Plot
The book explores the aftermath of the crucifixion of Jesus through the experiences of the Roman tribune Marcellus Gallio and his Greek slave Demetrius. Prince Gaius, in an effort to rid Rome of Marcellus, banishes Marcellus to the command of the Roman garrison at Minoa, a port city in southern Palestine. In Jerusalem during Passover, Marcellus ends up carrying out the crucifixion of Jesus, but is troubled since he believes Jesus to be innocent of any crime.
Marcellus and some other soldiers throw dice to see who will take Jesus' seamless robe. Marcellus wins and asks Demetrius to take care of the robe. Following the crucifixion, Marcellus takes part in a banquet attended by Pontius Pilate. During the banquet, a drunken centurion insists that Marcellus wear Jesus' robe; reluctantly wearing the garment, Marcellus apparently suffers a nervous breakdown and returns to Rome.
Sent to Athens to recuperate, Marcellus finally gives in to Demetrius' urging and touches the robe; his mind is subsequently restored. Marcellus, now believing the robe has some sort of innate power, returns to Judea and follows the path Jesus took and meets many people whose lives Jesus had affected. Based upon their experiences first Demetrius and then Marcellus become followers of Jesus. Marcellus then returns to Rome where he must report his experiences to the emperor, Tiberius. Marcellus frees Demetrius who escapes, but later on because of his uncompromising stance regarding his Christian faith both Marcellus and his new wife Diana are executed by the new emperor, Caligula. Marcellus arranges that the robe be given to "The Big Fisherman."
Read more about this topic: The Robe
Famous quotes containing the word plot:
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)