The Knights of La Peste

The song "Knights of Cydonia" by Muse reminds me of the plague for some reason. I visualize the city of Oran as being in complete turmoil, anarchy. Forgotten by God, every man is for himself, like in a war, or an uprising. The death, disease and sadness being only some of the things that makes the plague and war alike. Although the song has minimal lyrics, the song as a whole, like the novel by Camus, has different layers of emotions and meanings giving whoever wishes to interpret it "wiggle room" to try to decipher its meaning. On one hand the song is upbeat and hopeful, but on the other, more concealed hand there is a gloomy, mortiferous undertone that sends shivers down my spine. In Oran, the people often have moments of optimism which are quickly annulled by some catastrophic event. The serum that was being imported from France that would save them all, did not work. The ceasing in deaths of rats, the commencement of human deaths. One line I feel the novel relates very well to is "I'll show you how God falls asleep on the job". It is a very strong statement that hits a personal chord, but I, like the narrator of the Plague, will try to relate this in the least biased way that I can. The city is being shaken by a horrible plague, lives are being taken regardless of age, gender, social class, anything. Isn't God supposed to prevent horrible things from happening to good people? The people of Oran want clarity, they want to know, they try religion, but it just jumbles it up even more. Even Father Paneloux, the most religious of them all, loses hope, gets infected and dies. Tricky stuff. That is, in my opinion, what Camus wants to evoke in the readers mind. The chorus of the song also goes well with the novel. The people are "fighting for their lives" they form sanitation groups, they try to save their souls by going to church, they try to escape. They are Knights, fighting for their human rights and fighting to survive.

Read more: MUSE - KNIGHTS OF CYDONIA LYRICS

Hmm...

Continuing with the topic of Maslow's "hierarchy of needs" I propose a question. What do people do when they finally realize all their efforts are hopeless? Right now in the plague I think that is the point we are reaching, where people know that they truly have no power, but they don't accept it. Everyone continues working, Dr. Rieux treating people, and Tarrou with his sanitary squad, and I propose that this proves that there is something else in Maslow's category of physical needs. Besides food and water, people need mental nourishment. It may not be as deep as self-actualization, but everyone needs something to do, something to keep their mind working and something to keep them sane. I think that when people accept that something is hopeless that is when it truly becomes such, as long as they keep fighting there is a chance. The mind is a physical part of the body that needs stimulation, and i think that Camus is trying to show us just how important a strong mind and strong willpower is. Hopefully as the story progresses we will see the results of the main characters' persistence and determination to survive. Will they make it out and show that nothing can overcome the human race or will most die showing all the stages of the human life leading up to the inevitable death.

R vs R

Dr. Rieux vs Rambert.

They are both in Oran, they both are separated from the loves of their lives. In contrast Dr. Rieux is in his home while Rambert is not in the comfort of his home. Dr. Rieux fights against the plague, against letting oneself be overcome by a disease without a fight, even though ultimately he is setting himself up for disappointment. Rieux does not expect to be happy, he works against the disease regardless of the likelihood of his success. Rambert initially fights to get out, he fights his situation, the rules, everything.As he comes to realize that there is no way out Rambert learns the hard way that he is part of something bigger than himself, and that he has to quit helplessly trying to escape his situation and face it like a man. He does, and the reader is proud of him. After accepting that the plague was all of their problem he even risks his life to help fight the plague. Although Rieux and Rambert seem different, they are actually quite the same, they also come to the conclusion that the fight for the citizens of Oran is more important than the fight to get to the women they love (that were actually safe!) Which seems to be the right thing to do.

A New Perspective on an Old Character

In this section, Tarrou suggests to Rambert that his group is in search of more volunteers and that Rambert would be useful in helping in his anti-plague efforts. However, Rambert’s response was no. This response was not surprising; however, the question was. Raymond Rambert, the writer who visited the town of Oran to write a feature story for his newspaper article was in a state of disbelief when he found no way out after the small town was quarantined. Throughout the story, he has spent his time begging people for help to find a way out since he did not know one person in the town. His response made a great deal of sense. On the contrary, I believe that Jean Tarrou is so absorbed with his relief efforts that he does not realize that Rambert would obviously not want to offer his assistance. This somewhat innocent question is a way in which author, Albert Camus, wants to demonstrate that even the sanest people in the town of Oran are beginning to loose their minds. This element of foreshadowing is sending an underlying message to the audience: everyone is becoming deranged and now, the idea of quarantining Oran is useless. Though it is hard to fortell what will happen at the end of the story it is easy to figure out that it is not positive. Jean Tarrou’s above suspicious question should not be overlooked because it is something more significant than expected.

The Plague Takes Everything

I agree with Paulo’s interpretation of the plague’s affect on the townspeople. Whereas before not many people were taking the plague seriously, now it is affecting every part of their life; whether they like it or not. The plague is not only affecting those torn away from their families – it is all encompassing, and as Paulo said, affects everyone in every aspect of their life. The plague has closed the gates, affecting the transfer of food – a physiological need. It has robbed the citizens of safety – everyone lives in fear of contracting it. People cannot even find true safety in their homes; the air they breathe poses a threat. The plague has taken away all feelings of safety from the villagers.  It has separated families and lovers – robbing people of their need for love. Not only has it separated them physically by the closing of the gates, but it has separated them both emotionally and permanently as well. Families on the other side of the gate have no clue as to whether their loved ones are alive or not; the plague has caused complete emotional isolation. Lastly, it has stolen from the population any esteem the citizens may have had - any pride they had. It has turned the population into cowards – everyone fears the disease, whether they voice their fear or not. The plague has taken everything from the town. 

Brainstorming

Soooooo.... I have finished Part 3 of the novel and lets take a look at what would this all be saying. My personal feelings on the story are that Camus is trying to show people that life should not be taken for granted. The people of Oran no matter how rich or poor now have all been trust into a situation where the only goal now is survival. Now how do people react? They must give up all that is not absolutely necessary in order to "live to fight another day". Even the poorer people begin to cherish what they have, such as family much more. Also people begin to find common ground and it is plain to see that when people can relate to each other in some way they become a closer knit community, doing what they can to help one another. Not only do people come together, but many people's true colors come to the surface, as they begin to take advantage of unfortunate situations to make a profit. Camus shows us that you don't see a person's true character, until it is truly tested. One last thing I think we can take from so far in the novel is a new perspective on religion. Religion whether you believe in God of not has an effect on you. When the plague takes over people are dying and many people turn to religion for closure. Even Dr. Rieux who doesn't believe in God is affected by religion, his own belief that there is no after life pushes him to survive and affects his behavior. Thus, I think we can say that religion is an important aspect to consider in any human society.

Plight of parted lovers

The third major point the narrator dives into during Part 3 is the  "plight of parted lovers". In the early days of the plague people had strong recollections of the ones that they were separated from. People could recall almost everything about them, but as time went on, no matter how strong the bond the memories began to fade. The people were "wasting away emotionally as well as physically" (180). They had lost the ability to imagine what it was like to " live with someone whose life is wrapped in yours" (181). The plague cuts even love out of people's hearts and leave them bare. This is yet another way in which the plague is forcing people to conform, forcing them to give up the things that they once cherished in order to survive. This sort of reminds me of Maslow's "hierarchy of needs". First comes physical needs, then safety, then love, then esteem and then self actualization, and as we can see through the story people have slowly been giving up each level. First it was self actualization because people gave up their careers, next esteem because in the confines of the city everyone is equal and subject to the same problems, then now love because they are giving up their lost love ones that they can no longer see.

French reading of La Peste

reeeaaalllyyy cooool.

Excerpts of La Peste, by Albert Camus. Interpreted in 2000 by Francis Huster, in a theater in Paris

Rambert’s Enlightenment and resulting Depression

               Seen in the previous section of the novel Rambert was frantic to escape the confines of the town, supposedly under the pretense of reuniting with a lover in Paris. However, after being stood up by the men who were supposed to help him escape, Rambert seems to loose all hope. He, finally, has managed to get it into his stubborn head that the plague is a terrifying force to recon with. No one wants to be held accountable for its possible spread by helping him leave. Ironically, he things that while he has had an epiphany Rieux – who works with the plague every day – is blind to the truth it presents; as seen when he asks Rieux if “you haven’t understood yet?” (161). The understanding Rambert is citing is the understanding that the plague has thrown the town into a terrifying cycle of death, one from which everyone is unable to escape a cycle that Rambert describes as being “the same thing over and over and over again” (161). While this new outlook of Rambert’s is far more enlightened than his previous thought set, he remains pessimistic. He lacks the hope that Tarrou and Rieux are forced to have – as a result of dealing with such misery on a daily basis – the hope that the cycle will end and the plague will finally release its grip on the town. Rambert goes so far in his pessimism to comments of martyrdom, in which he claims that man has nothing to live for but love – of which many have lost the capacity. He seems somewhat suicidal in this comment, however he moves on with his thoughts to volunteer for the sanitation squad. However, this, in itself, may be a suicidal act on his part – agreeing to work hands on on with the plague he had previously worked so hard to avoid. 

              

On the Plague’s Progression

            At this point in the story even the most stubborn minded residents have come to accept the finality of the plague. The plague offers no moments of solace for the members of this village. Whereas before it was pillaging the outer districts of the town, as soon as people begin to accept what is happening to them, the plague takes another turn - seemingly always wanting to keep the villagers on their toes. Now the plague is affecting the wealthier, more central districts of Oran, and with ironic outcomes. This sudden explosion of plague in this area has caused a segregation of these central areas; resulting in a further constriction of the freedom the occupants of Oran had clung to. Ironically, however, now the wealthier citizens of this area begin to envy the poorer occupants: they envy their freedom. The tables have been turned – the plague completely flipping the social demographic of the town on its head to a point where the poor are now the ones to be envied while the rich are stripped of their freedom as the plague runs throughout their populations. The plague has affected the population of Oran to such an extent that they become seemingly frenzied in a need to free themselves from it. Many people, upon return from quarantine, feel the need to burn their homes - affectively both symbolically and physically destroying their pasts; where they came from, everything that ties them to Oran and the plague currently pillaging it. 

Video Discussion

War & Plague have in common Death

This whole plague stricken Oran reminds me of a war zone. I can not help but imagine Oran, as one of these cities under attack, with dead bodies stacked up waiting to be buried, people desperate to get out, and even plans of attack by the leaders in secretive meetings. It is much too close for comfort. Maybe that is Camus's strategy to relate to his audience. Many have not suffered through a plague, but wartime is a very exploited theme. Most humans know what war is and what war looks like. By employing war like elements, descriptions and constant connections between wars and plagues, Camus is facilitating the immersion of the reader into the life of a plague ridden city. The plague also has a mood similar to that of a war where death, despair and negativity hangs in the air.

Where it all goes down

So, without completely ignoring what is currently what is happening with the plague, let's refresh on the setting. Oran, the wonderful little town in Algeria. It is bleak, it is stagnant, and nothing really changes. I can imagine, by Camus's sentence of "the seasons are discriminated only in the sky," that holidays are not even that celebrated. Life just goes on in a monotone manner for the inhabitants of Oran. In addition, this lackluster town in Northern Continental Africa, is located in a plateau in the middle of a mountain range. Oran is literally blocked out by natural barriers from the rest of the world, even before the whole plague thing started. So it is interesting to see that although they have technically been on lockdown all of this time, they start expressing their feelings of isolation and desperation when the lockdown due to the plague starts. The plague is like a catalyst for all of these emotions to explode in the citizens of Oran.

Part 3: Changes

Besides talking only about the "excesses in living" the narrator mentions "burials of the dead, and the plight of parted lovers" (page 167). In the case of "burials of the dead", people still insist on funerals but slowly they have become more and more rushed due to the increasing need for safety. Frequent attacks on the gates have resulted in additional deaths besides the ones already resulting from just the plague. For the prison guards that have died, the authorities began by rewarding their sacrifice with the military medal, but since that might be misinterpreted by the public they decided to changing it to a "plague medal" (page 170). In the case of the public the narrator was a little more specific. Most typical ceremonies had been banded for safety reasons. If a person had died with their family there family was quarantined and if they lived away from their family, the family was noticed to see the person at a certain hour, then forced to leave. These lightning funerals were at first not widely accepted, but as people began to recognize their necessity they realized that " sentiments can't be taken into account" (page 174). Again this is yet another example of how the plague is causing the people to survival over personal feelings as they think they are approaching the end. It seems to me that the people can't take much more of this. Though these precautions are reducing the death toll, people still die at a faster rate then they are probably born so the question is, how long can these people survive?

Sketchy...

Cottard was first introduced to the reader when he tried to hang himself. Later, when he was acting strangely: he was normally a reserved individual – rarely seen with company. However, after the hanging incident he was seen trying to get the whole population of the town to like him. As a reader I believed that he was trying to amount a number of character witnesses, pointing at the fact that he may be guilty of a crime. A crime so bad that he would be willing to hang himself to escape sentencing. However, as soon as the plague struck, his attitude, again, started to change. His attitude returned to its original state – all previous masquerades forgotten. Previously, the narration was so focused on the suffering of the town Cottard was not a central focus. In this part of the novel, however, he is. He has returned to his own, selfish habits. He no longer seems to care how many people like him (inferred by his disinterest in joining the sanitary squads, a status that would have gained him favor amongst the general population). He comments on how the “plague suits [him] quite well and [he] has no reason why [he] should bother trying to stop it” (158). He likes the plague because, as a result of it throwing the town’s police force into extreme disarray, he was never charged for the crime he thought he was going to be convicted of when he attempted to hang himself. Rieux and Tarrou both manage to reach the conclusion that he is a criminal based on his feelings towards the plague, however his crime still remains a mystery… Further adding to the feel of “sketchiness” associated with Cottard. 

Oh, The Irony

Priest Paneloux was known for holding a weeks worth of sermons when the plague originally broke out. He was blaming the inhabitants of the town for the plague – saying that they had not loved God enough, and therefore brought this wrath down upon themselves. He basically told them that there was nothing they could do in defense of this vengeful God, and that they should simply try to love him. Now, however, his opinion seems to change. Whereas before he argues nothing could be done to better the circumstances of the town, now he has changed his beliefs. Tarrou tells Doctor Rieux that he has managed to convince Paneloux to join the sanitary squad. An action the priest seemed to formerly pointedly go against. I found this complete change in direction of the priest’s belief an interesting ironic change of events.  Another irony seen in this section of the novel is the fact that the very men singly-handedly entrusted with containing the disease – and possibly saving the surrounding regions from the extreme misfortune Oran has undergone – are the men responsible for helping smuggle people out of the town. These people have been entrusted not only with the safety of the citizens of the town, but also with the safely of possibly the world (for if the plague were to get out the results could possibly be disastrous). These men, however, are catalyzing the escape of Rambert, an aspect of the novel I found very ironic. 

Part 3: Changes

Part three begins with the narrator taking an opportunity to describe the "excesses of the living, burials of the dead and the plight of parted lovers" (page 167). On the excesses of living the narrator begins by explaining how is has taken away everyone's individuality. Recently the plague has hit harder in areas where previously the people had been spared and this has subsequently caused people who live in large groups to be affected more. These groups of people, such as monks or military personnel have been forced to disperse and live individually in relative isolation. This is a little ironic in my opinion because the narrator makes it a point in the beginning of this part of the novel to say that the plague has individualized the people, but though mentally and emotionally they have been brought closer together they are actually being driven apart physically by the plague. Another impact on the lives of the citizens of Oran is that martial law has been declared the authorities have enforced some new rules to attempt the combat the spread of the plague caused by the strong winds that have been "broadcasting germs" (page 168). Some of these rules include things like a curfew and the narrator makes a point to say that the city is completely deserted after curfew. This is evidence that the fear  of plague has lead people to accept even the most extreme conditions, such as martial law.

Rambert

Rambert is the classic character that you want to believe is bad, if He tries to leave legally, waiting by the train, asking for permission, but nothing seems to work for him. Rambert then decides on more illegal methods of escape these including underground transactions. His selfish nature is asserted at this point.

In short...

So far the plague is progressing and the glorified antibiotics from Paris have done nothing to stop the advances. Meanwhile Dr. Rieux is working with a limited quantity of materials to help the whole sick population. It is difficult to imagine the responsibility that he must have set on his shoulders. As a doctor in modern times, one assumes that they will be calm and knowledgeable. Dr. Rieux has been very good at assuming this role and providing for his town.The people of Oran who are working to sanitize the streets of Oran also are serving as a species of workers towards one communal goal. This communal goal is to try to minimize the spread of the disease meanwhile an antidote is being created.

Motives

Tarrou and Rieux are currently in the story as the main proponents of the sanitation movement. With Tarrou having started the sanitation league and Rieux treating patients all over town. Though each has different beliefs and reasons for what they are doing the plague brings them together. Rieux and his atheist ideals make him fight for life with anything and everything at his disposition even though he realizes that it inevitably will come. While Tarrou believes in working for the greater good of everyone, he believes that the plague is a problem for everyone and there are too many, “slackers” (157) that need to start helping otherwise they will never get through this. Tarrou and Rieux have inevitably been brought closer together and have even asked if Cottard wishes to help the sanitation league. Cottard refuses by the notion that it isn’t his duty to help the sanitation league, but Rieux counters by saying that it is simply common decency to help. Cottard’s refusal to help only emphasize that he does not want the quarantine of the plague to end. He is finally free of the fear of being arrested for that mysterious crime he commited sometime before the plague settled in,because the authorities have bigger problems on their hands. Not only that but Cottard is also making a fortune through his smuggling of goods into the city. The plague has only benefited him and thus he represents the small portion of people in Oran who are better off with the plague infesting the town.

Rambert

This last section of Part Two really focuses on Rambert’s escape attempts. He has finally, given up on trying to get out of Oran by legitimate means and resorts to the criminal underworld to find a way out. Cottard who has gotten involved in smuggling operations has become affiliated with certain people of specific skill sets, which he introduced Rambert to after overhearing that Rambert is trying to leave Oran.  On this point I agree with Lauren that no one wishes to undertake the task of smuggling a person out of Oran, for the very reason of jeopardizing the rest of the world because of one person’s selfish desires to get out. From Cottard to Garcia to Raoul to Gonzales to Marcel and Louis, it seems like they are all just passing Rambert around until someone decides to take on the task because in the end if Rambert were caught no one wants to be to blame for the resulting chaos. In the end of it all even though Marcel and Louis say they are willing to smuggle Rambert out, they miss their meeting and the whole thing is a bust leaving Rambert to start looking for a means of escape once again. This never ending search for a means of escape shows how selfish Rambert truly is, only thinking of himself and his desire to get out of the city without even once stopping to take into consideration the millions of lives he would be putting at risk.

Responsibility

The gravity of the sealing of the town gates is even acknowledged by the people attempting to smuggle things in and out of them – be it people or simply items. This is seen in the complicated process Rambert must endure on his mission to escape the town. He first hears news of illegal smuggling from Cottard who says he can help him. Cottard introduces him to the smuggler he knows – Garcia. Garcia, however, does not want to be held accountable for the spread of the plague, and refers Rambert to someone else. When Rambert meets this other person, who could have allegedly gotten him out of town, Raoul, this man then introduces Rambert to someone else. This person is first not given a name – a reflection upon how secretive the process is, and the attempt to make as to make no one accountable. This person then, however, after meeting with Rambert introduces himself as Gonzales. Gonzales, as with the rest of them, does not want to be held accountable for the spread of the plague by smuggling out someone as inconsequential as Rambert either, and says that he can refer him to some friends. These friends will then introduce Rambert to some sentries who could help him escape. This whole complicated process is introduced to allow for as much confusion as possible as to who the people involved are, because if Rambert were caught – or if the plague were to spread as a result of his escape - none of the people who helped him would want to be held accountable. Even the smugglers can acknowledge the gravity of the threat the plague imposes, while Rambert still cannot.

Selfish

Rambert, unlike the rest of the town at this point, continues to discount the gravity of the plague. He has exhausted the possibility of escaping the town illegally – last seen when he would sit listlessly at train stations. He now begins to look for an illegal way to escape. He is still selfish; he fails to understand that his leaving not only is unfair to the rest of the people confined within the city, but could possibly endanger a countless number of lives. His selfishness is even seen as an embarrassment to Cottard, who says he knows someone who could get him out of the city. Cottard arranges for a meeting with this man – Garcia – during which he informs him of Rambert’s situation. Cottard acknowledges that this is the Rambert's selfishness - to try and escape and put others in danger simply because he is frightened of the current situation and lusts for a girlfriend. So he lies and tells Garcia that Rambert has a wife waiting for him in an attempt to make Rambert’s case seem more substantial.  Even while Rambert listens to Cottard lie for him to try and make his case seem more legitimate, he never questions the necessity of his escape. He is completely blind to the truth of the situation and is far to self-absorbed in getting his own goals accomplished to even begin to be able to understand the larger picture: that the plague is a real threat to the world, as a whole, and must be contained at all costs. This section of the novel portrays Rambert as a continuously static character. Last time when the reader encountered him he was depressed and has just about given up hope, but he was still completely ignorant to the fact that his escape is simply not that important, and could also be potentially dangerous.  He now still continues to be completely self-centered and selfish -  never stopping even once on his quest to question if his escape is really worth the possibly threat, let alone acknowledge that there are people in far worse circumstances than him as a result of the closing of the town gates.

Tarrou

In this most recent part of the novel, Tarrou has yet again come up as a strong and prominent character. His actions during this most recent part of the novel have shown that he is definitely an important player in the Oran’s recovery. Tarrou realizes the gravity of the plague and has taken it upon himself to make plans for the recovery of Oran such as the recruitment of volunteers in order to help with the current state of affairs. Though it is possible to just force people to do what needs to be done, Tarrou believes that only volunteers are truly worth something because they are the ones that actually want to help.

The actions of characters like Tarrou shift the mood of the novel from before where the story was more focused on describing the inconveniences of the plague to now where the seriousness of the plague is finally getting to people. Tarrou’s activism shows that there is hope for the town in people who care but also emphasize the dire situation they are in, when it falls to the people do take matters into their own hands since the government is idle.  Hopefully, as the novel progresses the efforts of Tarrou will prove to have bigger impact on the situation of Oran and maybe even be key in the elimination of the plague and the opening of Oran’s gates.

Thoughts

I would like to dedicate this blog post to two topics I have been contemplating. The first is the narrator, the fact that he has remained anonymous for the entire story is obviously important and I just wanted to retouch on the subject. The narrator has been a steady character and always has an opinion on what is occurring in town and certain aspects of the current city life. What makes the narrator’s insights in the novel so important is that he keeps himself detached. His commentary is nonbiased and by keeping himself anonymous he can keep his personal experiences from influencing his recounting of the story as much as possible. Obviously nothing is completely without biased, but I think the narrator does a good job of maintaining his objectivity. Thus, the presence of the narrator allows the reader to judge the story on his/her own terms.

The second topic I wanted to touch on quickly was religion. The people of Oran have been stuck in this city with no contact to the outside world and are constantly surrounded by death. The one thing that they all seem to have turned to, as an end of days “why not”, is religion.  I believe the reason for this is that it gives them somewhere to look while they ponder the question “why me?” Lastly, I believe that Camus is also using religion to set Dr. Rieux apart from everyone else in the novel, since he is not religious he can represent yet another view of the current situation in the novel.

Tarrou: A Bold Character

The audience believes that Dr. Rieux is unchanging in his beliefs and perceptions and this could very well be true. However, an old character is brought into the spotlight through new actions and behavior and he, could possible be a new character that can help Oran return back to the conditions it was once in- this character is Tarrou. Tarrou is a reoccurring character that befriends Dr. Rieux during the plague after finding himself lonely. After becoming friend with Dr. Rieux, Tarrou realizes the severity of the plague and begin drawing up efforts or plans to restore his town of Oran. Tarrou also begins configuring ways in which to seek out more volunteers that can contribute to the well being of the society. Furthermore, Tarrou is a character that efficiently highlights the worries of his friend, Dr. Rieux. In this section, it is easy for readers to get lost and become confused with the main character, Dr. Rieux beliefs and desires. However, because of Tarrou is seemingly inquisitive of Rieux’s perceptions, the audience is able to remain connected him. I agree with Lauren Schrager, in that Tarrou serves as a useful transition between the conditions that were described in the novel and the worries of the townspeople. Through Tarrou, Camus gives the audience a better understanding of the fears of the townspeople and that is the death of all the people of Oran. I believe that Jean Tarrou is a useful character to the author that can further emphasize or translate further occurrences in the novel that Camus wants the audience to understand.

Opinions of the Narrator

In this section, the author finally gives insight into the narrator and his opinions beginning with the narrator’s thoughts on the newly introduced characters: the sanitary groups. In the onset of the section, the author addresses that “it is not the narrator’s intention to ascribe to these sanitary groups more importance than they’re due” (121). This excerpt sheds light on the fact that the narrator is a simple-minded man. He believes that significance should only be given to those who truly embody the word service such as Tarrou and the soon to be discovered, Grand. Furthermore, the author acknowledges the narrator’s judgmental attitude and behavior when he states, “the narrator is inclined to think that by attributing over importance to praiseworthy actions, one may, by implication, be paying indirect but potent to the worse side of human nature” (120). This insightful commentary provides the audience with a lead into the preferences of the narrator and his beliefs that will be further addressed in the novel. The author’s comments on the narrator allow the audience to see that the narrator might provide a bias account when he tells the story. When the narrator is discussing the issue of the madness of the townspeople of Oran he mentions that the narrator finds their ignorance laughable and newfound service senseless. Nevertheless, his viewpoints are also helpful because they demonstrate a real persons perspective on the occurrences of the town of Oran. Also, the narrator provides the audience with a mysterious character in the novel- they want to know who is the man behind the words.

Oh God

So, God. A touchy subject with society as a whole. Does God exist? If he does, why does he let all of these people die? Why does he let bad things happen? Excetera. In the Plague, Camus does touch upon this philosophical ground. He presents it throughout the book, but in a conversation between Tarrou and Rieux he bluntly brings the exact question out. Rieux, a doctor, says that he does not believe in God, when asked about the whole sermon. He responds that he does not believe in God. Tarrou then asks him why he helps out people if he does not believe in God. Before getting to Rieux's response I would like to comment on the question. Tarrou is implying that in order to help people out, you need to believe in God. It may be just me but I see this question as like a projection on Tarrous part. He probably only does things for others to accumulate good "karma" or "brownie points" to go to heaven. Ok, so Dr.Rieux answers that. He helps others out BECAUSE he does not believe in God, his reason being that since there is no God, no one will save these people and he must then do so. So in a way, the characteristic of "self-less" is highlighted in Dr.Rieux through this conversation. Although to some people it might look as if he was assuming Gods position within that society. Making the difference between someones death and life.

Death, Mortality, and other neat things

People are dying. The plague is in full swing and some inhabitants of the city of Oran feel that death is the only escape. Some people, like Mme. Rieux seem to accept death, and lose the fear, but others, like the old bean counter man, wanted to live a long life despite the plague and harsh living conditions. Not wanting to die, though, is the problem. I, for one, like Rieux, believe that everyone should struggle when facing death. Life is too precious to just let it go without a fight. In his case, it is his profession to aid people on the brink of death in their struggle to stay alive. I can see how it changed him. Such sights, especially at a time in death is abundant (plague time), would and do change people. Just look at all of those people in Oran working together to do what is logical. This time, the logical thing is to help each other out. People seem selfless, but in reality they are just acting to benefit themselves. The volunteers benefited all of the inhabitants of Oran by disinfecting houses and moving dead people around, glamorous, I know.

On Grand’s Silent Strength

             A transition, as similar to that of Tarrou, is seen in Grand in this part of the novel. This transition, however, is not only limited to these two individuals. The whole town is doing what needs to be done in the face of the plague. It appears that the seriousness of the situation has finally set in and that the town is banding together in response to fight back. This is seen in the number of people who signed up for the volunteer sanitation groups imply because they couldn’t imagine not doing so.

            Grand, previously described as a somewhat eccentric character, displayed an honorable amount of fortitude and courage in this section.  “Grand was the true embodiment of the quite courage that inspired the sanitary groups.” (134).   Grand previously toiled away at his paperwork-riddled job, however, now he has volunteered to serve as something of a secretary for the sanitation volunteers. He responded, when asked to volunteer with a “Why, that’s not difficult! Plague is here and we’ve got to make a stand, that’s obvious. Ah, only if everything were as simple! (134). He volunteered, immediately, selflessly, for he simply could not imagine not doing what needed to be done in this time of plague. He even goes so far as to do his paperwork for the volunteer group in the plague-riddled hospitals - something he does out of his own free will, for he could be doing it at home. However, despite the increased importance and responsibility placed upon him at this time in the novel, he still remains the slightly eccentric man the reader came to know earlier; he still agonizes over the first line in his novel endlessly, never seeming able to perfect it.

Tarrou’s importance

In this section of the novel the townspeople are starting to realize that the plague is a serious threat not only to their happiness and relationships, but also to their lives. Previously, the narrator focused primarily on describing the inconveniences the plague brought to the citizens of Oran through their forced separation from their loved ones. Now, however, the focus of the novel is the overwhelming threat to the population of the town that this plague may pose. Tarrou serves as a useful character, again, to highlight the truly dire situation of the town. Tarrou reflects that, if the plague should be left to progress much farther, there would be no use for the serum or the doctor- foreshadowing that the entire population would be decimated. Tarrou also puts into words possibilities hinted at prior by the relative infectivity of government-mandated precautions. He discusses how the government is useless against the plague – “Officialdom can never cope with something really catastrophic” (124). The government-established sanitary department is, as described by Tarrou “understaffed […] and worked off their feet” (124). Tarrou highlights information for the reader, however he also is extremely important in the novel. He volunteers a solution for the problem facing the sanitation department in terms of efficiency: he volunteers to create a group of sanitation volunteers. At this point in the novel he shifts from an individual who passively observed and commented to one who is actively involved in his surroundings. 

Adaptation of Dr. Rieux

“And he knew, also, what the old man was thinking as his tears flowed, and he, Rieux, thought it too: that a loveless world is a dead world, and always there comes an hour when one is weary of prisons, of one's work, and of devotion to duty, and all one craves for is a loved face, the warmth and wonder of a loving heart.”

Religion and the Plague

"You fondly imagined it was enough to visit God on Sundays" (Camus, 97).

The Mayhem

"Plague had killed all colors, vetoed pleasure" (Camus, 113).

Dukereads - The Plague

Video Discussion 2

A Little Tarrou

Tarrou in his entries continues to propose ways for the citizens of Oran to stop wasting time for however longer the period that they are stuck inside the walls for this quarantine. Tarrou proposes that constant awareness of little details in everyone’s routines in order to help not waste time.

Tarrou is one of the last residents the hotel that he is staying and because of this is constantly engaged in conversation with the manager of the hotel where he reveals his thoughts on how much longer the plague will last, “They say that cold weather stamps out diseases of this type”(115). To this the manager states that is it “never truly cold in these parts” (115). This short conversation serves to as yet another reminder that everyone in Oran is in this for the long haul.

Lastly, Tarrou has a short encounter with M. Othon. M Othon informs Tarrou that his Mme Othon is “under suspicion” for having taken care of her mother who has succumbed to plague. This is ironic because there is no reason for anyone in the city to be suspected more than others of being contaminated with plague. They are all interacting with the same people and have practically the same chances of infection. This isolation of certain people is a vain attempt to show that the leaders of Oran are at least attempting to solve this plague problem and give the people some sort of security.

Predicaments

As the quarantine of Oran shows no signs of ending, the people of Oran seem to be losing all hope of survival. The people seem to be losing all control and many violent incidents had broken loose,” some of our fellow citizens were losing their heads; there had already been some scenes of violence and nightly attempts were made to elude the sentries and escape to the outside world.” (105) These incidents even get so out of hand that attempts to escape are punishable by large amounts of jail time. Daily death reports as opposed to weekly are also not helping calm the people keep their heads cool. Even the man in front of Tarrou’s apartment has stopped coming outside because the cats he enjoyed spitting on had been shot for fear that they carried the plague. The people of Oran also remain uneasy because they seem to want someone else to take care of all their problems while they sit around and complain. Lastly, Rambert continues to represent the overall feelings of the people of Oran. Where he first was desperate to leave the city, convinced his case was unique and he should be allowed to leave, now he seems to have lost hope and looks for comfort around the city in things such as pictures of Paris, his hometown.

Always Dreary

As previously argued by Lauren Schrager, Albert Camus uses character, Joseph Grand to lighten the mood of the novel and provide comedic relief. However, I strongly disagree.  I believe that Joseph Grand is placed in the novel to further emphasize the digression, of the characters, into a state of insanity. Albert Camus portrays Grand as a man who almost looses himself by becoming fixated with the production of a novel.

            In this section of the novel, Dr. Rieux describes Grand as “running off to work on a mysterious project” Albert Camus uses Rieux’s descriptions, of the actions of Grand, to acknowledge that Grand is slowly loosing his sanity and witherwithal due to his absorption on an aimless work. Camus creates Grand, the supporting character, obsessed with the production of his novel to provide an example of one specific individual in the town of Oran. Grand has become preoccupied with the production of the book because he constantly finds himself with nothing to do. Representing the feeling of the individuals of Oran, Camus uses Grand to demonstrate that a man that becomes fixated on something that will provide no pleasure to anyone; the book has no purpose. It is impossible for the book to be published due to the town on lockdown and realistically speaking, Grand is not a writer therefore it is impossible to gain any reknown.

            Albert Camus uses Grand’s fixation to demonstrate a deeper tone in the novel since all men and women are loosing their minds and focusing on things that realistically, cannot succeed.

An Old Character's New Perspective

As author, Albert Camus, commences this section he describes in great detail the behaviors and desperations of the citizens of Oran however, reveals the newly discovered motives of Dr. Rieux at the conclusion. Throughout the beginning of the novel, Dr. Rieux behaved, as a normal doctor should: catering to the sick of Oran. Nevertheless, after a change in his behavior was taken notice by the audience in the last section, his motives were finally discovered in this section.

            Jean Tarrou and Dr. Rieux have become companions, (bonding through their worries) this companionship has allowed Camus to better develop Dr. Rieux and express his sentiments to the audience. It is revealed that though many people of Oran show a deep devotion to religion and the church, Dr. Rieux does not because he has no faith. When Tarrou asks Dr. Rieux why his is behaving in a different manner Rieux explain that it is because of his work. To further emphasize his dejection Dr. Rieux responds that because of his job he has, “subsequently grown more modest. Only, I have never managed to get used to seeing people die” (117).

            Albert Camus uses Dr. Rieux as an indication of all the citizens of Oran. Dr. Rieux’s growing sadness has become deeper due to the death toll. His behavior and sudden shift in character may possibly foreshadow an occurrence that will take place further in the novel including him.

In Oran, people thought that other were going to take care of them, yet they did not feel the need to help anyone else. The concept of a hero is no longer clear, Dr.Rieux, the closest thing to our definition of a hero, was considered to be only a man serving his duties as a doctor. The novel makes it seem as if the real heros are just the people who live, those that succeed at living. Regarding the status of the plague, the people seem to be expecting for the government to find a solution to the plague. They have seemed to accept the circumstances and then assume a passive role to endure the plague. A character which I am very fond of is Grand. there is something inexplicapbly enticing about his pursuit for the perfect words. Like Lauren stated, he does bring a moment of levity amid the  ever so evident darkness of the plague. In my opinion it even sheds some light on the absurdities of the world, well in a small scale. His fixation on finding the perfect words inhibits him from completing the novel as a whole, very much like the people's fixation on their own suffereing inhibits them from working together to help those sick and evade contamination. In addition, a communal ego problem may also come in to play, this can be seen in the father that continues to take his children to eat at the hotel after their mother has been quarantined.

Source: x

This picture, in my opinion, resonates with the idea that was presented in this post. The horse blinders inhibit the horses to look at the big picture, in the same way that the people of Oran are blinded by their own selfish self-pitty. In the picture this comparison is represented in one. The is man "symbolically" wearing the horse blinders.

Squareness not rewarded

The people of the city of Oran wander aimlessly through the city, either missing someone that passed away, or waiting to get infected. It seems that people have come to terms with their doom since most of them are "under suspicion" and they view trying to deny or run away from the plague as a waste of the little time they may have left. It is sad, and very scary to think about the possibility of being stuck in a lackluster town on the highway to hell. They all lived life with no real emotion, they lacked passion and now have to die without a taste of the happiness that comes with defying the rules, or taking a month off. All of their work, their ambition to climb the social hierarchy was all in vain now that they were all going to die, and death took anyone regardless of their socioeconomic background. What they were so busily pursuing their whole lives? Irrelevant, all of it, the money, the jobs, could not save them from the possibility of dying. All that remained relevant were memories and relationships with the people they had around them, two things that were not their fortes.  The attempted escapes were, in a twisted way, funny. How could a person that lived within a "box" their whole life think that they could for the first time break the rules and succeed, not going to happen. These events appear to be wildly out of character and they reflect the level of desperation that the inhabitants of Oran felt.
 

Rambert as a Symbol of the Hopelessness of the Town

            Rambert, as previously described, is eager to get out of this plague-riddled town. He however, is far from the only one. It is observed that several attempts at escape are made nightly, and frequently end in capture and violence.

            His passion to escape Oran’s gates seems to cloud his reason; when told his case of separation from a loved one is not uncommon, he still persists that this fact makes his no more unimportant. He believes that his case, individually, is of the utmost importance – failing to understand that this plague has affected numerous people not simply him. However, after thorough investigations into possible means of escaping the town, he has finally accepted the fact that there is no way out. At this point in the story he falls to listlessness – the same form that has taken over the town, however his came to him later because he was so preoccupied with escape strategies. He takes to sitting in train stations. He does this not out of a hope that he can board a coming train and leave the town- for the trains have long ago been canceled- but in search of a mental escape from the town’s confines. While seated in the train station he would gaze upon the welcoming pictures of foreign places – particularly Paris, his hometown- places that he was prohibited from visiting. There, in that train station “these mental pictures killed all desire for any form of action” (110). The observation of the pictures helps make his forced residency in Oran bearable. However, in his observing these pictures and visiting the places vicariously through them, he in turn embodies the desolation of the townspeople. The situation has grown so bleak in the town that the people have given in completely to a feeling of hopeless imprisonment. These pictures do not serve as a motivation for a travel that they know is impossible- as they formerly did- but rather are sufficient to carry them, mentally, away from their plague-riddled town. As illustrated through Rambert, the residences of the town are so desperate for an escape – but realize they are so helplessly trapped- that even a simple picture can prove sufficient. 

Some Light in the Darkness of the Plague

            As formerly seen, in this novel riddled with suffering and death, comedic relief is necessary. In this section of the novel comedic relief is seen through the previously described as shy character Grand. Doctor Rieux described frequently watching him run off to work on some mysterious project. In this section of the novel that product of all his late-nights is revealed – a book. Grand and Dr. Rieux go out for drinks after a particularly depressing day for Rieux, as the death toll is forever climbing, and Grand – after shooting a glass of straight liquor- begins to lighten up. He becomes outspoken in a way the doctor has never seen before. So outspoken that he finally confides to the doctor that he is a writer and has been laboring tirelessly over his new creation. He describes that he has spent “Evenings, whole weeks, spent on one world, just think!” (103). The irony of his proclamation is that it entices the reader to believe that he has been making real headway in the novel. Grand further defies his previous shyness by inviting the doctor into his apartment to see his latest creation. He dramatically leads up to the moment by pouring himself a drink and asking Dr. Rieux if he would like one. Finally, he sits down and picks up the stack of papers, presumably the novel he has been working on. Even though Grand is being uncharacteristically expressive the reader can tell it makes him nervous, for “the paper shook in his hand and Rieux noticed that his forehead was moist with sweat” (104). After further pause, he reads… One sentence. After all the buildup, Rieux reads the doctor his work- and it is one sentence. This irony serves to lighten the mood of the novel as the plague takes a deadly turn.

Sudden Shifts in Character

As argued by Lauren Schrager, the townspeople of Oran are not afraid of the plague and are still concerned with their “individualistic pursuits”. Nevertheless, I beg to differ. In this section, the individuals of Oran are demonstrating a wide spread panic: the population is beginning to realize that the fever has lasted longer than thought.

            Author, Albert Camus, clearly identifies the townspeople’s sheer anxiety when he notes that, “in normal times the townsfolk of Oran are not particularly devout,” (85) and somehow almost all inhabitants have attended Oran’s “Week of Prayer” and “Weekly Sermon”- religious attempts to resist the plague. In this section, the audience senses a sudden shift in Oran’s people: their newfound trust in God and religion, forcing them to neglect their previous self-interested character. The townspeople’s actions are not surprising however, because it is generally known that many individuals turn to religion during difficult times in their life. Nonetheless, shortly after, the individuals undergo a sudden change in character when they begin believing that there is no way out of this plague-infested environment.

            Camus begins referring to the townspeople as “prisoners” (101) because they are beginning to behave as individuals who are begin punished for a crime. Camus explains that, “some fellow citizens were losing their heads” (97). He later explained that he knew this because there had been scenes of violence’s against public officials and night attempts to, “elude the sentries and escape the outside world,” (97). It is evident that the townspeople of Oran rather face persecution for escaping then conform to living a monotonous life. 

A Foreshadowing Character

In this section, the audience is introduced to Father Paneloux, the Jesuit priest in the town of Oran. Author, Albert Camus, uses Father Paneloux to foreshadow the future of Oran while providing insight into Paneloux’s character, perceptions and beliefs. It is identified that the individuals in Oran are deafly frightened of the sudden end of lives around them. Father Paneloux claims that this is known by their attendance on Sunday’s sermon due to “their attempt at finding God”.

             Following a series of comments and claims that the plague was brought upon due to the townspeople’s lack of prayer and attendance to church, Paneloux foreshadows that by some means God will carry them out of the horrid fever. Paneloux exclaims that, “God is the divine compassion which has ordained good and evil in everything; wrath and pity; the plague and your salvation” (90) and that “Christian hope is granted to alike” (91).

            Albert Camus portrays Father Paneloux as a deceiver. By thoroughly depicting Paneloux’s mannerism when speaking at the sermon, Camus subtly identifies to the audience that Paneloux wants to engrave the memory of the Lord before all the individuals in the town of Oran die. Though the townspeople aspire to gain optimism and hope to live through this crisis by listening to Paneloux’s sermon, Paneloux is clearly aware that there is no method of escaping the fever that has overtaken the town. The reader becomes especially aware of Paneloux’s belief of death when talking about the hand of Lucifer he claims, “no earthly power, nay, not even-the vaunted might of human science can avail you to avert that hand once it is stretched toward you” (89).