Read la peste by Albert Camus Online

la-peste

« La Peste » est un roman d’Albert Camus publié en 1947 qui permit en partie à son auteur de remporter le prix Nobel en 1957. Il appartient au cycle de la révolte qui rassemble trois œuvres de Camus: La Peste, L'Homme révolté et Les Justes L’histoire se déroule dans les années 1940. Elle a pour théâtre Oran durant la période de l’Algérie française. Le roman raconte sous fo« La Peste » est un roman d’Albert Camus publié en 1947 qui permit en partie à son auteur de remporter le prix Nobel en 1957. Il appartient au cycle de la révolte qui rassemble trois œuvres de Camus: La Peste, L'Homme révolté et Les Justes L’histoire se déroule dans les années 1940. Elle a pour théâtre Oran durant la période de l’Algérie française. Le roman raconte sous forme de chronique la vie quotidienne des habitants pendant une épidémie de peste qui frappe la ville et la coupe du monde extérieur. Camus semble s'être documenté sur une petite épidémie de peste bubonique, survenue à Oran en 1945, succédant à une épidémie plus sérieuse qui avait eu lieu à Alger en 1944, mais son projet est antérieur à l'apparition de ces épidémies, puisqu'il y travaille depuis 1942 (comme en témoignent ses « Carnets »)....

Title : la peste
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ISBN : 25141623
Format Type : Kindle Edition
Number of Pages : 225 Pages
Status : Available For Download
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la peste Reviews

  • Ben
    2018-10-17 13:52

    Ah, death; it's always there, isn't it? It is a terrible fate, doomed upon us all, that could take place at any time, in millions of different ways. The Jews who witnessed the holocaust are aware of this. The people of Haiti know this. The mother who lost her only child in a car accident is aware of this. Most individuals (and groups of individuals) spend their days fighting the fact of death, lying to themselves, using clever ways to avoid its ever-present reality. Looking death in its cold, indiscriminating eye, is perhaps the most difficult thing one can do. But the result from doing so -- when taken with time -- is a clear-eyed vision of the world we live in; the result of which is an inner-strength of which few know. But for those that have candidly looked into the eye of death -- for those that keep its hard reality within their awareness -- there is a wisdom and depth that emanates. The people of Camus' Oran -- formerly thoughtless, happy citizens that were, like many of us now, going about their merry ways not knowing how lucky they truly were -- become stricken by the plague. It is a rotten disease -- full of physical suffering, spreading rapidly, unceasingly -- that causes the town's citizens to be quarantined within the town. No getting out. There they must go on, trying to cope and survive -- some while kept away from their loved ones who are outside Oran's walls -- all, while surrounded by the constant death of their peers. The Plague is much about death, but it’s also about how we choose to live. Do we live like the people of Oran, going through each day without truly thinking, taking things for granted, going through the motions in an ignorant, opiated stupor? Or do we look death -- and by extension, life -- in the eye, taking nothing for granted, noticing and appreciating our complexities and gifts, endeavoring for truth, and striving to be good people? No matter how painful and difficult, do we face reality with courage? Do we overcome? Are we striving to be true heroes to others and to ourselves? There are fates worse than death. Like living life half-heartedly, without truth, without passion. Without conviction. Without sacrifice. And without love.

  • Lyn
    2018-10-17 14:32

    Albert Camus’ The Plague is a laugh RIOT! Just kidding, it is about the bubonic plague, really not very funny at all. However, it is a modern masterpiece of allegory, symbolism and imagery. The surface story is about plague in the early 1940s visiting the Algerian coastal city of Oran. While Camus tells a complete tale of disease, fear, despair, compassion and selfless heroism; the story of lasting significance is told between the lines with insightful observations and thought provoking dissertations on philosophy and theology. Camus uses the epidemic to explore relationships, community and existence. Critics have seen The Plague as an allegory on Germany’s occupation of France, but I think it can also be read to represent man’s propensity towards chaos and evil, while ultimately remaining good. Scholars will point out that Camus is primarily identified as an atheist, but his later writings revealed at least a sympathetic position towards religion. While some of the poetry of his French is lost in translation, his technique comes across as sparse but eclectic and his characterization and imagery evokes comparisons of such far ranging stylists as Hemingway and DH Lawrence. And Camus’ individuality shines through his excellent prose. Here is not an anodyne essayist but rather a vibrant athlete and vocal member of the French resistance; Camus is a masterful but reluctant artist. Camus the fighter is revealed in page after page. That may be the central message conveyed: that life is worth living and worth fighting for, no matter the likelihood of victory or the seemingly overwhelming natural forces assailing us, or even the result of the fight. The enduring residents of Oran do not so much fight and prevail as they simply survive, but Camus emphasizes that the act itself of fighting, the performance of resisting the devastating force of nature makes them stronger, makes them worthy of survival regardless of whether or not they do survive.

  • MohammedAli
    2018-09-23 06:31

    - أرأيت يا دكتور ؟ إنّها تخرج قالت الزوجة :- نعم ، لقد التقط جارنا ثلاثة منها .ثم أخذ العجوز يفرك يديه و هو يقول : -إنّها تخرج ، ويعثرون عليها في كل صندوق من صناديق القمامة المنزلية . إنّه الجوع !قال الدكتور :- أمر غريب بالفعل !!صرخ العجوز :- إنّــــها الكارثــــة ! hebergeur dimageمقدمة لا جدوى منها : الطاعون من الأوبئة الأكثر فتكا والتي عرفها الإنسان في مختلف مراحل تاريخه، وهو مرض معدي لقّب بالموت الأسود وخلّف وراءه ملايين الضحايا . herbergeur d imageسؤال :- إذن نحن أمام رواية تحكي عن تاريخ الطاعون وأنواعه وتصف أعراضه بشكل دقيق ، تعطينا إحصائيات مقربة حول عدد الضحايا ؟؟جواب :- لا !الطـــــــاعــــــــــــون .. رواية لألبـيـــــــــــــــر كـــــــــــــامــــــــــــو hébergement gratuitالمكان :- مدينة وهران .سؤال :- لماذا هذه المدينة بالذات ؟جواب :- مدينة وهران في ذلك الزمان ، كانت بمثابة المدينة الإقتصادية والتجارية الفتية والتي تتطور بسرعة كبيرة . وأهم ما يميز المدن الإقتصادية التجارية هو الرتابة ، و الهدوء . الرتابة الناجمة عن عادات سكانها، فالعامل إنسان روتيني، فهو بحكم عمله سيخلق لنفسه روتينا محددا و اضحا ( الإستيقاظ باكرا، الذهاب للعمل، ثم العودة منه مساء، قسط من الراحة، ثم الخروج إلى المقهى أو التجول الخفيف بين ساحات المدينة، ثم العودة باكرا للنوم من أجل الإستيقاظ للعمل ..) ، ما عدا أيام العطلة الأسبوعية طبعا .heberger une image" .. و لعل من أسهل الطرق التي يتعرف بها المرء على مدينة ما أن يبحث : كيف يعمل الناس فيها، وكيف يحبون، وكيف يموتون، ففي مدينتنا الصغيرة يحدث كل هذا بطريقة واحدة عصبية ذاهلة . و معنى ذلك أن السأم يدرك أهل المدينة، وأنهم يبذلون جهدهم حتى تكون حياتهم سلسلة من العادات الراسخة، ومواطنونا يعملون كثيرا، وهدفهم الدائم هو الثروة، والتجارة أكثر الأشياء إثارة لإهتمامهم . "" .. ففي وهران - كما في غيرها - يضطر الناس إلى أن يحبوا دون أن يشعروا بسبب ضيق الوقت و قلة التفكير " إذن مميزات هذه المدينة : الرتابة ،الهدوء ، والروتين وهو عبارة عن مجموعة من العادات الراسخة . ثم فجأة يأتي شيء آخر غير متوقع تماما، فيضرب المدينة في مميزاتها قبل سكانها ، شيء سيقلب المدينة رأسا على عقب ..إنه الوباء .. إنه الكارثة .. إنه الطاعون !!!Hébergeur d'imagesالرواية طويلة نوعا ما ( حوالي 400 صفحة ) ولكنها بحدث واحد فقط - الطاعون - بداية الرواية هي بداية الطاعون ونهاية الرواية هي نهاية الطاعون، ولكن ما بين البداية والنهاية رحلة فلسفية، نفسية، اجتماعية، دينية، وإنسانية . بداية ظهور أعراض الطاعون :" في صبيحة اليوم السادس عشر من إبريل خرج الدكتور ( برنار ريو ) من مكتبه، واصطدم بفأر ميت على بسطة السلم "بدأ ألبير كامو روايته بذلك النوع المسمى " بالنمط الكارثي " ، ظهور مجموعة متزايدة من الفئران وخروجها إلى الشارع أو خروجها من مخابئها ثم موتها . و كان موقف الإنسان من هذا الأمر موقف العاجز المندهش، فهو لم يرى أعدادا مثل هذه تغزوا الشوارع والمنازل لتطلق صرخة مدوية ثم تموت .كان موقف السكان في البداية هو التعجب المصحوب بنوع من التقزز من هذه الظاهرة ، ولكن سرعان ما دب في نفوسهم الشك، فهذه الظاهرة تحميل نذير الخطر .تلى هذا الخروج الغريب للفئران .. حمى غريبة أصابت بعض المواطنين، بالإضافة إلى ظهور أعراض أغرب من الحمى أدت إلى حدوث وفيات سريعة صاعقة . فتحولت الدهشة والتعجب الذي استولى على السكان في البداية إلى الذعر، والذي تحول بسرعة إلى اضطراب .ولكن حتى هذه اللحظة لم يستطع السكان الربط بين الفئران والموت، فالأمر مجرد صدفة رغم أن هذه الصدفة كانت مصدرا للذعر والإضطراب .الطاعون :" أما أنا فأعرف ما هو، و لست في حاجة إلى تحليلات، فقد قضيت شطرا من خدمتي في الصين، ثم رأيت بعض الحالات من هذا القبيل في باريس منذ عشرين عاما، ولكن لم يكن أحد يجرؤ على أن يطلق إسما على هذه الحالات، فالرأي العام شيء مقدس، و يجب أن يتجنب حدوث أي ذعر، أن يتجنب حدوث ذعر بشكل خاص، ثم إنه كما يقول أحد الزملاء - هذا مستحيل، فقد اختفى هذا المرض من الغرب - نعم الجميع يعرفون أنه اختفى، ما عدا من ماتوا "وبعد اجتماع الأطباء لتحليل التقارير والملاحظات، تم إعلان انتشار الوباء وإغلاق المدينة .نهاية هذا الوباء :في شهر يناير أي بعد حوالي تسعة أشهر من ظهور الوباء، تم الإعلان عن اعادة فتح أبواب المدينة وعن زوال هذا الوباء الذي خيّم طويلا على أجوائها ، حتى نسي بعضهم كيفية العيش بدون الطاعون .سؤال :-كيف يمكن لرواية حدثها بسيط ووحيد وهو " الطاعون " أن تكون ممتعة، فالأحداث هي ما تصنع المتعة في الرواية ؟جواب : -هل تستطيع الإستمتاع بالتفاصيل اليومية المملة ؟الناس أي السكان:لقد وصفنا في بداية هذه المراجعة عقلية سكان مدينة وهران، وطبيعة عيشهم في هذه المدينة، أما الأن فسنتتبع حالهم - و إن كان هنا الأمر نسبي لأن الإختلاف بين الفرد والآخر كبير جدا، و لكن سنحاول تتبع انفعالاتهم المشتركة - والتي تصلح للتعميم - و هذا عبر مراحل الوباء المختلفة .قبل الإعلان عن ظهور الوباء : كان الشعور العام في البداية هو الدهشة و التعجب من خروج الفئران وموتها، ثم تحولت هذه الدهشة إلى ذعر و اضطراب، فتولد داخلهم خوف نوعا ما مصحوب بتفكير عميق، غير أن هذا التفكير سرعان ما ينجلي عبر ممارسة الروتين الراسخ و المتعود عليه .لحظة الإعلان عن الوباء : لقد فوجىء السكان بهذا الوباء و توزع شعورهم بين القلق و اليقين، لأنهم كانوا غرقى في الإنسانية ولا يعتقدون في الأوبئة، فالوباء أكبر من الإنسان، ولذا يميل الناس للإعتقاد بأنه ليس من أمور الواقع . ثم تلى هذا الشعور شيء من النكران - أي إن الأمر مجرد حدث عابر سرعان ما يزول - فاستمروا في أشغالهم و صفقاتهم .بعد الإعلان عن الوباء :هذه هي اللحظة الأكثر حرجا بالنسبة للسكان، لأن الأبواب أغلقت، الوفيات انتشرت، فكانت الصدمة هي التي تحرك سكان المدينة، فوجدوا أنفسهم أمام شعور جديد ومذاق مختلف، إنه النفي أو العيش في المنفى، الشعور بالفراغ والرغبة الجامحة في العودة إلى الوراء، وعزّز هذا الشعور تعرف السكان على نوع جديد من المشاعر وهو الشوق، فمعظمهم حرموا من أشخاص كانوا خارج المدينة لحظة غلق الأبواب، فامتزج النفي بالشوق والصدمة والخوف والموت والفئران مشكلين جوا عفنا ثقيلا تحت شمس صيفية حارقة جدا ." و هكذا أصبحوا معلقين وسط المسافة بين هذه الهوات وتلك القمم، أصبحوا يتلاطمون أكثر مما يعيشون، ولا ملجأ لهم إلا أيام لا وجهة لها، وذكريات قاحلة، و ظلال هائمة . لم تكن لتقوى على البقاء لو لم تنشب جذورها في أرض آلامهم . بعد أسابيع من الإعلان عن الطاعون :بلغ شعورهم بالوحدة أقصى حدوده، وعاش كل واحد منهم وحيدا متخبطا في مشاغله وهمومه، ولم يتوقف بعضهم لرؤية بعض، وأصبح الكلام شبه منعدم، و أصبح الإستماع إلى الآخر منعدما تماما، فكان الواحد منهم يظن أن ألامه هي الأكبر والأعمق أما الآخر فيظن أن آلام هذا الشخص عادية ومتواضع عليها و معروفة وأكثر انتشارا مما يظن . وبدأت الإحصائيات بخصوص الموتى تنتشر .سؤال :- كيف استقبل الناس احصائيات عدد الموتى في البداية ؟جواب :- لم تثر فيهم أي خيال رغم أهمية هذه الإحصائيات، لأنهم كانت تنقصهم المعلومات التي تمكنهم من عقد المقارنات .بعد مرور شهر عن الإعلان :بدأ نوع من التقبل الطفيف يظهر على المواطنين، وأن هذا الحدث غير شيئا داخلهم إلا أنه لم يلمسهم عميقا، ولكن سرعان ما ولد هذا القبول الطفيف شعورا خطيرا جدا وهو أن حياتهم الآن أصبحت في خطر، بل إنهم يعيشون الآن في سجن كبير تحت سماء حارة ينتظرون مصيرهم برتابة و ضيق كبيرين . بعد مرور أكثر من شهر عن الإعلان :توحد الناس في شعورهم باليأس وهذا الشعور المعمم جعلهم يشعرون بنوع من الإنسانية ونوع من التعاون لم يعرفوه من قبل، كما أن كل يوم يمر يقربهم من نهاية محنهم على شرط ألا يموتوا قبل ذلك . كما أحسوا بشناعة الحرية عندما يكون المرء معدما.بعد مرور أكثر من ستة أشهر عن الإعلان :النفي، الشوق، الخوف، الجوع، الفراق، الصراع مع الطاعون، الموت، الإحصائيات، النشرات، الشائعات،القيظ، الغبار، الجنائز، الشرطة، صوت صفارات سيارة الإسعاف، اليأس، الرتابة، الفراغ، والعجز اختلطت هذا المشاعر ثم انفجرت فظهرت أعمال عنف كبيرة وحرائق وسرقات زادت الأمر سوءا.الإقتراب من نهاية الطاعون :أصبحوا شاردي الذهن، جامدي التعبير، معظمهم كبر في السن رغم مرور بضعة أشهر فقط، سيماء الهم و العذاب بادية على الوجوه الكالحة .".. ربما كنا أكثر دقة لو قلنا: إنهم كانو من الناحية المعنوية والجسمية يشعرون بنار الجوى تحرق أحشاءهم، فقد كانوا في بداية الطاعون يذكرون جيدا الشخص الذي فقدوه، ويأسفون لفراقه، ولكنهم إذا ذكروا بوضوح وجه الحبيب وضحكته وأيامه السعيدة، فإنهم كانوا يجدون صعوبة في تخيل ما عسى أن يفعله هذا الشخص في تلك الساعة التي يذكرونه فيها وهو في أمكنة ستظل دائما نائية عنهم. ومعنى ذلك أنهم في هذا الوقت كانوا يتمتعون بالذاكرة و لكن ينقصهم الخيال، أما في المرحلة الثانية للطاعون، فقد فقدوا الذاكرة أيضا . "نهاية الطاعون :فتحت الأبواب فدخل ناس على أشلاء أناس.سؤال :- هل الإنسان قبل الوباء هو نفسه الإنسان بعد الوباء ؟جواب :- لا !!شخوص الرواية :- ريو : طبيبموقفه من الطاعون و فلسفته في الحياة : يؤمن بالاحتمالات أكثر من انشغاله بالقوى الغيبية، فهو يقرّ بالنهاية أنه إذا كان الناس "لا يستطيعون أن يكونوا قديسين ويرفضون الاستسلام للأوبئة، فإنهم مضطرون لأن يكونوا أطباء"، أي مضطرين للمواجهة العملية، بلا ضجرٍ غير مجدٍ.- تارو : نظم عمليات الحجر الصحي، و التدخل، و نقل المرضى و الجثث على حد سواء .موقفه من الطاعون و فلسفته في الحياة :تارو، لم يؤمن يومًا بالقضاء والقدر، ليس لأنه ينكره؛ بل لأن المسألة كلها لا تعنيه، فهو لا يملك القدر الكافي من المعلومات؛ لذا، نراه يعلق على عادة الصينيين بدق الطبول أمام عفريتة الطاعون في حال حلول الوباء، بالتساؤل: "أيهما أجدى وأنفع؟ دقات الطبول أم الإجراءات الوقائية؟ وأضاف أنه يجب، لكي نقطع في الموضوع برأي، أن تكون لدينا معلومات عما إذا كانت عفريتة الطاعون موجودة حقًا أم لا، وإن جهلنا بهذه النقطة يضرب على كل آرائنا في هذا الموضوع بالعقم".- بانلو : قس في الكنيسة موقفه من الطاعون و فلسفته في الحياة :.الطاعون لا يعدو كونه إرادة إلهية موجهة لحكمة عظيمة، وهي "التكفير عن الذنوب"، وهي أيضًا تميز بين الصالحين والشريرينكوتار : مندوب مبيعات يحاول الإنتحار في بداية الرواية .موقفه من الطاعون و فلسفته في الحياة :هو الشخص الوحيد الذي كان سعيدًا بالوباء، على عكس الروح القاتمة التي سكنت هواجس الآخرين بسببه، لقد كان هذا القدر رائعا، وهو كل ما يتمناه كوتار، فلقد كان ملاحقا بسبب جريمة لا نعلمها، فالجميع الآن يحررونه من هاجس الملاحقة حين ينضمون إليه، مع فرق أن ملاحقيه بشر، والآخرين يلاحقهم الطاعون.و هناك شخصيات أخرى تتوزع أدورها في الرواية بشكل أو بآخر .********************رواية جميلة و متكاملة نوعا ما، تستحق القراءة.---------سؤال : - هل قرأت المراجعة ؟الجواب : - طبعا لا !! فهي طويلة و أنا لا أملك الوقت لفعل ذلك . :D

  • Lisa
    2018-10-14 11:35

    If you lived in an ordinary community quite unexpectedly facing an existential stress test, what would you do? How would you deal with the situation, and which character traits of yours would all of a sudden come to the surface? How would you treat your friends, neighbours and fellow citizens? What would you do to change the situation? These questions have been haunting me ever since I first read “La Peste” in school, over two decades ago. I have reread it since then, with the same fascination, and with growing compassion and understanding for the less heroic characters and their fears and petty actions. To me, it is a masterpiece, one of the great examples of timeless world literature. As a student, even though I was worrying just as much about exam questions, French vocabulary and grammatical difficulties as about the message, I felt that I finally grasped the totalitarian systems of the 20th century, and their strange morbid attraction despite (or because of) their absolute negativity. I asked myself to what extent I would have remained human facing the terror of the rats and their invisible, yet deadly load.One thing, though, remained completely unthinkable to me as a young adolescent, despite the horror of the reading experience, and the sincere sympathy for the generations of Europeans that had experienced societies worse than plague-ridden. I thought it COULD NOT happen again. Not here, not in Western civilisation, not with our KNOWLEDGE! Being an adolescent in Germany in the mid-1990s, I was convinced that walls were breaking down, that democracy was on the rise, that human rights and welfare were secure goods, and that the world was beyond the plague of totalitarian, all-consuming ideas spreading like wildfire - like a plague befalling a whole community. “C’est impossible, tout le monde sait qu’elle a disparu de l’Occident.”In a way, I was in the situation of doctor Rieux at the very beginning of the story, convinced that the plague was completely gone. But Rieux, narrator and participant in the story, documenting his own private worries along with the catastrophe of the spreading plague, has to choose between sticking to his ideas or to accept the evidence he witnesses. Chronicling the development of his community in crisis, as well as actively working to help those stricken with the plague, he slowly but steadily grows as a human being and realises that nothing is actually ever GONE!Even in the end, when people are celebrating their survival of the epidemic, in drunken happiness forgetting all their losses, their suffering, their fears and pain, he stays vigilant. For he has learned something beyond the lesson of the immediate crisis:“Écoutant, en effet, les cris d’allégresse qui montaient de la ville, Rieux se souvenait que cette allégresse était toujours menacée. Car il savait ce que cette foule en joie ignorait, et qu’on peut lire dans les livres, que le bacille de la peste ne meurt ni ne disparaît jamais, qu’il peut rester pendant des dizaines d’années endormi dans les meubles et le linge, qu’il attend patiemment dans les chambres, les caves, les malles, les mouchoirs et les paperasses, et que, peut-être, le jour viendrait où, pour le malheur et l’enseignement des hommes, la peste réveillerait ses rats et les enverrait mourir dans une cité heureuse.”What would you do if you saw those rats? Who would you choose to be? It is time to dig out the masterpieces of existential questions again, I think. Knowledge of the different facets of human nature under stress can never be overestimated as a means to choose wisely, should your town be stricken unexpectedly by a plague. I wish I knew for sure I would make a decent appearance in Camus’ scenario. But fear is powerful!

  • Rakhi Dalal
    2018-09-25 13:51

    I read “The Plague” right after reading “Swann’s Way”. Of course it wasn’t a deliberate move. But as I moved on, I realized that reading of ‘The Plague’ had rendered something quite remarkable in the way I realized and appreciated both works. Both works embody a reality. ‘Swann’s Way’ speaks of the reality that is long gone by and one wish to remember and cherish, whereas, ‘The Plague’ makes one more acutely aware of the bleakness of actual reality when imposed through an epidemic such as plague. This book speaks of the things that are, rather than things that were. Swann’s way had left me completely mesmerized, longing for the bygones. But The Plague left me assessing the actual approach which governs human beings when faced with discomforts in life.The first thing that strikes in the work is the avoidance of acceptance of pestilence on the part of people of the town of Oran. Albert says, “Pestilence is in fact very common, but we find it hard to believe in a pestilence when it descends upon us. There have been as many plagues in the world as there have been wars, yet plagues and wars always find people equally unprepared”. He further adds that because pestilence doesn’t have human dimensions, people refuse to believe it, thinking of it as a bad dream which would end soon. Perhaps people do not wish to accept its onset, for the reason that they have far greater faith in life itself. But when they have to, it results in utter misery on their part. The beauty of the work lies in the depiction of different approaches adopted by different individuals during plague. Whereas some people engage in serving the disease ridden, some try to make more money by smuggling liquor and other desired goods. Some people are melancholic, whereas some try to find happiness in between. What I found further intriguing, were the words Camus employed to express the thoughts conveyed by the Priest, as regarding religion and God during Plague. Consider these two addresses delivered by Father Paneloux; one, at the beginning of the epidemic and the other, after months of suffering.First one starts as:“My brethren, a calamity has befallen you; my brethren, you have deserved it……Since the beginning of history, the scourge of God has brought down the proud and the blind beneath His feet. Think of this and fall on your knees.”Second one ends as:“My brethren, the love of God is a difficult love. It assumes a total abandonment of oneself and contempt for one’s person. But it alone can wipe away the suffering and death of children, it alone makes them necessary because it is impossible to understand such things, so we have no alternative except to desire them. This is the faith- cruel in the eyes of man, decisive in the eyes of God-which we must try to reach. We must try to make ourselves equal to this awful image”In the first address, the Priest is so certain about the ways of God, but the second address clearly depicts the vagueness, as the consequence of severe sufferings due to pestilence. How little does religion/God matters when humanity faces such pandemic! Camus has skilfully captured the inner tumult which the Priest went through while coming to terms with the harsh reality. The reading was quite overpowering. It was further augmented by the reference to Bois de Boulogne at some places during the narration. Grand, an aid to Rieux, read the first line of his writing to Rieux. What was beautiful was the effect it created, producing in mind the consequence of anxiety and the desperation to escape.Rieux was listening at the same time to a sort of vague humming sound in the town, as if replying to the whistling flail of the Plague. At this particular moment he had an extraordinary acute perception of the town spread out at his feet, the enclosed world that it formed and the dreadful cries stifled in its night. He heard Grand’s muffled voice: ‘On a fine morning in the month of May, an elegant woman was riding a magnificent sorrel mare through the flowered avenues of the Bois de Boulogne’I think that Camus, who is touted as an absurdist for his writings on the subject, has very profoundly articulated the idea of absurd through this writing as well. The idea that he presented in The Myth of Sisyphus, that of the need to seek clarity and meaning within a world which offers neither, has been expressed in these lines for me.“All that a man could win in the game of plague and life was knowledge and memory. Perhaps that was what Tarrou called winning the game!...But if that is what it meant to win the game, how hard it must be to live only with what one knows and what one remembers, and deprived of what one hopes.”

  • Fernando
    2018-10-19 13:28

    “¡Ah, si fuera un temblor de tierra! Una buena sacudida y no se habla más del caso… Se cuentan los muertos y los vivos y asunto concluido. ¡Mientras que esta porquería de peste! Hasta los que no la tienen parecen llevarla en el corazón”.Muchos coincidirán conmigo de que La Peste es una de las mejores novelas que se han escrito en el siglo XX. El nivel de realismo alcanzado por Albert Camus es sorprendente y para ello se vale de muchos recursos, todos ellos efectivos y en ningún caso utilizado como golpe bajo. A partir de los primeros síntomas de la enfermedad, de la señal de las ratas que emergen de las profundidades para morir, de la propagación de la enfermedad en los primeros humanos y del reinado destructivo de la peste, el lector no tiene descanso, más allá de encontrarse con muchos pasajes de diálogo, puesto que siente la misma presión que los ciudadanos de Orán, con el peso de la espada de Damócles sobre sus hombros.Y es que la peste no da respiro ni concesiones. No discrimina, no es selectiva. No le importan las clases sociales, las edades ni las jerarquías. Ataca, infecta y mata rápidamente. Sin piedad ni miramientos. La ciudad comienza a cambiar sus hábitos en forma drástica y lo que otrora se vivía como normalidad ahora es parte de los dominios de la peste. Y esta es la nueva cotidianeidad en Orán. Todo está detenido, las calles están desiertas, negras, sombrías y los ciudadanos condenados a un futuro gris e incierto. Las fronteras están cerradas, los comercios con sus persianas bajas, la gente recluida en sus casas y los edificios públicos convertidos en hospitales de campaña. Las cuarentenas son obligatorias y a causa de esto, los familiares enfermos son separados rápidamente de los sanos, quienes no vuelven a verlos mientras dure la peste y es obvio que todo va mellando el espíritu del oranense.El cronista nos relata la vida de los personajes principales, sobre todo la del doctor Bernard Rieux, el gran batallador contra la peste y también de algunos de sus colaboradores como Jean Tarrou (el personaje de costado más filosófico del libro), Cottard, Joseph Grand, el periodista Raymond Rambert, el doctor Castel y el padre Paneloux.Para no develar mucho acerca de estos personajes sólo voy a comentar que el doctor Rieux y Tarrou, ambos amigos y confidentes adentrada la historia son los personajes que más me han impactado. La estoica actitud de Rieux ante el avance de la epidemia, poco creyente en Dios y sobrepasado hasta el agotamiento a causa de su lucha contra la peste es sostenida por los pensamientos profundos de Tarrou en donde la moral, la religión y el absurdo se transforman en gran parte de la trama de la historia y van de la mano de todos los personajes, pero haciendo hincapié en Tarrou, Cottard y el padre Paneloux.Respecto de éste último, durante el momento más álgido de la peste, el padre Paneloux brinda un sermón sentido realmente que relaciono al que pronuncia el padre Mapple en el libro Moby Dick cuando anticipa a los fieles los peligros del mar y pone en juego la fe de los hombres en Dios a través de la parábola de Jonás y la ballena. La similitud entre ambos sermones es estrecha, porque en ambos se le pide a los hombres aceptar la voluntad de Dios, pero se llega un punto en que el menos creyente de los fieles iguala al más acérrimo ateo. Y tampoco es este el único momento en que Camus realiza saltos intertextuales en la novela. La situación en que se encuentran los ciudadanos de Orán a merced de la peste le da la posibilidad de exponer distintos puntos de vista existenciales propugnado a partir de la diversidad de sus personajes.Cabe destacar también el guiño que le hace a uno de sus autores preferidos, Franz Kafka, cuando a modo de homenaje a la novela "El Proceso", Cottard comenta: "No es ese mi caso, pero estaba leyendo esa novela. Ahí tienen a un desgraciado a quien detienen, de pronto, una mañana. Estaban ocupándose de él y él no lo sabía. Estaban hablando de él en los despachos, inscribiendo su nombre en fichas. ¿Cree usted que esto es justo? ¿Cree usted que hay derecho a hacerle eso a un hombre?".Lo absurdo del juicio se relaciona de alguna manera con la peste. Los seres humanos son vapuleados como hojas en un vendaval de la misma manera que K. en la novela de Kafka. Todo es arbitrario para la peste, porque ella hace lo que quiere.En otro pasaje y sin nombrarlo expresamente, hace referencia a Mersault, su famoso personaje de "El Extranjero": "En medio de una conversación, la vendedora le había hablado de un proceso reciente que había hecho mucho ruido en Argel. Se trataba de un joven empleado que había matado a un árabe en la playa". Más allá de las formalidades de la novela, siempre hay margen para conectar con otros costados de la literatura y esas son cosas que me agrada mucho encontrar en las novelas cuando las leo.La moral se resquebraja, la peste no da tregua y los hombres, simples mortales, luego de la preocupación inicial, pasan del pánico, al paroxismo y la aceptación de sus realidades hasta desembocar en una apatía constante, como entregados a sus destinos. Comienzan a dudar de Dios, ponen todo en un plano de disconformidad, descreen de que haya un fin cercano para la epidemia. Hasta el mismo Paneloux flaquea. Otro cura admite que "Cuando un cura consulta a un médico, hay contradicción".Esa frase me recordó una de mi padre quien no era creyente para nada y supo decirme alguna vez: "Yo siempre voy a confiar más en un hombre vestido de blanco que en uno vestido de negro".En cierta manera ambas frases dejan al descubierto lo que los hombres se plantean ante una epidemia que no amaina y que destruye todo a su paso. Es muy difícil mantener la moral ante tanta muerte circundante. Pero como dice un viejo refrán, "Dios aprieta pero no ahorca" y las cosas, aún tratándose de la peste, comenzarán a cambiar. De todos modos, aquí me detengo. No es mi idea contar nada acerca del final para aquellos lectores que deseen leer esta gran novela de Camus que nos plantea tantos desafíos a los seres humanos, quienes ante las situaciones más extremas somos puestos a prueba. La fe, lo existencial, las relaciones humanas, los sentimientos y Dios son algunos de los puntos claves que Albert Camus toca para hacernos pensar que tan frágiles somos y sobre todo con qué rapidez pueden nuestras vidas cambiar a partir de un hecho crucial, sea una peste, un desastre natural o una guerra. Pero aunque a veces no lo parezca la respuesta está siempre en nosotros mismos.¿No les parece?

  • Petra X
    2018-10-02 10:35

    This was as much an existentialist tract as it was a book about the descent of a town into plague, the gradient of the decline increasing exponentially until they reach the pit. There it is death and smoke and groans and every bit the imagined hell of those with a religious consciousness.But the plague has no relationship to religion. The innocent die as much as the guilty. Shady people are sly by night, criminals escape justice, the great and the good die in their beds, the plague is the great equalizer. This is an atheist world where nothing has rhyme or reason and blaming it on fate or an angry deity or questioning why the deities have ignored the supplicants increasing praises, appeals and desperate petitions is futile. Even they see it is pointless and in the end the comforting rituals of death and consignment of the remains have mostly been abandoned. The plague strikes almost all and those whom it leaves, aren't special in any way.Pacing is not something I tend to notice in a novel, but I did in this one, it is outstanding. The pacing matches the descent in hell and the recovery into sunlight and a brisk sea air absolutely perfectly. At the end, after all the pain and darkness I felt relieved and refreshed, an unusual feeling for the end of a book.5 stars, golden ones.

  • Jim Fonseca
    2018-09-30 08:43

    Somehow Camus brings humanism, optimism and the role of love to a depressing story of bubonic plaque in 1940’s Oran, Algeria. First all the rats die and then we go from there. After much bureaucratic bungling and delays, the city is cut off from the outside world by quarantine. A lot of the focus of the story is on those separated by chance from loved ones for several months. There is intrigue as some plot to escape the town. But mainly a dreary perseverance and indifference takes over many in the city. Camus uses the suffering and deaths of children to reflect on the role of God and religion. The barren, dry, windswept, desolate town is so well portrayed that it is like a character in the story. I’m reminded of the religious theme and the desolation of the Mexican town in Graham Green’s The Power and the Glory. If you are put off by the thought that this is an incredibly depressing book, don’t be.

  • Poliwalk
    2018-10-14 14:33

    This book has been one of the most influential in my life. Camus uses the premise of a town infected by the plague and quarantined from the rest of the world to explore some of the great philosophical questions. I find his exploration of religion very astute--that God is either not able to prevent evil and is thus not omnipotent or that God is all powerful and thus condones evil. Either option to Camus is a God not worthy of worship. Many people read The Stranger and think Camus is a pessimist, that he has taken the thought experiment that everything is absurd to the extreme and believes in nothing. The Plague was written after The Stranger and is a shining example of how optimistic Camus really was. He may not believe in God or higher meaning but he and his characters cannot deny their love for humanity, nature and the need to help others. The scene of the two friends swimming still sticks in my mind as the perfect example of this.Overall, this book has meant a lot to me and it may resonate with others searching for a philosophy that is not derived from religion or dogmas. It is a powerful story with plenty of things to keep you thinking long past the last page.

  • William1
    2018-10-03 06:43

    Second reading. This is an essential book. If there's a canon, The Plague belongs in it. A few things interested me this time through. Mostly the narrator's penchant, most effective, for writing about the town's collective mood. This device struck me as an improvement on the Soviet worker novels of the day (1947). The prose is not pumped up to triumphalist proportions. (There must be a scholar somewhere who's addresses this. I'll have to search LC.) Neither is there an idealized superman worker, but portraits of individuals with both flaws and great strengths. One wonders to what extent the novel had didactic intent. By that observation I don't mean to trivialize the book's elegant high style, its sheer brilliance, its profound insights into life, death and duty. This is an astonishing book and I highly recommended it.PS A new translation of Exile and the Kingdom appeared in 2007. Can a new translation of The Plague be far off? Let's hope not. This one was published in 1948!

  • Samra Yusuf
    2018-10-19 06:42

    Humankind is always been haunted by the idea of oblivion, the mere thought of being forgotten, the inkling of being swiped out of the face of earth, from memory, from hearts of those who were held close, strikes us down like an old rotten sapling, that didn’t see the good days of opulence, nor was given the sun enough, so couldn’t grow to become a tree. Death seems to be a farfetched long-talked idea, an unpleasant episode others went through and never happened to us, an equivocal dot of a thought swiftly burring under the teemed dirt of brains, and there are times, when death gets undressed of that dirt, arises naked and dances Rhythmically In tandem with you. This was the time when it happened!Of all Camus’ novels, none described man’s confrontation and cohabitation with death so vividly and on such an epic scale as La Peste, translated as The Plague. Happy town of Oran at the west fronts of Algeria, encounters plague in a fine morning of mid-summer when people are indulged in petty goings-on as we today. Our narrator unfolds the events with a voice most detached yet complacent, Dr. Bernard Rieux is the survived witness and victim of what happened in later months, of the transition of people, of the heart crushing groans that became the interminable anthem of the town, I’ve never in my life seen someone fighting the already defeated battle with plague, their groins sagging with buboes, eyes flushed and fever bright, writhing with every breath that escapes from their body, their limped throats causing squeaks like rat, with an endless thirst that quenches never, until bellies are burst when swelled too much with liquid, lungs defy to cooperate and the already defeated battle comes to an end leaving a body cold and open in every pore, this is not the end we want for us, for our loved ones, day after day, after day, until the anger turns into agony and agony weds with despair, giving birth to an endless indifference. This is the story of those who were left at the other side of gate, and when gate was opened, people were not what they were expected to be after this long.They changed, for better or worse.“In the early days, when they thought this epidemic was much like other epidemics, religion held its ground. But once these people realized their instant peril, they gave their thoughts to pleasure. And all the hideous fears that stamp their faces in the daytime are transformed in the fiery, dusty nightfall into a sort of hectic exaltation, an unkempt freedom fevering their blood.”God is the luxury of better days, a fair whether friend, a source of comfort for the relentless hearts, a good-times enthralling idea that breeds on the soil of one’s soul, and the certitude of hereafter a pornographic clip that wets our insides for a timely pleasure, tickling our sensitive places with the sensuousness of more to come, a pigeon’s closing of eyes on seeing the cat right in front of him, but when faced with reality, first thing that crumbles down like a shred of glass is the comfort feel of that eternal reward in exchange of the hell we spend called life, you can’t entertain the thought of some supernatural deity sitting in sky looking down at masses in silence anymore, counting the time of judgment to come, while they writhe in pain indescribable and call for him only to receive a ceaseless silence in response, there’s something gravely wrong with god theory, it has to be.Again and again, Camus invokes some condition of well-being that has been forfeited, because the pestilence has taken hold. Cut off in the plague city, the people's moorings of past loves and values are all lost: "They experienced the deep suffering of all prisoners and all exiles, which is to live with a memory which serves no purpose." Sequestered and sullied, the inhabitants suffer the breaking of all social bonds; all time becomes time present and erases hope (in the future) and love (with its connectedness to the past). But the central puzzle Camus worries at comes towards the end of the novel, with Tarrou's celebrated question, "Can one be a saint without God?" To which Dr Rieux responds, "Heroism and sanctity don't really appeal to me . . . What interests me is - being a man."..

  • Huda Yahya
    2018-09-27 13:50

    ألبير كامي__الطـــاعــون__لن يقتنع الآخرون بحججك، بإخلاصك، بحقيقة معاناتك إلا بموتكــــــــــــــــــــــــــــــــــالحقيقة كالضوء، تعمي الكذب كالشفق الجميل الذي يسحر كل موجودــــــــــــــــــــــــــــــــــأحب الحياة- هذه هي نقطة ضعفيأحبها بشكل كبير لدرجة أني غير قادر على أن تخيل عكسهاــــــــــــــــــــــــــــــــــلتكون سعيدا فإنه من الضروري أن لا تهتم كثيرا بالآخرينــــــــــــــــــــــــــــــــــالإنسان لا يمكن أن يكون متيقنا من أي شيءــــــــــــــــــــــــــــــــــنحن مخلوقات إستثنائيةكلنا نريد أن نحكم على شيء كل واحد منا يصر على براءته مهما كله ذلك ولو توجب عليه أن يتهم الجنس البشري بأسره والسماء أيضاًــــــــــــــــــــــــــــــــــالكثير من الناس يتسلقون على الصليب فقط لكي بتم مشاهدتهم من مسافة أبعد حتى وإن أجبروا على دهس من كان هناك لوقت طويلــــــــــــــــــــــــــــــــــمغطى بالرمادأمزق شعريوجهي تعلوه الخدوش وبعينين حادتين أقف أمام الإنسانية جمعاءملخصاً عاري من دون أن أفقد التركيز في التأثير الذي أخلقه وأقول أنا أحقر الأحقرين وبعدها وبصورة تدريجيةأنتقل من الـ "أنا" إلى الـ "نحنــــــــــــــــــــــــــــــــــسأقيس السنوات التي تفصلني عن نهايتيسأبحث عن أمثلة لأناس في مثل سني والذين قد ماتواولقد عذبتني الفكرة أنني لن أملك وقتا كافيا لأنجر مهمتيــــــــــــــــــــــــــــــــــالإنسان يلعب دور الإنسان الفاني وبعد بضع أسابيع لا يعرف إن كان بإمكانه الإستمرار إلى اليوم التاليــــــــــــــــــــــــــــــــــتعرف ما هو السحر؟أن تحصل على الجواب بنعم من دون أن تسأل أسئلة واضحة

  • Rowena
    2018-10-14 12:51

    "Treeless, glamourless, soulless, the town of Oran ends by seeming restful and, after a while, you go complacently to sleep there." The Plague is set in Oran, a city in Algeria that experiences a breakout of the Bubonic plague, and is soon placed under quarantine. We witness the changes among this community as they are cut off from the outside world; they experience all manners of emotions from hysteria, despondency, avarice, uncertainty,self-reflection and fear. The Plague is definitely a depressing book, it couldn't be otherwise with the subject matter discussed. I am ,in general, a squeamish person so some of the plague descriptions were hard to take, but I have to say, they made me even more impressed by Camus' writing style. I liked the structure of the book. The story was told by an anonymous narrator, who promised to reveal himself at the end of the book. I think the fact that he used another plague-witness' diary in this story definitely added richness to the narrative. One of the most exciting parts in the book for me was when the narrator mentioned the court case from "The Stranger" in passing :DSo, once again, I am very impressed by Camus. Definitely not an easy read but a rewarding one.

  • Luís C.
    2018-09-27 12:51

    April 194.., The Plague settles in Algeria in the city of Oran, everyday mortal cases multiply. Yet the prefecture is slow to make the declaration of "the state of the plague" because it does not want to worry public opinion. But after a few weeks, in the face of the emergency, the prefect ordered the city gates to be closed.Oran is isolated, separated and cut off from the rest of the world, the inhabitants become "prisoners of The Plague", the city resembles a condemned to death. The epidemic progresses... The Plague strikes everywhere and keeps the city folded underneath it. It becomes a "collective affair" and even those who do not carry "that sickness" sickness carries it in their heart.The Plague opens the eyes of the inhabitants and forces them to think and react. Each individual chooses his camp and adopts an attitude peculiar to himself. Albert Camus illustrates his narrative with key figures such as Rieux the doctor, Cottard the trafficker, Grand the clerk of the town hall, Paneloux the priest, Tarrou the chronicler, Rambert the journalist etc. Each of these protagonists incarnates a different morality facing the Scourge and even if these men disagree on different levels, they turn out to be "men of good will" who act to defeat the plague together.Camus makes a comparison (without citing it) of The Plague with war and the rise of Nazism, and the struggle of men against the scourge represents resistance. Men occupy a prominent place in his book, as if the plague only concerned men. Therefore, it can be deduced that conflicts are only a story of men! The woman has a second place, effaced, it appears from time to time as a sweetness, a comfort or even just a support for the man and not a thinking being.In his work, the author depicts a community that shares the same struggle, demonstrating that the effects of the scourge on man can change mindsets, feelings and a worldview. It shows, above all, We are all equal before death.A work of high quality, some passages are of a terrifying realism, the progression and the ravages of the plague are described in the smallest details. The scene of the agony of the child is one of the most painful passages, for we are helplessly witnessing his suffering and inevitably at his death.

  • Carol
    2018-10-10 12:53

    When rats.....large grotesque rats begin dying everywhere across the coastal town of Oran in Northern Africa, an uneasy, but unheeded feeling among the townspeople gradually becomes reality with questions turning to fear and subsequent fever causing widespread panic.As quarantines and sudden isolation from the outside world become a fact of life, our mild-mannered and selfless protagonist, Dr. Bernard Rieux maintains his cool despite exhaustion and the pestilence surrounding his long days.THE PLAGUE is a gripping and horrific tale of confronting death and survival filled with Camus' usual philosophical points of view resulting in an unforgettable read. 4+ Stars.

  • رؤیا (Roya)
    2018-10-04 14:45

    طاعون, شاهکاری که فقط به دست آلبر کامو میتوانست خلق شود. داستانی ساده با ساختاری پیچیده آنجا که از خط اول تا لحظه آخر انسانها محکوم به قبول واقعیت و قیام در برابر شر هستند. آنجا که فردیت از میان رفته و همبستگی و اتحاد لازمه ادامه حیات میشود. آنجا که پوچی و یکنواختی زندگی با اتفاقی غیر قابل کنترل از جای درآمده و عصبانیت و بی تفاوتی جای خود را به عصیان و همراهی میدهد. اران شهری بدون درخت و بدون زیبایی خاص و پشت به خلیج با زندگی یکنواخت و ساده و مردمانی بیخیال به ناگهان دچار بیماری طاعون شده و قبل از آنکه بداند خود را در خود زندانی میبیند. شهری که برای ماهها دروازه هایش به ناچار به خارج بسته شده و رفت و آمد آدمیان به درون و بیرون شهر ممنوع میشود و این درماندگی اجباری به همراه میکربی که هرلحظه بر تلفات خود می افزاید زندگی افراد شهر را تحت تاثیر قرار میدهد. شخصیت های اصلی داستان دکتر ریو و چند تن دیگر از همراهانش هستند که هرکدام بدون هیچ برتری در این جریان تاسف بار به بوته امتحان گذاشته شده و تمام زوایای انسانی اشان ناچار به عکس العمل میشود. در این بازی هیچ کسی در امان نیست و در این راه نجات یعنی همبستگی, همراهی و جمع گرایی. طاعون نماد بدبختی و شرورتی است که سایه بر زندگی انسانها انداخته و تلاش در از میان بردنشان دارد. طاعون یعنی حکومتهای فاسد, ایدئولوژی های خانمان برانداز, سیستم های فاسد که با سیاستهای پنهانی و آشکار زندگی را به چرخه ای بی معنی و تکراری تبدیل کرده و انسان را به بردگی کشیده اند. کامو با تیزبینی راه حلی برتر بر سرراه ما قرار داده و از ما میخواهد که با تشخیص این شرورتها به زندگی معنا بخشیده و در مقابل بلایا بجنگیم و مقاومت کنیم. کامو با تشریح جز به جز داستان هولناک طاعون, از خواننده میخواهد که در برابر پوچی قد علم کرده و کنترل زندگی را در دستان خود بگیرد و از مرگ بالاتر رفته و اجازه ندهد در هیچ زمانی آزادیش به اسارت گرفته شود. در انجام این هدف فردیت از میان رفته و علائق و احساسات شخصی به کنار میرود و فرد به شکل جمع و در میان جمع آشکار میشود. جمعی که با همبستگی و اتحاد به بدترین بلایا و مصیبت ها فائق می آیند. آنچه که کامو سعی در اثباتش دارد امیدواری و تلاش همگانی است که انسان را برای پیشبرد زندگی هدایت کرده و در مسیری شایسته قرار میدهد و به خوشبختی میرساند. لازم می بینم خلاصه ای از مقدمه کامو را که در نامه ای به یکی از منتقدان کتابش با دلائل زیر آورده برای روشن شدن بهتر پیام کتاب بیاورم:اول – کوشیده ام که طاعون دارای چند بعد باشد. با وجود این یکی از مسائل آن مقاومت اروپا در برابر فاشیسم است.دوم – در مقایسه با رمان بیگانه, طاعون بی گفتگو گذاری است از سرکشی انفرادی به جهان اجتماعى که باید در مبارزه هایش شرکت کرد.سوم – مسئله جدایی, که شخصیت داستان از زندگی خصوصی چشم می پوشد تا خود را وقف مبارزه جمعی کندچهارم – وانگهی طاعون با اعلام و قبول مبارزه های آینده پایان می گیرد. کتاب شهادتنامه ای است بر "آنچه می بایست صورت پذیرد و آنچه بی گمان مردمان باید در آینده در مبارزه با وحشت و سلاح کند ناشدنی اش, به رغم جدائی های فردی شان, باز هم به انجام رسانند.کامو فیلسوفی با اندیشه ای برتر برای نجات بشر از زندگی پوچ و یکنواخت انسانی نه تنها من خواننده را به تفکر بازداشته بلکه با تمام زوایای انسانی ام آشنايم کرده و به احترام خود از جای بلندم میکند."من به علم یقین میدانم که هرکسی طاعون را در درون خود دارد زیرا هیچکس در دنیا در برابر آن مصونیت ندارد. و انسان باید پیوسته مواظب خود باشد تا مبادا در یک لحظه حواس پرتی با تنفس به صورت دیگری, طاعون را به او منتقل کند. آنچه طبیعی است میکرب است. و باقی سلامت. کمال و پاکی نتیجه اراده است و اراده ای که هرگز نباید متوقف شود. مرد شریف یعنی آن که تقریبا هیچکس را آلوده نمی کند, کسی است که حواس پرتی او به کمترین حد ممکن است. و انسان برای این که هرگز حواسش پرت نباشد به اراده و توجه کامل احتیاج دارد."

  • Cheryl
    2018-10-16 14:37

    I read this book into the night, a stubborn reader determined to torture herself with the despondency that lurks throughout this novel. I tuned into the feeling that exudes a person's futile attempt to escape and I could feel the helplessness of the characters in each breath I inhaled, in the overwhelming elucidation of exile spread across each page. I was reminded a bit of Saramago's Death at Intervals, except that I preferred the flow of this one.Thus, in a middle course between these heights and depths, they drifted through life rather than lived, the prey of aimless days and sterile memories, like wandering shadows that could have acquired substance only by consenting to root themselves in the solid earth of their distress.One could take the The Plague as literal or figurative, it depends upon the reader. I took it as both. Either way, the simple message is that you lose when you're blind or ignorant, when you choose to ignore the signs of looming death, be it spiritual or physical. You lose when love is stifled and stoicism and cynicism take roots in peoples' hearts. You lose when people give up because the signs were there, right there, and the majority chose to ignore them until they found themselves affected. Yes, I'm one of those readers who see subtle messages in Camus's layered prose. Here I am again, swept away by the similarities this book shares with his other books I've read, and yet I'm still struck by the distinctiveness of this read and how it stands apart from The First Man, even if it embodies some of the darkness of The Stranger. During brief spurts, there is poetry - thus each of us had to be content to live only for the day, alone, under the vast indifference of the sky -but mostly, the prose is pointed, elegant, and just doggedly grim.Camus experienced conflict in life. He saw what happens when brothers and sisters turn on themselves, and quite frankly, a close read of this shows his constant references to war and exile. A plague sweeps across the French Algerian city of Oran and annihilates the people from the rest of the world. Although people see the signs, like the doctor who should have known, they don't want to believe it. The symbolism of dead rats permeate the narrative setup, still, people aren't alarmed as they should be until much later. By then it's too late because no one can leave and no one can enter. Some lose their loved ones, others give up on love. Mostly, people live for the present, not counting on the future because as in war and suffering, once caught in its grip, the grace of stoicism takes hold:Without memories, without hope, they lived for the moment only. Indeed, the here and now had come to mean everything to them. For there is no denying that the plague had gradually killed off in all of us the faculty not of love only but even of friendship. Naturally enough, since love asks something of the future, and nothing was left us but a series of present moments.Call it a novel of the plague. Call it a war novel. Call it a novel of death. Call it the novel of pain and suffering. Call it Camus's cry for help during his country's dismal times.

  • Ahmad Sharabiani
    2018-10-02 11:43

    559. La Peste = The Plague, Albert CamusThe Plague (French: La Peste) is a novel by Albert Camus, published in 1947, that tells the story of a plague sweeping the French Algerian city of Oran. It asks a number of questions relating to the nature of destiny and the human condition. The characters in the book, ranging from doctors to vacationers to fugitives, all help to show the effects the plague has on a populace. The Plague is considered an existentialist classic despite Camus' objection to the label. The narrative tone is similar to Kafka's, especially in The Trial whose individual sentences potentially have multiple meanings, the material often pointedly resonating as stark allegory of phenomenal consciousness and the human condition.طاعون - آلبر کامو ؛ تاریخ نخستین خوانش: سال 1974 میلادیعنوان: طاعون؛ نویسنده: آلبر کامو؛ مترجم: علی صدوقی؛ تهران، خرد، 1340، در 140 ص؛ موضوع: داستانهای نویسندگان فرانسوی قرن 20 معنوان: طاعون؛ نویسنده: آلبر کامو؛ مترجم: رضا سیدحسینیی؛ تهران، نیل، 1345، در 300 ص؛ چاپ دوم 1348؛ چاپ سوم: تهران، بامداد، 1360، در 436 ص؛ چاپ دیگر: تهران، غزالی، 1370؛ چاپ دیگر: تهران، نیلوفر، 1375، در 341 ص، شابک: 9644481400؛ چاپ یازدهم 1388، شابک: 9789644481413؛ چاپ سیزدهم 1392؛عنوان: طاعون؛ نویسنده: آلبر کامو؛ مترجم: اقدس یغمائی؛ تهران، ؟، ؟، در 418 ص؛ چاپ دیگر: تهران، جامی، 1389، در 327 ص، شابک: 9789642575800؛ عنوان: طاعون؛ نویسنده: آلبر کامو؛ مترجم: عنایت الله شکیباپور؛ تهران، ؟، ؟، در 152 ص؛عنوان: طاعون؛ نویسنده: آلبر کامو؛ مترجم: پرویز شهدی؛ تهران، مجید، 1388، در 343 ص؛شابک: 978964531125؛ ؛ چاپ سوم 1393؛عنوان: طاعون؛ نویسنده: آلبر کامو؛ مترجم: حسین دهخدا؛ تهران، روزگار، 1389، در 216 ص؛شابک: 9789643742775؛ عنوان: طاعون؛ نویسنده: آلبر کامو؛ مترجم: حسین کاظمی یزدی؛ تهران، نیکا، 1393، در 287 ص؛شابک: 9786005906998؛رمان در شهری از الجزایر به نام: اُران یا وهران رخ می‌دهد؛ و از زبان راوی که بعدها خود را دکتر ریو معرفی می‌کند نقل می‌شود. کتاب با توضیحی از مردمان و تصویر شهر آغاز می‌شود و سپس به افزایش تعداد موش‌ها در شهر و مرگ آن‌ها اشاره می‌کند. آقای میشل، سرایدار منزل دکتر ریو بر اثر بیماری‌ ای با بروز تاول‌ها و خیارک‌ها می‌میرد و مرگ چند نفر دیگر با همین علائم باعث می‌شود دکتر ریو علت مرگ را بیماری احتمالاً مسری بداند و کمی بعد دکتر کاستل این بیماری را طاعون تشخیص می‌دهد. با سستی مسئولین برای واکنش، پس از مدتی با شیوع طاعون شهر قرنطینه اعلام می‌شود. ا. شربیانی

  • Mohammed-Makram
    2018-10-15 07:51

    01لقد فوجيء ريو -كما فوجيء مواطنونا - بهذا الوباء ، و علي هذا النحو ينبغي لنا أن نفسر تردده ، و علي هذا النحو أيضاً يجب أن نفهم أنه كان موزعاً بين القلق و اليقين ، فعندما تندلع نيران الحرب يقول الناس : إنها لن تطول ، لأن إستمرارها ينم عن أشد الغباء ، فالواقع أنه لاشيء أشد غباءً من الحرب ، و لكن هذا لا يمنع من أن يطول أمدها ، إذ الغباء من شأنه المثابرة ، و يمكن أن نلمس ذلك بوضوح إذا ما صرفنا النظر قليلاً عن حصر تفكيرنا في أنفسنا ، و إذن فقد كان مواطنونا في هذا الصدد كغيرهم من الناس ، كان تفكيرهم محصوراً في أنفسهم، و بعبارة أخري كانوا عريقين في الإنسانية ، أي لا يعتقدون في الأوبئة ، فالوباء أكبر من الإنسان ، و لذا يميل الناس إلي الإعتقاد بأنه ليس من أمور الواقع ، و بأن المسألة لا تتعدي حلماً مزعجا لا يلبث أن ينتهي ، و لكن الحلم لا ينقضي في كل الأحيان ، ثم تتتابع الأحلام المزعجة بعضها في إثر بعض ، حتي ينقض الناس أنفسهم فيها - و في مقدمتهم أصحاب الفلسفة الإنسانية - لأنهم لم يتخذوا للأمر حيطته ، فمواطنونا لم يكونوا أشد من غيرهم وزراً ، كل ما في الأمر أنهم نسوا أن يتواضعوا ، و أنهم ظنوا أن كل شيء لا يزال ممكناً بالنسبة لهم ، و معني هذا أن الأوبئة غير ممكنة الحدوث ، فاستمروا في عقد الصفقات ، و في إعداد الرحلات ، و في إعتناق الآراء . كيف يمكنهم إذن أن يفكروا في الطاعون الذي يقضي علي المستقبل و الأسفار و المناقشات ؟ كانوا يظنون أنفسهم أحراراً ، و لكن لا وجود للأحرار ما دام للأوبئة وجود02كان يعلم ما يجول في خاطر أمه، وأنها تحبه. لكنه كان يعلم أيضاً أن ليس بالأمر العظيم أن يحب الإنسان كائناً غيره، أو على الأقل أن الحب لا يبلغ قط درجة من القوة يجد معها تعبير عن ذاته. هكذا كان هو وأمه يتحابان في صمت. وستموت هي، أو قد يموت هو، دون أن يتمكنا خلال حياتهما تجاوز ذلك في البوح بما يحسه أحدهما من الحنان نحو الآخر. لقد عاش كذلك إلى جانب صديقه تارو الذي مات ذلك المساء، دون أن يُتاح لصداقتهما أن تعيش كما يجب. لقد خسر تارو المعركة، على حد تعبيره، ولكن ما تراه قد ربح هو؟ كان كل ما ربحه أنه عرف الطاعون، واحتفظ بذاكراه المريرة، وأنه عرف الصداقة، واحتفظ بذكراه، وعرف الحنان وسوف يضطر في يوم من الأيام إلى تذكره. كل ما يستطيع المرء ربحه في لعبتي الطاعون والحياة انما هو المعرفة، والذكرى. قد يكون ذلك ما عناه تارو بقوله "ربح المعركة".

  • David Schaafsma
    2018-09-21 12:32

    The Plague: Resistance and Activism for This or Any Time“I have no idea what's awaiting me, or what will happen when this all ends. For the moment I know this: there are sick people and they need curing.” --CamusI first read The Plague, the second in the trilogy with The Stranger, and The Fall, when I was eighteen. I had just read The Stranger. [Note, this is not that kind of trilogy; you can read each of them independently from each other; they don't have any intersecting characters.]. It was 1971, and I was committed, after years of anti-war fervor, and the civil rights and women’s and the slowth growth of the environmental movement, to Doing Good in the world, to be a healer and not—to the extent I was able—a killer, a hurter. So many of us in my small religious college made commitments to teaching, to social work, public health. The following quote was a kind of simple banner for me, a flag for me to wave, if only in my own heart.“All I maintain is that on this earth there are pestilences and there are victims, and it's up to us, so far as possible, not to join forces with the pestilences.”—Tarrou, in CamusAnd this: “After a short silence the doctor raised himself a little in his chair and asked if Tarrou had an idea of the path to follow for attaining peace."Yes, he replied. "The path of sympathy.”--Camus So I read this in the context of late sixties and early seventies activism, of a hope for being a small part of changing the world. But Camus also wrote this in a context, published in 1948, written in the aftermath of WWII, the Holocaust, the bombing of Hiroshima and Nagasaki., a kind of plague that stunned the planet where you had to make decisions about what side you were on, and the choices were not always clear or easy. The plague is life, sure, but the plague is also ennui, malaise, passivity, silence in the face of horror, and as Camus makes clear, we have to resist, we have to act. Set in Oran, Algeria, this novel chronicles a fictional plague that hits the town of 200k; they seal its borders, and everyone has to figure out how to respond to it. It’s like Kubler-Ross’s Five stages of grief; there is denial, escapism, rage, terror, grief, despair, all of it. And several characters in the tale reveal different attitudes to the dying around them: selfishness, the need to retreat into individual love, and so on, but there are some like Rieux and Tarrou who manage to commit to Doing Good in the face of death. The Plague in this book is both figurative and literal:“But what does it mean, the plague? It's life, that's all.” –Tarrou in Camus But in the early going of this reading, I was a little annoyed at the Existentialist tract tone, the This-Is-An-Allegory-On-How-One-Must-Live:“Thus each of us had to be content to live only for the day, alone under the vast indifference of the sky.”--Camus I reminded myself that the writer was an Existential philosopher who was also writing novels and I worried he might be succumbing to abstraction. I compared it to The Brothers Karamazov which Fyodor Dostoevsky identified as a “cultural forum” on different perspectives on life and the search for meaning. But the range of perspectives I saw emerge as well in The Plague in an inspiring and even thrilling away, through and within and against the inevitable march to widespread death. We come to care about the individuals in Rieux's world: His mother, Tarrou, Dr. Cattrel, Cottard, Rambert.I was also reminded as I read of Cormac McCarthy’s dystopian novel, The Road where, facing the probable end of civilization, a father remains true to his commitment to his son and to principles of right and goodness. The Plague is also a dystopian novel where ethical questions about how one acts in the worst of times are crucial. And it’s not easy to be vigilant and committed to Doing Good in the face of greed and terrorism and devastation of various kinds:“But what are a hundred million deaths? When one has served in a war, one hardly knows what a dead man is, after a while. And since a dead man has no substance unless one has actually seen him dead, a hundred million corpses broadcast through history are no more than a puff of smoke in the imagination.” --CamusBut Rieux keeps doing his work with the dying, working to find a cure, not a hero, not a saint, just one man holding that proverbial candle in the wind, rolling that boulder up the hill only to expect it to come down again:“The language he used was that of a man who was sick and tired of the world he lived in—though he had much liking for his fellow men—and had resolved, for his part, to have no truck with injustice and compromises with the truth.”--CamusAnd this inspiring paragraph: “And it was in the midst of shouts rolling against the terrace wall in massive waves that waxed in volume and duration, while cataracts of colored fire fell thicker through the darkness, that Dr. Rieux resolved to compile this chronicle, so that he should not be one of those who hold their peace but should bear witness in favor of those plague-stricken people; so that some memorial of the injustice and outrage done them might endure; and to state quite simply what we learn in time of pestilence: that there are more things to admire in men than to despise.”—CamusAs in The Road, the message is clear:“A loveless world is a dead world.”—CamusSo I also read this book in the context of 2017 with all its turmoil and dangers. A plague year. So I'm glad I read it, reinspired (for the moment; it might fade!) to face the worst, to act in love when I can manage, to resist passivity and bitterness and silence, to be part of the commitment to healing movements, with others, to the very end. I’m no saint, that’s obvious, but I’ll do what I can. . . Ah, what the hell, let's forget about all that, and have a drink! Eat, drink and be merry. . .

  • Agnieszka
    2018-09-25 08:37

    But, you know, I feel more fellowship with the defeated than with saints. Heroism and sanctity don't really appeal to me, I imagine. What interests me is being a man.InThe plague Camus creates a metaphorical image of the world wrestling with evil, whose symbol is the title plague, devastating Oran in 194 .. year ; author deliberately does not specify the exact year, presented events may have occurred in every time. It could be war. Or earthquake. Or serious illness. Or famine. It could be somehing we’re grateful that hadn’t happened to us. It could be anything. It was the plague, then.Camus shows people struggling against evil outside but also with themselves, their own frailties and fears, with lack of empathy and simple human decency. One of the main characters Dr. Rieux , in view of his profession, but mostly because of his approach to life, along with Tarrou are very quickly trying to organize life in the plague -ridden city. Looking at these two, associations with French Resistance movement, suggests itself. Disagreement on the evil and passivity is their motto. Plague made from inhabitants of Oran prisoners and from that point novel reads like a report from the besieged city.What would you do in their place ? Try to escape, as the journalist Rambert, because there’s so little you really can, and somewhere, in another city there is a love waiting for you, or as father Paneloux , entrust everything to God, acknowledging that man must suffer and there is a deeper sense in it or , not succumbing to the general hopelessness and ugliness, try to save for themselves something beautiful, like Joseph Grand refining on and on sentence aboutyoung horsewoman riding a handsome sorrel mare along the flowery avenues of the Bois de Boulogne? How many characters so many attitudes and behaviors. From the nobility, selfless help and everyday heroism to meanness and indifference. We know ourselves only to the extent we have been tested for. Indeed .Plaguewas hailed as the manifesto of a new humanism, showing the new challenges facing people who survived the hell of war. The novel explores humans behaviour at crucial moment, tells , without pathos and big words, about simple human solidarity and morality. All the characters of the novel are shown from the perspective of their response to the plague. In this way Camus showed different reactions on the plague, and looking more generally - for every evil that comes to man from the outside.Plagueis a novel - monument, in which sound all harassing existentialists questions and problems. Is a man inherently evil and only lack of opportunities to do evil makes him a good man, is he doomed forever to fighting with evil, does his life has a deeper meaning, what does it mean to be a man, can one be a saint without God, does suffering and death is able to redeem anything, any unspecified sins ?Many people died but the town survived, love probably endured the time of separation, but the human is no longer the same. Deprived of his illusory sense of security, enriched with new knowledge that evil can always go back, but there are more things to admire in men then to despise .

  • Shovelmonkey1
    2018-10-05 08:31

    Life is brief... Camus knew this and had the fact proved first hand when he was smooshed in a car accident at the relatively young age of 46. Death is coming people and nothing can stop it. But the question is, do you ignore this fact and live in a kind of blissful fluffy world where it seems nothing can go wrong? Or do you pre-emptively stick your head between your legs and kiss your ass goodbye? Some have argued that Camus should have stuck to journalism, being a politically aware bad-ass and philosophising in short essays, rather than writing fiction. Personally I am appreciative of his multi-faceted output. After all, what is life without a bit of a variety? Presumably variety is essential as a philosopher. It probably helps alleviate any innate tendancies toward navel gazing for a start.By introducing the plague (first bubonic then pneumonia flavoured) into the sleepy colonial town of Oran, people are force to address death head on. Humans are generally unwilling to do this because the leering and bony face of death is one we like to avoid mostly (sorry Death, if you're reading this). Watching a society being forced to address its own mortality is an interesting social experiment as it encourages to the surface a number of defining characteristics. Some people immediately barricade themselves indoors fearing the worst. Others try to make a run for it ASAP and don't give a monkeys about those they are leaving behind (or the fact that they might be carriers themselves). A further group give in to gay abandon and enjoy a work free, potentially consequence free environment by embracing that fact that life is short so it may as well end with a party. Some continue to work, hoping they can rely on routine to trick them into believing that it will all be ok. Many die, some survive and by the time its nearly all over the plague has abated and the survivors are already forgetting that they were ever so close to death. Is the fact that humans can be stupid and have short memories a new and enlightening idea? Nope.Bottom line is that whichever philosophical group you fall into (you can choose between realism, rationalism, nihilism, existentialism, pragmatism and idealism to name but a few) you cannot escape the fact that death always has the final word. If anyone knows what that word is likely to be then please let me know.

  • Hadrian
    2018-10-20 11:29

    Reread.

  • Will M.
    2018-10-17 13:50

    *The second paragraph contains spoilers, I'd steer clear of it if you haven't read the novel*The Plague is a depressing novel about the bubonic plague. Well, that's the main gist of it, but it's mostly about how the people dealt with such unexpected horror. At first I was painfully stricken at how lifeless and boring the characters are, but the last chapter changed my perception of the novel. They are lifeless because the narrator is speaking based on his observations. He can't account for what the others are feeling, so he can only describe what he can see. He himself is part of this plague-driven city, so he tries to express how the others felt by expressing his own grief and sadness. I honestly hate novels that are not character driven, and honestly this novel should be no different, but the plot made up for it. It's thought provoking and full of allegories, symbolisms, and speculations. It's funny how the people who got quarantined chose to live their lives the dullest way that they could possibly do. They are merely surviving, and not living their lives. The worst way to live your life is to live it without knowing your true purpose and happiness. I know the plague was a devastating and life changing event, but it's how you learn to live with the consequences that counts. You can't dwell on the negatives and expect things to get better. Without the motivation to find a cure, the mere seclusion of the people would not have sufficed. Sooner or later there would be cases outside of the quarantined area, and without people trying to find a cure, it would mean total eradication. The Plague teaches you that in every devastating situation, there will always be a way out of it. The last paragraph of the book completely makes my opinion invalid, but only if you are to take in the literal sense. The author states that the Bacillus (etiological agent of the bubonic plague), hasn't been completely eradicated and would surface again in the future. He implies that past mistakes shouldn't be repeated. People now know how to stop the sickness from progressing, so what happened in the past shouldn't happen again in the future. Ignorance is one way to get yourself killed, and only you can fix that problem.I've read numerous reviews tackling on different ideas that this novel tries to portray, and I agree with most of them. I'm a bit of a beginner when it comes to classics and speculative fiction, but I'm vastly interested to explore more of the genre. My idea/s might be incorrect, I understand that, but hopefully no one would try to belittle me in the comments section. Let's try to discuss ideas like adults in the comments section. It's always fun to educate other people, but in the right manner. Don't be an ignorant asshole who thinks that all his ideas are correct and cannot be changed.This novel is only a few pages more than 300, but it took me 12 days to finish this. It's dense and doesn't really have a fast pace to it. Don't get me wrong though, I enjoyed this novel a lot despite some dull parts here and there. I'm just busy with life, and haven't really set my priorities straight, thus resulting to slower reading. 4/5 stars. One of the most thought provoking novels I've read. I've yet to analyze much more about the plot, but it's 4 am and I'm feeling a bit sleepy. It's fun to talk about and analyze classics because they have substance. It's not just a novel to entertain, but it's also to educate and inspire. I can't wait to read more of Camus' works. Such a great author discovered, and I highly recommend this novel.

  • Ted
    2018-10-08 14:33

    "It comes to this," Tarrou said almost casually; "What interests me is learning how to become a saint." "But you don't believe in God." "Exactly! Can one be a saint without God? - that's the problem, in fact the only problem, I'm up against today"The Plague marks a significant change in Camus' view of ethics, and life itself, from The Stranger. Probably his best novel.In The Thought and Art of Albert Camus, Thomas Hanna writesThe plague is evil and sin is giving in to this evil. Tarrou, in speaking for Camus, is speaking of sin, but it is sin without God... evil is of this world, man is of this world, and sin is against a value which is of this world. God in no way figures in the problem.I've read it at least twice. Surely will again.. . . . . . . . . . . . . . . . . . . .Previous review: The Ecotechnic FutureRandom review: 2015 on GoodreadsNext review: The Copernican RevolutionPrevious library review: The FallNext library review: The Stranger

  • peiman-mir5 rezakhani
    2018-10-02 06:58

    دوستانِ گرانقدر، داستانی عالی و خواندنی بود... داستانی که بازهم از بیخردی موجوداتِ مذهبی سخن میگوید... نکته قابل توجه در این داستان این بود که «پدر پانلو» کشیش نادان و بی خرد به مانند دیگر مبلغان بیخردِ مذهبی، که همه چیز را به خدا ارتباط میدهند، "طاعون" را عذابی از جانب خدا قلمداد کرده و درمانش را نیز به دست خدا انجام پذیر میداند، غافل از آنکه خدا و ناجی، همان «ژان تارو» بود که بیچاره هم ناجی مردم بود و هم قربانی بوداگر من جایِ <آلبر کامو> بودم، سرنوشت آن کشیش احمق را جوری در داستان رقم میزدم که موش ها جنازۀ گند کرده و طاعون زدۀ او را میجویدند.. و تنها صلیبِ گاز زده اش باقی میماند و موش هایی که در آب مقدسِ کلیسا آب تنی میکردند و خود را به تمسخر غسل تعمید میدادندامیدوارم از خواندنِ این داستانِ زیبا، لذت ببرید<پیروز باشید و ایرانی>

  • صان
    2018-09-26 08:31

    یککتابی بود که خیلی خوردخورد خوندمش، و شاید اگه کمی پیوسته‌تر می‌خوندمش خیلی بهتر می‌شد.دوست‌ش داشتم! خیلی درباره جدائی انسان‌ها صحبت کرده بود، درباره رنجی که آدما می‌کشن از جدایی و دوری. درباره شهری که گرفتار طاعون شده و کسی اجازه خروج یا ورود به شهر رو نداره. درباره عقایدی که ادما توی همچین دوره ای می‌تونن داشته باشن. درباره کسایی که یا از مرگ می‌ترسن یا باهاش مبارزه می‌کنن. درباره کسایی که در مواجهه با مرگ تازه یادشون میاد که زندگی یعنی چی و باید چطور زندگی کرد. کسایی که خیلی چیزارو فراموش کرده بودن و مرگ و طاعون بهشون تلنگر زده. درباره ادمایی که همه طاعون‌زده هستن و زندگی رو بلد نیستن. درباره عشق و دوری. درباره تمام چیزها! و کامو نظریاتشو قشنگ لابلای کتاب و شخصیت‌هاش اورده بود و تمام صحبت‌های فلسفی رو در قالب یک رمان مطرح کرده بود. جاهای زیادی از متن هست که آدم دوست داره زیرش خط بکشه، که وقتی چند ماه یا سال دیگه اونو ورق می‌زنه چشمش به اونا بیفته. و کتابی هست که باید درباره‌ش خوند. ببینی از اتفاقات این کتاب چطور برداشت می‌کنن و قطعن اون موقع چیزای خیلی بیشتری دست‌گیرِ آدم می‌شه.دوجالب بود که یک‌جایی از کتاب، به اتفاقی که توی رمان بیگانه رخ می‌ده ارجاع داده می‌شه. یک‌جور شیطنت خاص! البته نمی‌دونم که این کتاب زودتر نوشته شده یا اون کتاب، که ببینیم <<بیگانه>> ایده‌ش ازینجا گرفته شده یا کامو توی طاعون این بازی رو انجام داده.سه<< درواقع، چه‌کسی می‌توانست ادعا کند که ابدی بودن یک شادی می‌تواند یک لحظه رنج بشری را جبران کند؟ >>

  • Lizzy
    2018-09-21 08:29

    Albert Camus's The Plague is simply brilliant! Read a long time ago, I hope to revisit it one day... 5 stars. Highly recommended!

  • Jeremy
    2018-10-12 08:41

    1913–2013 A hundred years of Albert Camus, a writer. …and to state quite simply what we learn in a time of pestilence: that there are more things to admire in men than to despise.Yes, Nazism influenced the writing of this story, Camus was living through it and resisting it, in his way; but it is not about it. This novel, published after The Myth of Sisyphus and written during the sometimes hostile response to the book, begins what became to be known as Camus’ ‘Cycle of Revolt’ (along with The Rebel and the plays L'état de siege and Les justes) It is of interest to note that one of the regular complaints regarding Camus’ series of essays (notice, I do not say ‘Book of Philosophy’, which he never did…) of The Myth of Sisyphus—by both Camus’ contemporaries and thinkers today—is that it is ‘too abstract’ to be taken as a serious philosophical tract. The journalist, Rambert, echoes them when he says to Doctor Rieux:”You’re using the language of reason, not of the heart; you live in a world of … of abstractions.”To which he later muses to himself:Yes, an element of abstraction, of a divorce from reality, entered into such calamities. Still, when abstraction sets to killing you, you’ve got to get busy with it.In this story, a city in North Africa, Oran, where Camus had lived for short amounts of time, becomes quarantined due to an outbreak of bubonic and, later, pneumonic, plague. Lots of people are dying and everybody has to deal with it, in their way. We follow the responses most closely of a Doctor (Rieux), a journalist (Rambert), a writer (Grand), an intellectual … for want of a better word (Tarrou), a priest (Paneloux) and a criminal (Cottard). Also of note is ‘the asthma patient’ that Rieux treats at key points in the narrative (in particular, right at the starts of the plague and right at the end. Why? Because his lung condition is mirroring Camus’ own (tuberculosis)—he required frequent treatments from Doctors, like Rieux—and it’s important to note that Camus’ often considered himself on the verge of death due to his condition, mirroring the psychology of those living with the plague: to live with the knowledge of the threat of imminent and unavoidable death. ‘They’re coming out, they’re coming out..’ He says gleefully. And later, at the end, he poses an important rhetorical question that’s been foreshadowed throughout the story: ”But what does that mean—‘plague’? Just life, no more than that. And Tarrou, much later:”…I had plague already, long before I came to this town.”No, not Nazis, but life; but more specifically, life being brought into sharp focus, creating an awareness of it through an understanding that it ends. Being forced into exile by the plague, or not, the absurd conditions of life remain unaltered. It’s the awareness of the conditions that shifts through plague-caused exile: to be separated from the rest of the world, from love, from culture, etc; for it to be a part of your consciousness, and the consciousness of all the exiles around you, this is the plague. What does this do the people? It drives out Hope. It makes them live only in the past (through memories) and the present (through knowledge). The future no longer exists. Your illusions regarding your existence have flown. You have no peace.This is the Plague. The awareness of the absurd.The only option is revolt; even in the face of the unchangeable.And through this it’s possible, maybe not to be a saint, but to be a man.…it was only right that those whose desires are limited to man, and his humble yet formidable love, should enter, if only now and again, into their reward.How these characters come to terms with the plague and, thus, the Plague, forms the bulk of the story; and how they all, in different ways, follow Rieux’s lead and accept revolt, forms its chief intellectual interest. Without wanting to give away serious plot points, think about this when one of them contracts both varieties of plague—bubonic and pneumonic—the person ever to do so…[image error]Don’t get me wrong: this is also an aesthetic achievement of the highest order, even in translation: the scene with the dying boy reaches the aching terrible narrative beauty of one of Camus’ greatest literary heroes, Dostoevsky. But, indulge me in discussing some of these characters and how they played out in a kind of general sense, if you will…[image error]Tarrou and Rieux have the most special relationship: the moment of ‘respite’ they share swimming alone at night in the forbidden sea is memorable to both of them, and to the reader. Just before hand, in conversation with Rieux, Tarrou comes to his main point about his life:”It comes to this,” Tarrou said almost casually, “what interests me is learning how to become a saint.””But you don’t believe in God.””Exactly. Can one be a Saint without God?”A little later on, Rieux finally responds:”But, you know, I feel more fellowship with the defeated than the saints. Heroism and sanctity don’t really appeal to me, I imagine. What interests me is—being a man.””Yes, we’re both after the same thing, but I’m less ambitious."Seeking sainthood is its own variety of retreat from the plague, not revolt. It’s full acknowledgement that the plague is greater-than. While Tarrou obsesses over existential issues, and broad morality, in his efforts to not transmit the plague to others, he can’t help but do so anyway. Paneloux, the priest, and Rieux clash on the other side of the plague. When Paneloux is introduced into the story, it is early days in the plague: people are seeking the solace of the Church, and he delivers his First Sermon, which is your typical ‘this is God’s vengeance upon his misbehaving creation’ kind of fare. Rieux is unimpressed. However, he asks Paneloux to become involved in the Santization Groups and he accepts, throwing himself into the actions of the revolt against the plague. After the death of the boy scene, there is a shift in his beliefs, and his Second Sermon follows that event. For those who have read The Brothers Karamazov...(if you have not, what are you doing reading this rubbish review? Stop it and go out and read this book instead… No, wait, there’s time, as long as you don’t have plague: finish my review first…) ...this sermon could be read as how Aloysha should have responded to Ivan Karamazov when the death of innocents was put toward him as a reason to revolt against God (Book V, Ch. IV). Rieux summarises Ivan’s position nicely:”And until my dying day I shall refuse to love a scheme of things in which children are put to torture.”Instead of Aloysha’s quiet wishy-washy acceptance (coupled with his refusing to face the outcome of this acceptance) … a little like modern Western Christianity generally … Paneloux responds:”Believe everything so as not to be forced to deny everything.””…they must acquire and practice the greatest of all virtues: that of the All or Nothing.”He’s not saying that you’re either for God or against Him, but that you’re either with God or without Him. It’s no good being with Him when without plague, and without when you are. Because then you are without him anyway. Rambert is the lover who wants to run from the plague. But comes to his own absurd realization.Cottard finds the plague-stricken world better than the normal world.Grand, the writer, revolts with the rest of them, but his life remains disturbingly unaffected. He obsesses over his opening sentence, which he’s been working on for years, mirroring Camus’ obsession with his book, which took him longer to write than any other. When Rieux gets a look at the full manuscript Grand is working on he notices that:The bulk of the writing consisted of the same sentence written again and again with small variants. In the end, even during the victory celebrations, the plague’s there, laying dormant, never really gone, waiting, even on ‘the bookshelves.’Read this book. Get the plague.

  • Anastasia
    2018-10-02 10:35

    Για να πω την αλήθεια, οι κριτικές που διάβασα πριν αρχίσω την ανάγνωση βοήθησαν πολύ στον εντοπισμό των συμβολισμών και την αποκρυπτογράφηση της γραφής του Καμύ. Το πιο πιθανό είναι ότι δεν θα έκανα τόσο άμεσα και καθαρά τη σύνδεση πανούκλας-πολέμου/φασισμού όπως συχνά υποστηρίζεται. Αλλά αυτό δεν καθίσταται ικανό να υποβαθμίσει την ποιότητα ή να μειώσει τη σημασία αυτού του βιβλίου. Η Πανούκλα προσφέρεται για πολλές μεταφράσεις ανάλογα με τη ματιά του εκάστοτε αναγνώστη. Μπορεί να αντιπροσωπεύσει το κακό, τη δυστυχία, τη συμφορά...ό,τι μορφή και να πάρει όμως θίγει πολλαπλά διαχρονικά ζητήματα. Είμαστε όλοι ίσοι μπροστά στο κακό; Μέσα από τον γεμάτο συμβολισμούς και νοήματα ρυθμικό λόγο του Καμύ διεγείρονται ερωτήματα και σκέψεις σχετικά με τη ζωή και το θάνατο, την ισότητα, την ψυχική δύναμη, το πείσμα, τη θέληση για ζωή, τον έρωτα, το χωρισμό, την ευτυχία και τον πόνο. Γιατί η Πανούκλα δεν κάνει διακρίσεις...δεν πλήττει μόνο όσους φαινομενικά έχουν νοσήσει, αλλά εξαπλώνεται και στις ψυχές αυτών που φαίνονται υγιείς, τρυπώνει από τις χαραμάδες σε κάθε σπίτι, διαποτίζει τους τοίχους και τα σοκάκια και συντροφεύει το δροσερό βραδινό αεράκι στο πέρασμα του μέσα από την πόλη...εγκλωβίζοντας όλους τους κατοίκους της σε ένα ατελείωτο παρόν. "Ξαναβρισκόμαστε έτσι στη θέση των φυλακισμένων, καταφεύγαμε στο παρελθόν, κι αν κάποιοι από μας έμπαιναν στον πειρασμό να ζήσουν στο μέλλον, δεν αργούσαν να προσγειωθούν απότομα, κουβαλώντας όλες τις πληγές που σε φορτώνει η φαντασία όταν την εμπιστεύεσαι."ΥΓ: Το ιδανικό βιβλίο για να ολοκληρωθεί και το challenge για το 2016!