Rieux admits that he is afraid. After he left home before 18, his main interest in life was his opposition to the death penalty, which he regarded as state-sponsored murder. Societies too often contain hypocrisy and jealousy; there is seldom honesty and directness.
He argued that this crisis of self could cause a man to commit "philosophical suicide"; choosing to believe in external sources that give life what he would describe as false meaning.
Football[ edit ] Camus was once asked by his friend Charles Poncet which he preferred, football or the theatre. But why does La Peste speak so loudly to us now. Within a short while, he grasps what is at stake and warns the authorities that unless steps are taken immediately, the epidemic could kill off half the town's population of two hundred thousand within a couple of months.
Yet one must live committed "as if" man and love ultimately mattered. When the Algerian War began inCamus was confronted with a moral dilemma. The rats, they say, are disgusting, obnoxious, and a nuisance. The play opened in January at the Antoine Theatre in Paris. The tale is highly allegorical, meaning that it uses concrete characters, places, and events to symbolize non-literal or abstract principles.
Cottard takes advantage of the crisis to make money by selling contraband cigarettes and inferior liquor. He returned briefly to OranAlgeria, in But Rieux has already qualified these words before he has written them, a few lines earlier.
Once he set the novel in the hot region of North Africa and had captured our belief in its existence, he began recreating Oran and its people in Western terms.
The sea, of course, is a striking symbol for life, richly and lushly lived. The doctor gives Grand credit for being a man of feelings.
His father was killed in World War I at the battle of Marne. Before leaving this chapter, there are two more incidents of credit for the doctor. Although he loved her, he had argued passionately against the institution of marriage, dismissing it as unnatural. At the conclusion to La Peste, Rieux — whose wife has died of illness elsewhere, unconnected with the pestilence — watches families and lovers reunite when the gates of Oran are finally opened.
Rieux says that Grand "confesses" to dearly loving his nephews and sisters. He refuses to call for a doctor, trusting in God alone, and dies. Eventually, he loses his mental balance and shoots at random at people on the street, wounding some and killing a dog.
The reader must here see Grand against the background described earlier. Further, he says he will ask, as a favor for the man, that the police inspector hold up the inquiry for a couple of days. Although he leaned leftpolitically, his strong criticisms of Communist doctrine did not win him any friends in the Communist parties and eventually alienated Sartre.
However, while Camus possibly suggests that Caligula's absurd reasoning is wrong, the play's anti-hero does get the last word, as the author similarly exalts Meursault's final moments. Two things are done here with Grand.
In his coat pocket was an unused train ticket. Whereas he was aloof and mistrustful before, he now becomes agreeable and tries hard to make friends. Nowadays, I think, La Peste can tell the story of a different kind of plague: This idea of not wasting time and of infusing the utmost consciousness into the present moment is an important existential tenet.
When he rebels, a man identifies himself with other men and so surpasses himself, and from this point of view human solidarity is metaphysical. Creation of meaning is not a viable alternative but a logical leap and an evasion of the problem.
He now feels that he belongs in Oran, and that the plague is everyone's business, including his. Bernard Rieux is described as a man about age 35, of moderate height, dark-skinned, with close-cropped black hair.
Camus then became associated with the French anarchist movement. It is Rieux who treats the first victim of plague and first uses the word plague to describe the disease. He is a seventy-five-year-old Spaniard with a rugged face, who comments on events in Oran that he hears about on the radio and in the newspapers.
Both men are, strictly speaking, nobodies — statistics, figuratively; actually, counters of statistics. This is the careful, exact quality in Rieux that we have seen previously.
The Plague by Albert Camus A haunting tale of human resilience in the face of unrelieved horror, Camus' novel about a bubonic plague ravaging the people of a North African coastal town is a classic of twentieth-century literature.4/4(73).
Albert Camus. THE PLAGUE. TRANSLATED FROM THE FRENCH BY Stuart Gilbert. First published in It is as reasonable to represent one kind of imprisonment by another, as it is to.
A haunting tale of human resilience in the face of unrelieved horror, Camus' novel about a bubonic plague ravaging the people of a North African coastal town is a classic of twentieth-century literature. ― Albert Camus, The Plague.
69 likes. Like “There are more things to admire in men then to despise.” ― Albert Camus, The Plague. 57 likes. Albert Camus (/ k æ ˈ m uː /; French: [albɛʁ kamy] (listen); 7 November – 4 January ) was a French philosopher, author, and journalist.
His views contributed to the rise of the philosophy known as absurdism. Set in Algeria, in northern Africa, The Plague is a powerful study of human life and its meaning in the face of a deadly virus that sweeps dispassionately through the city, taking a vast percentage of the population with it/5().Albert camus the plague