What does the poet state us at the terminal of the verse form? Tarrou writes about a family of four with a disagreeable, strict father, M. He claims that he has tried to tell the story as an impartial observer who gives evidence for his claims. Separation and Alienation A thematic strain of separation is most strongly realized in how the characters of Rambert and Rieux in the sense of being ripped asunder from their lovers. Some of Camus' descriptions of the rats in this chapter are worth brief notice. Masterpieces of World Literature First ed. We are thankful of their contributions and encourage you to make your own. With everything else so topsy-turvy, he is not completely anonymous in this strange city of the dying.
She also talks about the different aspects in which the poor and rich were affected by disease 555-557. Rieux counters his introductory remarks by debunking them. 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. Even within this nobody, this drudge, there is life and an individual sense of purpose being kept alive. Not only that, he is making a killing in the booming business of smuggling that is another consequence of the epidemic. Grand obsesses over word choice to the point of verbal paralysis. Othon, the strict local magistrate, comes down with the plague and Rieux and his companions — among them Father Paneloux — watch him suffer and die.
The local priest, Father Paneloux, tells the townspeople that the plague is their fault for sinning. Grand often talks to Rieux about Jeanne, and Rieux in turn finds himself talking about his own wife. But, for Cottard, during their conversation eagerness begins to build steadily. Grand's tone is fatalistic as he continues the episode. Commentary At the end of The Plague, the narrator reveals himself as Dr.
When the plague first arrives, the residents are slow to recognize the mortal danger they are in. The city's lazy summer dogs are gone and the streets sizzle in the noon heat. He has considered, speculated, yet returned to his familiar role of the dedicated, commonsense doctor. For him, and for Camus, these ideas of love and responsibility are primary and basic, certainly not vague and benedictional. His wife's leaving was admirable.
Camus won the Nobel Prize for Literature in 1957 for the body of his work, and this existentialist novel is considered one of his best. Grand, in contrast, does not. While reading this novel, one should remember that Camus has an initial prerequisite for an understanding of his philosophy of the absurd: a realization and recognition of the fact of one's own death. There is a breakdown in communication between Rieux and other men. You should also note that in this atmosphere of death, a birth has occurred: The Plague Chronicle is born, publishing speculations, tips, morale boosters, and sure-cure advertisements.
The death figure drops, then spurts up sharply. He is well known for having given a series of lectures in which he championed a pure form of Christian doctrine and chastised his audience about their laxity. Why Tarrou singles out this particular instance to comment on is fairly obvious. An older doctor is present and urges him to admit it. Two things are done here with Grand. Deciphering hieroglyphics may be possible for the priest, but deciphering the meaning of the plague is beyond his capabilities.
The woman he is staying with calls Rieux nonetheless, as she fears Paneloux has the plague. Rambert believes that perseverance can finally, literally, pay off. For the present we know very little about Cottard, but should be aware of his increasing uniqueness. Grand catches the plague and instructs Rieux to burn all his papers. It is easy to imagine a man who now pits himself against the absurdities of the universe as once accepting the challenge that medicine offered.
There is an immediate leveling of social distinctions. Rieux to discuss his current project, a report on the sanitary conditions in the Arab population. Father Paneloux contracts the plague, refuses to be treated, and dies. However, Campbell had to wait until middle age to visit the lands that inspired him so deeply. To some, he has wasted hours and pages of paper, but he has kept a dream alive.
Camus has swollen Cottard into major proportions in this last chapter of Part 1; later the man will merit even more consideration. Here is one more type of isolation within Oran. Tarrou says he is only interested in acquiring peace of mind. All are equally in trouble, but they cannot comfort one another because they have never done so before. Citizens only hope that the plague will finish as quickly and unpredictably as it broke out.
The town gates are shut, rail travel is prohibited, and all mail service is suspended. Because her life with Grand was bleak, silent, and doomed did not mean that she had to submit to its certain fate. Now, as though he is asking for a parole to go back to Paris, he appeals to Rieux. He is from Paris, where his wife lives and awaits his return from quarantine. The Prefect piddles around when Dr.