The Question and Answer section for The Plague is a great He won the Nobel Prize in Literature at the age of 44 in 1957, the second-youngest recipient in history. Things went well for him. Even more horrifying to Tarrou was that his own father was the one arguing for this. For any kind of exile there is an unavoidable cause, and also a means of defeating it. The Fall. They undress and jump into the water. His father let him have his way. There are groans and cries and men in white moving from bed to bed. The authorities finally arrange for the daily collection and cremation of the rats. The title refers to a terrible plague that strikes Oran, Algeria. The novel “The Plague” by Albert Camus is composed of 5 parts. Elsewhere in the ward someone is screaming. Dr. Bernard Rieux is the first to intuit that things are not right with the city when he notices a sudden spike in the number of dead rats around town. The child has passed. Tarrou concludes. Another doctor named Jean Tarrou is both tender-hearted and daring. They should not give up, but grope their way through the dark if they must and do what good they can. Tarrou says he is essentially trying to be a saint without believing in God. He knows nothing is worth turning down love but he himself is doing it and he does not know why. He is happy to be with the others instead of set apart from society. Tarrou is fine but his diary entries have lost their depth and diversity; he seems mostly interested in Cottard. Since he, Tarrou observes, “has learned what it is to live in a constant state of fear, he finds it normal that others should come to know this state. The mess starts when rats everywhere die. There is no justice regarding who lives and dies from the plague; there is no rational or moral meaning to be derived from it; religious myths or angry gods don’t explain it. The curve has seemingly flattened, and Dr. Richard proclaims this a high-water mark. Nobody is up there. The characters are unequally involved in this terrible fight and the final conclusion is that people have more things to admire than things to despise. However, there are characters who avoid the mundane and the disease, by discovering new aesthetic interests. Paneloux speaks in a gentler tone and says “we” instead of “you” this time. Rieux suggests they go home, but Grand frantically runs away, then falls onto the ground, clearly ill. Tarrou and Rieux take him home, and as he has no family, they decide to let him stay in his home instead of being evacuated. The loudspeakers announce that it is mealtime and the inmates shuffle to their tents. When Paneloux suggests that such a thing passes human understanding and they ought to love what they cannot understand, Rieux replies that he has a different conception of love and will never be able to love a scheme of things in which children are tortured. In short, the lesson's message cannot be erased and their new wisdom could be passed on to others, still in the name of social solidarity. The closed space of the town haunted by plague and isolated from the rest of the world is the setting in which the writer presents some destinies, which exemplify the diversity in unity and the relation between the individual and the community. Rieux takes the boy’s pulse and silently urges it to match his own. He sees their reactions to the plague as ones he already had when he was condemned; he feels their superstitions, their fears, their panics, their stretched nerves. The men sit, grateful for the pleasant spot. He thinks they should all be like the one who stayed. Eugene Hollahan reminds readers that Tarrou’s motivation for fighting the plague is his own private code of morals; his “troubled intellectual stance contrasts with the doctor’s simple statement that his own motivation for fighting the plague is sympathetic outrage at human suffering.” In his identification with the cat-spitter and pear-counter, he “indicates his own deep tendency toward abstraction and transcendence.” He cannot travel the path of sympathy to its end, and dies of the plague. Or perhaps it should be put like thus: fear seems to him more bearable under these conditions than it was when he had to bear its burden alone” (199). The gods watch the unfolding calamity with arms folded either unwilling or unable to do anything. The Plague, published in 1947, was Albert Camus’ international breakthrough. Rieux happily agrees and the men go down to the beach. In the car, Rambert tells Rieux he does not want to go and wants to stay with him. He says goodbye. 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