But this is Rieux's mind talking and he confesses that he has contradicted his statement by his actions. To conclude, the Jesuit Father Paneloux preaches a fierce sermon opening with a bang: “Calamity has come on you, my brethren, and, my brethren, you deserved it.” Spiking his words with Old Testament quotes, somber premonitions and harrowing comparisons, he literally puts the fear of God into people – only to commend that they see the light, change their ways and embrace the love of God to atone for their sins. Soon he rose in the ranks of activists fighting the same cause, until he discovered that they, too, were sanctioning death, claiming that they were only doing this to build a new system devoid of murder. In that same audience may be a woman who knows that she is wearing the most expensive diamonds there. His father died in World War I when he was an infant. He simply acted. Grand shows all the symptoms of plague, but against the doctor’s expectations he recovers. . Rieux clarifies another misfortune of the lethargic state — the slackening of Tarrou's medical crews. Camus joined the French Resistance as chief editor of the underground newspaper Combat in 1943 and became friends with Jean-Paul Sartre. The ambiguousness of his death is best interpreted as the result of a conscious will at work. His daughter Catherine Camus, when asked about the book’s newfound popularity, said that its core message was now more pressing than ever: “We are not responsible for the coronavirus, but we can be responsible in the way we respond to it.”. She too understands why he must return to his wife: the girl is pretty, Rambert is sensual; he does not believe in God, man must worship and believe in something — even if it is no more than a girl, himself, and their love. M. Othon, the judge, asks to be sent back to the quarantine camp. Tarrou's sympathy for the defendant was very much like that which Camus felt for a boatload of prisoners he saw in the Algerian port in 1938. In a subsequent sermon, Paneloux speaks of “we” instead of “you,” and mentions that nothing in the world could ever justify a child’s suffering. His throat is clotted with a choking substance; later he looks as if he has been thrashed. At first, everyone is in denial. He has already suffered the fear of distrust and insecurity; the present despair of Oran makes him somewhat of an elder citizen. Equations add up; they equilibrate and are based on logic. Rambert. There are times when it is not cowardly, but natural and necessary to want to swing high and away on birch branches, and, " . Some shrewd pub-owners advertise: “The best protection against infection is a bottle of good wine.” Yet the most miserable, it seems, are individuals like the journalist Rambert: He has left behind the woman he loves in Paris, finding himself exiled in a place full of strangers. Both men had early experienced the conviction that one human being may not demand the life of another. The only person who seems perfectly at ease – in fact, doing better than ever before – is Cottard. Only one person won’t join in the festive mood: Cottard has barricaded himself in his apartment and is shooting at people from his house. He often intersperses his sober narration with quotes from a diary written by Tarrou, thus introducing another detached perspective to underline the unbiased nature of the account. Tarrou's inability to tell M. Othon of his boy's suffering is humanitarian, but all men in the stadium know of the suffering that the plague produces. From now on small notices go up in inconspicuous parts of town, asking citizens to follow decent hygiene rules as well as to report the occurrence of fleas and unusual fevers to the authorities. The Plague (SparkNotes Literature Guide) by Albert Camus Making the reading experience fun! From the title, you know this book is about a plague. Then, on a morning in February, the gates are officially reopened with great pomp. Last Reviewed on June 19, 2019, by eNotes Editorial. The narrator reveals several unexpected reactions of his own — unexpected because he is usually reticent about his personal life and unexpected because they are confessions of his feelings of loss. The man begs the doctor not to report the incident to the police, but Rieux says it’s his duty to do so. Into it, however, can be read all Camus's native anxieties, centred on the idea of plague as a symbol.' The novel reflects three aspects of the author’s personality: Dr. Rieux stands for the detached and dutiful healer, who fights on and continues to do the good work; Rambert is someone who lives for love, knowing full well that passion is fleeting and sustained marital bliss an illusion; and Tarrou is a disillusioned idealist, who searches for true meaning and dies before attaining it. The pamphlet mentioned by the young deacon suggests that Paneloux is considering not only the plague's illness, but simple sickness itself. Afterward he meets the Spanish agents and, before leaving, returns to Rieux. In August, tensions edge up a notch, since the plague is moving from the crowded outskirts to the center of town. The chapter is structured in this way: Rambert contacts Gonzales and his agents, then discusses his leaving with Rieux. Even a greater incongruity, however, than the raincoat costumes in the plague city is the lack of men and women carrying flowers to the cemeteries. The slow-paced, relaxed style also contains fewer contrasts of opposites. Major Themes in Albert Camus's The Plague. The Plague Introduction The Plague, or La Peste in its original French, is a novel written by philosopher/writer Albert Camus in 1947. The authorities declare martial law. He theorizes that he cannot contract the plague because he carries his own death sentence and men never die of two illnesses. Since he is already dealing with contraband goods and knows the right people, he puts Rambert in touch with some of his partners. Rieux is aware of the priest's outer composure as well as the fear that grows beneath the skin. Rieux was absolutely correct to juxtapose these two scenes. He cannot say whether or not the plague is more fierce than it was yesterday; he can only measure his own competence, and the result is negative. This is a fairly common irony, especially in this book, but here it is used as a transition into another incongruity. After German troops occupied all of France in November 1942, the Resistance eventually united behind de Gaulle. Yet one can be somewhat objectively sympathetic toward this human rarity. In October, Rieux tries out Castel’s new anti-plague serum on a little boy who appears to be a hopeless case. Tarrou visits the stadium with Rambert and Gonzales, two former football players, and the contrasts between the past and the present are more evident because of the presence of these men. After 1945, both Gaullists and Communists maintained that the majority of French people had been active resisters. He began to dedicate his life to what he considered – and still considers – state-sanctioned murder. And once at work he no longer supervised quiet last rites. Longer comfortable with his ready-made store of threats, he married a bourgeois. The Year, the irony of natural beauty is played against natural ugliness death... 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