis Allanby).
The narration of the story is a significant improvement from that of "Phra", though Arnold still does get a bit caught up at times with overly flowery language. The pace is improved as well, as Louis finds Lepidus quickly, and he awakens him as well. The early question of language--why does Lepidus speak English?-- is asked, but remains a mystery. The problem then becomes, what does an Englishman do with a Roman Centurion in polite English society? Using a cover story of an eccentric Italian friend who is not used to English customs, Louis attempts to mix Lepidus in with the rest of his guests.
Arnold mixes the humorous misunderstandings of Lepidus of modern life (running water, electricity, cigars, and most of all manners) with the Roman showing his strengths (riding horses, cards, and courting women). There is also the serious telling of his love, returning to him throughout time with different names and dress, but always the same love who awakens him for brief periods. This episode doesn't flow with the rest of the story, and the reader does immediately know from its insertion at this point that a love triangle of sorts is destined to come. Lepidus' girl is known as Prisca Quintilia, while Louis' affection is for Priscilla Smith, but naturally one suspects that Priscilla is simply the modern Prisca.
Indeed, when the lady in question arrives, it is as one had guessed, and her attention is drawn to Lepidus while Louis sulks. Things get worse from there, as Louis' jealousy causes him to act poorly, and his overactive imagination and pursuit of Priscilla leads him to embarrassing situations with the other guests. The story bogs down at this point a bit, as Louis takes to sulking, and making a bigger fool out of himself. This is followed by the story taking a darker turn, as the battle for Priscilla's affections turns much more serious and deadly. First a duel of rapiers which is broken up by Priscilla, followed by a ultimatum for the lady to choose, with poison and death awaiting the man whose love is spurned.
This book doesn't seem to know what it wants to be. Unlike the other two works I have read of Arnold's, it is a stretch to call this one an adventure story, even though it shares certain similarities with "Phra". Like "Gullivar", there is early in the book a fairly lighthearted feel to the story, though it certainly lacks the adventure aspect. Instead, it almost has the feel of a Wodehouse story, though certainly not as well told. Lastly, it serves as a love triangle story of sorts, though it gets very dark near the end, which means it doesn't work so well when taken that way either, though it does recover a bit with a very touching end scene. It is difficult to recommend this, though it is much more readable than "Phra", and perhaps those who read "Gullivar" might want to read another book from the same author.
As with "Phra", "Lepidus" deals with a character from an ancient civilization coming back to life many years later. In this case, though, it is a Centurion instead of a Phoenician, he comes to life in modern times (1901 is when the book was written), and it is told not by the character himself, but by the man who discovers the Centurion and helps to bring him back to life (Louis Allanby).
The narration of the story is a significant improvement from that of "Phra", though Arnold still does get a bit caught up at times with overly flowery language. The pace is improved as well, as Louis finds Lepidus quickly, and he awakens him as well. The early question of language--why does Lepidus speak English?-- is asked, but remains a mystery. The problem then becomes, what does an Englishman do with a Roman Centurion in polite English society? Using a cover story of an eccentric Italian friend who is not used to English customs, Louis attempts to mix Lepidus in with the rest of his guests.
Arnold mixes the humorous misunderstandings of Lepidus of modern life (running water, electricity, cigars, and most of all manners) with the Roman showing his strengths (riding horses, cards, and courting women). There is also the serious telling of his love, returning to him throughout time with different names and dress, but always the same love who awakens him for brief periods. This episode doesn't flow with the rest of the story, and the reader does immediately know from its insertion at this point that a love triangle of sorts is destined to come. Lepidus' girl is known as Prisca Quintilia, while Louis' affection is for Priscilla Smith, but naturally one suspects that Priscilla is simply the modern Prisca.
Indeed, when the lady in question arrives, it is as one had guessed, and her attention is drawn to Lepidus while Louis sulks. Things get worse from there, as Louis' jealousy causes him to act poorly, and his overactive imagination and pursuit of Priscilla leads him to embarrassing situations with the other guests. The story bogs down at this point a bit, as Louis takes to sulking, and making a bigger fool out of himself. This is followed by the story taking a darker turn, as the battle for Priscilla's affections turns much more serious and deadly. First a duel of rapiers which is broken up by Priscilla, followed by a ultimatum for the lady to choose, with poison and death awaiting the man whose love is spurned.
This book doesn't seem to know what it wants to be. Unlike the other two works I have read of Arnold's, it is a stretch to call this one an adventure story, even though it shares certain similarities with "Phra". Like "Gullivar", there is early in the book a fairly lighthearted feel to the story, though it certainly lacks the adventure aspect. Instead, it almost has the feel of a Wodehouse story, though certainly not as well told. Lastly, it serves as a love triangle story of sorts, though it gets very dark near the end, which means it doesn't work so well when taken that way either, though it does recover a bit with a very touching end scene. It is difficult to recommend this, though it is much more readable than "Phra", and perhaps those who read "Gullivar" might want to read another book from the same author.
May 22, 2010
[These notes were made in 1982; this novel was first published in 1901:]. A Roman centurion, in his spacious underground tomb, "is not dead, but sleeps" - and is awakened after 14 or 15 centuries by a young English squire who is - what? His reincarnation? his double? half of his soul? - the metaphysics are unclear. One thing is very clear - the girl the Squire loves is also the Roman's long-lost love reincarnated, and the two end up in a duel. I found the writing in this book very attractive. Arnold had a knack for imaginative natural description, and made his narrator both plausible and sympathetic. Lepidus he made a sort of hero - in psychological terms, anyway, the kind of man the narrator/protagonist wished to be - vital, athletic, larger-than-life. Pleasant reading.
Displaying 1 - 2 of 2 reviews