This is a question to speculate about after we know Tarrou more thoroughly. This is far from the romantic Mediterranean town we might expect on the shores of the sea. This is, in a sense, what Camus is doing in the opening scenes of The Plague. Explore Course Hero's library of literature materials, including documents and Q&A pairs. “The Plague” takes place in Oran, a city that Camus, as a son and partisan of its rival, Algiers, found tacky, shallow, commercial; treeless and soulless. Oran is not the typical Mediterranean town described in guidebooks as having a "delightfully sunny complexion and charming little balconies overhanging narrow streets, with delightful glimpses of shady courtyards." Talking about Cottard, Grand says that the only previous instance of any odd behavior is that the fellow always seemed to want to start a conversation. The doctor gives Grand credit for being a man of feelings. Grand struggles over perfecting the beginning of a manuscript. He lacks almost all sense of commercial survival. Just as any rebellion against death and suffering is ultimately futile, so do the anti-plague efforts seem to make little difference in the relentless progress of the epidemic. In the first paragraph of the book, the ordinariness of Oran is contrasted with the extraordinary business of the plague, and on the surface the comment seems possibly only a bit of literary formula. Only once in his notebooks does Tarrou add a comment after his scraps of reportage. In this first chapter, then, he has rather formally given us the setting, almost dryly discoursed on its features, and finished his brief, journalistically sounding framework for the action to follow. The Plague, is a novel by Albert Camus, published in 1947, that tells the story of a plague sweeping the French Algerian city of Oran.It asks a number of questions relating to the nature of destiny, and the human condition. Lulu Haroutunian has discussed Camus' own medical history, including a bout with tuberculosis, and how it informs the novel. This particular plague happens in a Algerian port town called Oran in the 1940s. It is natural, then, for him to begin and set his novel in terms of an extreme contrast. His defense is with a semantic shield. As a reader, you might consider how he would view the old Spaniard who carefully puts dried peas from one pot to another. The plague today is an invisible monster, but it gives birth to a better world. Analysis and discussion of characters in Albert Camus' The Plague. And a snail's shell of indifference and ignorance is hiding the townspeople and even Rieux's colleagues from the truth. (There was a monthlong outbreak in Oran in 2003.) It is Tarrou who will supply the details to fill in the broader narrative outlines of Rieux. The emergency measures are insufficient. He tosses semantics to the timid-tongued doctors. Complete summary of Albert Camus' The Plague. Societies too often contain hypocrisy and jealousy; there is seldom honesty and directness. Ironically, Rieux remarks, just such insignificant people often escape plague. The Outsider, The Plague, And The Fall By Albert Camus Analysis 1774 Words | 8 Pages. Later the Oranians become vaguely uneasy. Judt, Tony. 9782806270160 29 EBook Plurilingua Publishing This practical and insightful reading guide offers a complete summary and analysis of The Plague by Albert Camus. The swollen ganglia which he sees recurring are often lanced and disgorge a mixture of blood and pus. The Prefect, or local magistrate, must be dealt with. Camus refutes this armchair attitude; he characterizes the town as filled with bored people, people who have cultivated habits, people whose chief interest is "doing business." So that the book will not have a one-viewpoint narrative, the author of the chronicle offers the notebooks of — not an Oranian — but those of an outsider, Jean Tarrou. Thanks for exploring this SuperSummary Plot Summary of “The Plague” by Albert Camus. bookmarked pages associated with this title. The concern with love gone wrong is a symptom of an illness within Oran even before the plague of death strikes. Very briefly, we also meet in this chapter the senile, chuckling old Spaniard. Examining the city more closely, the narrator says that love is particularly repulsive in Oran. Originally, the doctor had suggested that Cottard drop by during consulting hours, but clearing his head of plague thoughts, he sympathetically responds to the fellow. The doomed citizens, shut off and abandoned to die, cope with various strategies as the months drag on their languished souls. It is the story of a plague epidemic in the city of Oran in the 1940's and tells of the individual destinies of some of its inhabitants, who all react to the situation in a different way. And, in his quiet way, Camus is also using satire. His is a quiet, unsensational role, but it is exemplary in that he is totally committed to his fellow men and has "no truck with injustice or compromises with the truth.". Dr. Bernard Rieux The surgeon — narrator of The Plague.. Jean Tarrou The best friend of Rieux.His notebooks are used as part of the chronicle. Oran turns its back on the bay. In fact, Camus says later that the rats were coming out in long swaying lines and doing "a sort of pirouette." Although it is too early for me to advance any far-fetched arguments, I can say that Joseph is very much similar to Sisyphus; he becomes accustomed to the routine nature of daily life, and his existence reminds us of Sisyphus’ attempts to roll a rock to the top of the mountain. He is somewhat of an oddity in Tarrou's album of sketches. Again, this is a marvelous sort of endeavor, but the result will be too perfect. His thoughts of fellow Athenians fighting one another centuries ago for burial rite space for their dead foreshadows a like battle he will fight when he attempts to properly care for the sick and dying. The Plague (Penguin Classics). Exhausted and preoccupied by the fever patients, he agrees to drop by and discuss a matter with Cottard concerning something about which Cottard is irritatingly vague. If so, this amplifies the narrator's comment in Chapter 2 comparing the rats to pus, oozing from the abscesses beneath the town. Camus, however, had good reason for beginning his work with just such a contrast. The tale is highly allegorical, meaning that it uses concrete characters, places, and events to symbolize non-literal or abstract principles. Death is a "discomfort." She survives. Grand reports that a complete change has taken place in the man and Rieux does some firsthand observing. His novel The Plague has recently garnered much worldwide attention do to the pandemic of 2020. We’ve discounted annual subscriptions by 50% for our End-of-Year sale—Join Now! It is only when they are separated by quarantine from their friends, lovers and families that they most intensively love them. He hopes to tell his story authentically, directing the narrative to our intellect and our imagination rather than to our heart strings. On the contrary, he appears to be much more concerned with words than he does with people. Albert Camus, though denying the tag of existentialism, was and still is a great name amongst French existentialist authors who helped sculpt and define the movement in literature. Shortly thereafter, when a rat comes from the sewer it is described as spinning on itself with a little squeal, a sort of miniature ballet before death. Tarrou, besides liking musicians, sees Oran as a town built of physical ugliness and of a sterile commercial spirit. In social waters, swimming is done blindly. In the 14th century, the bubonic plague, also known as the “Black Death” killed almost a third of the Action is the only answer. The other doctors refuse to draw conclusions or make an attempt to consider the cases. The rats were headlines in the press. Word games are ridiculous now. Before Oran is finally quarantined, Dr. Rieux confronts one more tangle in the local snarl of red tape. if there is a God and die to find out there isn't, than live as if there isn't and to die to find out that there is.” -Albert Camus, The Fall In Albert Camus’ novel The Plague, the author employs three main characters -- the narrator, Tarrou, and Father Paneloux -- to represent extremist views on religion and science in culture. (Camus 44) Rieux stays, faces his fear of death, and stays altruistic to fill the duty of being a doctor. Here is a point, brief as it is, of normalcy to weigh later against the extreme. Like the sudden relief from the rats before the plague sets in, the patients all seem to take a turn for the better just before their death struggles. His dictionaries, his blackboard, the crammed full portfolio, his study of Latin to perfect his French — all this — his search for the basic, the Ur-origins — is admirable, but he seems, thus far, neglecting the people who speak the language he delves into. The tragedy of a plague is announced in the book's title. The blood leaking from their mouths reminds him of his wife's illness and her imminent trip to a mountain sanatorium. Surprisingly, it is the town's ugliness, its lack of trees, its hideous houses, and the ridiculous layout. The Plague Summary. And if fatality is wretched normally, imagine what discomfort will be encountered during the pages of this long chronicle of death. In his volume of essays, The Myth of Sisyphus, published five years before The Plague, he says that contrasts between the natural and the extraordinary, the individual and the universal, the tragic and the everyday are essential ingredients for the absurd work. This inconsequentiality, however — isn't this, in a broad sense, definitive of Oran? The Plague-Novel Analysis, 2004. Be assured, before you take up this book, that however fearful COVID-19 may be, it is nowhere near as destructive as Camus’s plague. Finally Rieux seems at a loss for an answer. His result has the tone of precision — much the same as Truman Capote's nonfiction novel In Cold Blood. This is a small point, for there is much description of the rats as repulsive and rotting, but Camus' occasional contrasts of appearance versus reality in his description is exactly what the chapter is concerned with. The situation of the rats may or may not be considered "normal," he says. The plague strikes people from all social classes and positions, which only highlights the absurdity and arbitrariness of such hierarchies. The plague in question afflicted Oran in the 1940'2; and on one plane the book is a straightforward narrative. He merely replied "a secret grief," and refused to look at the officer. Grand, too, seems to furnish a foil-like situation for a deeper insight into Rieux's character. He does not undergo here a metamorphosis and emerge something much grander than before. As a natural and symbolic backdrop the sea, with its unbound waves, is an ever-present, ominous comment on the action. (Camus 44) Rieux stays, faces his fear of death, and stays altruistic to fill the duty of being a doctor. of the past? The Plague Summary. from your Reading List will also remove any This illness is … Rieux seems isolated — in miniature, a situation akin to the total isolation which the plague will eventually impose upon Oran. Once more, as a point of reference, Camus' earlier fictional character of Meursault won't ask for a transfer; neither does Grand ask for salary raises or advancements. This chapter also provides a fuller treatment of the character of Grand. The Plague is a novel about a plague epidemic in the large Algerian city of Oran. On the surface, The Plague is a realistic description of how society reacts to a deadly epidemic: Starting with the authorities’ inevitable denial and followed by hastily convened containment measures, panic buying, shameless profiteering and public discontent, the disease also brings out the very best in people, leading to extraordinary acts of human kindness and solidarity. Why does Cottard have an irrational fear of the police? A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality study guides that feature detailed chapter summaries and analysis of major themes, characters, quotes, and essay topics. He now eats in luxury restaurants and flourishes grand tips. Marina Warnerhas noted the lack of female characters and th… The central irony in The Plague lies in Camus' treatment of "freedom." Gulliver's Travels has improbable place names, as does Erewhon, and both works have a fairy tale quality, largely because of their ambiguous settings. The tone here is low-keyed because the narrator is speaking of the normal day-to-day process of dying. Into it, however, can be read all Camus's native anxieties, centred on the idea of plague as a symbol.' With his wife away, he is left in a perspective larger than any plagued romantic tragedy. Knowing, of course, that he (the narrator) is Dr. Rieux, we can see a kind of scientific detachment to his style, in addition to his hope to be objectively truthful. And, if up to now he has been one step ahead of the townspeople in conscientiously trying to isolate and arrest this mysterious virus, he has never completely stopped and considered the panorama of torment which will be in store for the prey of the plague. Nevertheless, Camus did believe that people are capable of giving their lives meaning. The townspeople of Oran insist that the rats are surely meaningless, whereas the rats are extremely meaningful. It is bound, perhaps even strangling itself, with habits. One should question, at this point, whether Rieux is wholly to be trusted. The mess starts when rats everywhere die. It will be artificial and devoid of that vital flush of life that separates an artist from a craftsman. Removing #book# Again, as in Chapter 1, he uses an extreme contrast — here, to point to the absurdity of the symptoms: rats can't be seeping out of houses and sewers for a reason — rats' deaths can't be beautiful. Camus' The Plague is an uncannily prescient description of the world of COVID-19, giving us reasons for reflection, and finally for hope. The Plague. In spite of their greed and thrift, there are no millionaires in the city, there are no artists of repute, no statesmen or politicians — there is actually no one known outside the city walls. Why Tarrou singles out this particular instance to comment on is fairly obvious. But when he says that prompt action should be taken but "don't attract attention," he is pitifully similar to the civil rights fighter who supports protest marches as long as they are done in good taste and don't "attract attention." Fleeing the city or otherwise avoiding the anti-plague effort is tantamount to surrendering to the absurd death sentence under which every human being lives. A man only begins living, according to Camus, when he announces in advance his own death to himself and realizes the consequences. Rieux modifies his seeming indecision by saying that the symptoms are not "classic," and at this point his purist view is alarming. and any corresponding bookmarks? Perhaps, it is hoped, the plague will then take care of itself. Camus himself loved the sea; when he swam in it, he encountered it nakedly and boldly, in a way virtually impossible to encounter society. The symbol is that of the German occupation of France against which Camus fought so heroically during the war. The book, after all, is an allegory, but becomes more successful in all its levels partly because of its existent geographic setting. Still, it had decimated the city in the 16th century and the 17th. I have little doubt he was guilty, of … Cuizon, Gwendolyn. The doctor patiently fights the plague, but is often confused about his duty: he, as the doctor, is supposed to save people, but in the case of plague, he just has a chance to isolate them from the healthy ones, and record their death. The chapter begins with Dr. Rieux's discovering a dead rat and a crotchety concierge's indignant and comic fussings and it ends with a total of several thousands of dead rats, plus the plague's first death — M. Michel, the concierge. The announcement of death is paramount in Camus' philosophy and in his novels. His hopes for a natural cessation of the plague are of course futile. He even admits that his heart responds whenever he recalls his deceased parents. Web. The Plague Summary. Richard, the telephoned colleague of Dr. Rieux, exhibits an oft-used approach of intellectuals toward problems. and suggested a Samaritan attitude. Analysis Of Albert Camus 'BookThe Plague' 1424 Words | 6 Pages. Why does anyone attempt suicide? Perhaps because he is so near death himself, he enjoys with relish the instinctive feeling that he will not die alone but with numerous companions. "It's like that sometimes," says Rieux's mother, suggesting a seen-much, lived-through-much mind. Some of Camus' descriptions of the rats in this chapter are worth brief notice. Lebesque, Richard. Rieux responds immediately to the old man's call for help — help for a neighbor who has tried to hang himself. Where Tarrou has come from is a mystery, but after several days of minute observation of the city, he writes: "At last!" This speculation of Rieux's turns into musings throughout Chapter 6. Perhaps Camus' several years of newspaper writing were the genesis of this style or helped formulate his ideas concerning the need for careful, documented truthfulness. By presenting another viewpoint, that of someone who has no family or loved ones affected by the plague to color his account in his notebooks, the truth of "what happened" will be more nearly correct. 559. Non-American Author Research: The Plague by Albert Camus The Plague by Albert Camus is a novel that forms themes around human suffering, greed, and religion. His coming-to-terms with whatever has invaded Oran must be accomplished soon, but with reason and observation. Camus conceived of the universe in terms of paradoxes and … Although, most of the cultural points in this novel are based off of the authors own traditions and culture, the major things to focus on are the differences between history, culture, and religious beliefs between the novel and Oran, Algeria. Earlier, he has said "one's got to help a neighbor, hasn't one?" Rieux says that Grand "confesses" to dearly loving his nephews and sisters. Everyone who chooses to fight the plague, to rebel against death, knows that their efforts increase their chances of contracting the plague, but they also realize they could contract the plague if they did nothing at all. Indeed, this thorough and methodical attitude will continue throughout his dealings with the plague. The mercantile air of Oran also pleases Tarrou. As a character, he is initially fleshed out with a good deal of personal preoccupation when he first encounters the dead rats. Rieux considers: none of these people matter, yet such a major tragedy as plague — what possible reason could there be for its singling out Oran? First, Rieux considers Grand's occupation as clerk. Is the old man aware of what he is doing? Vital living can be stifled by habits: in Oran, love-making is relegated to the weekends. The plague is an enigma to the doctor. Rieux, as narrator, castigates the townspeople for their stupidity and frivolity, these people who refuse to conjure and consider consequences. While The Plague is a tale of absurdist philosophy, it is also a novel with living characters and a deeply human story, and Camus’ writing is potent in its imagery of suffering, despair, and courage. New York: Penguin Classics, 2006. The journalist Rambert seems, at this point, only a foil for Rieux. Thus, they give meaning to their lives because they chose to rebel against death. The Plague literature essays are academic essays for citation. The image expands and colors the chapter. Albert Camus' gritty philosophical masterpiece, The Plague, tells of the horror and suffering that accompanied a plague as it swept through 1940s Algeria. The rats, they say, are disgusting, obnoxious, and a nuisance. And yet The Plague ultimately makes for edifying reading in this time of quarantine. The casual mention here is being heavily underplayed. And outside nature is serenely blue, brilliantly golden. He muses on the dimensions of Grand's character — measurements which are unexceptional, but important in their implications. As an actual Algerian town in North Africa, it functions as an anchor of reality for the reader. Officially, rats and fleas are to be exterminated; illnesses resembling the mysterious fever are to be reported and patients isolated. The plague today is an invisible monster, but it gives birth to a better world. In addition, Camus is striving for an esthetic distance between the reader and the novel which will keep the reader an observer. That the rats themselves mean something more serious is ignored by the general population. Albert Camus: The Plague - Summary and Commentary from an Existentialist and Humanist Point of View Bubonic plague is a disease caused by the bacterium, Yersinia pestis. As he watches and listens, it is the sea he hears most clearly as it murmurs with unrest, affirming "the precariousness of all things in this world." Leaving Grand, Rieux tends more patients. The first dead rat begins the chapter; the first victim ends it. This minute — now — this is what matters. The chronicle’s unknown narrator eventually reveals himself as Dr. Rieux, who has been trying to take a more detached view of the plague. 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