Analysis of the novel A. Kama - "Plague"

3. Symbolic image of plague in the novel

philosophical novel Camo Chuma

Simultaneously with the beginning of work on the second version of the work (January 1943), there is a deep rethinking of the very image of the plague. If at first he had a vague features of an inexplicable disaster, joking in the consciousness of the writer with the coming war, then now the novelist seeks to imagine evil in it, that is, some kind of existing world order. At the same time, the anti-Christian focus of his thoughts predetermined all the sharpness of the eternal problem of the theodice, "how to reconcile the existence of evil with goodness, wisdom, the omnipotence and justice of God, which turned out to be in the center of the ideological conflict of the novel.

The thunderstorm of the ancient and medieval cities, the plague in the XX century seems to be outside. Meanwhile, the chronicle dated quite accurately - 194 ... year. The date is immediately alarming: then the word "plague" was on the lips of all - "brown plague". A little further, the obscured bye, the note, as well as the war, always forced people by surprise, strengthens the flashed guess. Plague - already fixed by the daily wording of the metaphor. Why, however, did you need to resort instead of historical to the hints of allegorical parables? Working on the "Chuma", he recorded in the diary: "With the help of the plague I want to convey the situation of the suffocation, from which we suffered, the atmosphere of danger and exile, in which we lived then. At the same time, I want to extend this interpretation to the existence in general. " A catastrophe, shocking France, in the eyes of a catalyst was a catalyst, grinding and splashing out the world evil, from a century wandering in history, and indeed in human life.

The word "plague" is becoming numerous and it turns out to be extremely capacious. Plague not only the disease, evil element, Beach and not only the war. It is also the cruelty of court sentences, the shooting of the defeated, the fanaticism of the church and the fanaticism of political sects, the death of an innocent child, society, arranged from the hands of Won, as well as attempts with weapons in their hands rebuild him again. It is familiar, naturally, like breathing, - "After all," now we are all silent. " Chuma-misfortunes until time sleeping in the lull, sometimes it gives outbreaks, but never disappears at all.

The chronicle of several months of the Orange epidemic, when half of the population, "fell in the Garloh of the Gorro-Ingient Furnace, flew into the air with a fatty sticky smoke, while the other, chained in the chains of powerlessness and fear, waited for his turn," implies the hi-goer of the Nazis in France. But the meeting of compatriots of Camus with invaders, as well as the meeting of Oranters, with a placed monster sprayed in the microbes, according to the logic of the book, this is a difficult date of mankind with her destiny.

In rethinking the image of the plague, which turned into a gloomy metaphor of world evil, a remarkable role, and just at the beginning of work on new edition Roman, played biblical motifs. The first to record in the "notebooks" of Camus, relating directly to the second version of the "plague", consisted of a number of statements from the Bible - those places where it comes to gossiping by God on the disappointing of his malas of marine ulcers. Here is one of these places, expressively drawing the rage and anger of God, aimed at all sorts of abandoning the covenant of him: "And a vengeful sword will be visible for you; If you appreciate your cities, then send an ulcer on you, and you will be betrayed in the hands of the enemy. " The plague, therefore, it turns out in the consciousness of the Cami not only, and not even so much of the hands of some miserable brown caligules, the obsessed idea of \u200b\u200bself-helping domination, how much the inecilious beginning of being, the unshakable principle of any existence, the evil, without which good. But who is responsible for good and evil? In 1946, speaking in front of the monks of the Dominican monastery la Tour-Muburg, Kama said: "We all were in the face of evil. As for me, I, in truth, I feel like Augustus before the adoption of Christianity, who said: "I wanted where the evil comes from, and could not find out of these searches." Augustine's yield is known: good, man comes from God, a man, in the fall, who fell out of God, an Evil elected by his militant. "No one is kind," Augustine concludes. Camus translates the problem of evil into a different plane, the plane of the actual life position of a person, everyday facing with real evil. If God, with all his good, admits evil as a means of enlightenment and punishment of a person who guessed, how should a person behave? Should he obey me badly, should it fall on his knees with a humble submission, when evil threatens his existence, the existence of his loved ones?

In the "chum", the position of humility with evil peculiar, according to Cam, Christian world, is represented in the form of the father of the Father. Scientist Jesuit, who had gained fame of labor about Augustine (item is important!), I say at the end of the first month of the plague, a fervent sermon. The main thesis can be expressed in several words: "My brothers, we have suffered trouble, and you deserve it, brothers." Lowing verse from the outcome of the plague, one of the ten scary "Egyptian executions", the preacher adds: "That's when the Beach appeared for the first time in history, in order to fight the enemies of God, Pharaoh opposed the plans of the enemy, and the plague forced him to kneel. From the very beginning of the history of mankind, the Beach of God smoked cruel and blinders. We will think about it pretty and bow the knee. " The plague in the preaching of the panel is interpreted as the "crimp spear" of the Lord, an inexorable pointing point for salvation: the very beach that brutally raises people and pushes them into the kingdom of heaven. In the plague, it approves the panel, given the "Divine Beam and the eternal Nadezhda of Christian." It follows with a true force to love him, and "God will endure everything else"

Such, according to the ideas of Cami, the ideological position of Christianity, predetermined by the life position of a person, with the hope of giving God. As repeatedly indicated, the image of Christianity in his thoughts and writings of Christianity is shown. But for his categorical, hiding the sincere desire of the thinker to understand the mind of an inexplicable, no destructive thrust for denial is guessed, and an inexorable thirst for understanding, the effective need of spiritual dialogue. The argument with Christianity was not in the language of "exposure", but in the language of dialogue.

The world population of Christianity presented in the first preaching of the Father Panel, also met disgraceful estimates. So, J. Erme, the author of an interesting monograph on the relationships of the thought of Camus with Christianity, notes about this sermon that "only with great reservations a Christian will agree to recognize" in it the true "Gospel Word" in it. However, in a special theological study dedicated to the problem of evil in modern times, we meet a completely opposite opinion: "This preaching, whatever dispute it seems, is very believable in the lips of the priest of the 30s, when she was uttered" indeed, real story Europe of the end of the 30s - early 40s could well provide the sample examples of Christian Rubinization before the irrepressible onslaught of evil. According to R. Kiyo, the Cami told him that, working on the chapter about the preaching of the Ploun, he kept in the memory of "Some messages of the bishops and Cardinals of 1940, called in the spirit of the Vichy regime to the cooking repentance." The story, as we see, closely intertwined in the consciousness of the Camus with God: two unshakable absolute threatened to human and life. One - real destruction, the other - the requirement of humility. God and the story turned out to be in his thoughts by two inexhaustory, the case merging into a single destructive stream, the sources of evil: "There is the death of a child, meaning the divine arbitrariness, but there is a child's death, meaning the human arbitrariness. We are clamped between them. " A person remains or coming up with the arbitrariness - thus, in this way, an involvement of evil, or deny the arbitrariness, both the Divine and historical, actively resisting him and thereby claiming his innocence. Summy reiterates a person again: evil is not in man, and the person must and is designed to fight evil. Man due to his humanity is doomed to the riot.

Firmly linking the image of the plague in the image of an evil, the novelist during 1943-1944 carefully clarifies the poles of the main worldview of the work. "One of possible topics, "he records in January 1943," the struggle of medicine and religion ... ". At the end of the year, the writer even more aggravates the opposite of the rebellion and humility: "Medicine and religion: these are two crafts, and they seem to be reconciled with each other. But now, when everything is extremely clear, it becomes obvious that they are irreconcilable. " A little later, throwing the traits of the image of Dr. Rie, designed to express the world opposite, the opposite of the religious, the novelist with all certainty formulates deep meaning This opposition: "The doctor is the enemy of God: he is fighting with death ... His craft is to be the enemy of God."

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In Oren, the writer faces with bright images Nicely human existence. The first orange record of 1941 was the sketch of the "old-man-catpopling", throwing a piece of papers from the window of the second floor to attract cats: "Then he spits on them. When the spit falls into one of the cats, the old man laughs. "

In April 1941, the image of plagues appears in the "notebooks": "Plague, or an incident (novel)." Immediately for this record, a detailed plan of the work under the heading "Plague-deliverant" is going on, in which a number of leading images are planned, the scene moves of the Roman: "Happy city. People live everyone in their own way. Plague puts everyone to one board. And anyway, everyone die ... The philosopher writes there "anthology of minor actions." Leads, in this light, the diary of the plague. (The other diary is in the pathetic light. Teacher of Greek and Latin ...) ... Black Moi, who opted from an ulcer, kills faith in a young priest ... However, there is a master who does not part with his habits ... He dies, Looking into my plate, with a full parade ... one man sees on the face of his beloved traces of the plague ... He struggles with him. At the top of all the same won the body. His disgust drives. He grabs her hand ... drags ... by main street. He throws her into a wastewall ... Finally, takes the word the most insignificant character. "In some sense," he says, "this is Beach God" ".

As we said, this fragment refers to April 1941 - until the complete completion of the work on the novel remained more than five years. It should be noticed that in the basic structural moments the initial concept of the novel, even undergoing significant semantic and aesthetic changes, remained unchanged.

The "Anthology of minor actions" will enter the diaries of Jean Tarru, included by Dr. Bernarr Ree in his chronicle of the plague. The image of the teacher of Greek and Latin Stephen, the leading "pathetic diary" of disasters, will disappear, apparently because of the too personal character tormenting his experiences. His place will take the image of a rimber journalist who felt "outsiders" in a hurried city. The image of a young priest, losing the faith during the plague, will find a final embodiment in the form of the father of the Panel, a scientist Jesuit, who clarifies the Oranges in his sermons the meaning of the disasters sent on them ("Beach God"). Mr., who does not part with his habits, is the investigator of the outflow, whose unshakable primacy will be transformed, however, with the death of the Son. A crazy gusting of a man thrown into the walled ditch, covered by a detrimental disease, will be reflected in the image of Cottar, a man with a dark past, whom the plague freed from the persecution of the police: with the end of the epidemic, he will be accepted to shoot in innocent people.

In April, the basis of the first edition of the "plague", it is particularly interested in the obvious equivalence of the position and situations conceived by the writer. Trying to establish the continuity of the new novel with a novel about the absurdity, the Camus notes in "notebooks": "" Strying "describes the nudity of a man in the face of the absurd. "Plague" - the deep equality of points of view of individual people in the face of the same absurd. " Fight or do not fight with Chuma - such a question before the heroes of the novel does not get up. It is possible to give up the compilation of "anthology of minor actions", it is possible as Stefan, to rethink the "story" of Fukidid, while in thoughts with a distant beloved, you can finally betray all the norms of humanity, throw a hurried wife in a ditch. The absurd plague equalizes the inevitable death of everyone and everything. The equivalence of individual positions engaged in residents covered by the epidemic of the city, predetermined, in our opinion, not yet overcome the moral indifference of the philosophical concept of the absurdity, was emphasized in the initial editorial board of the "plague" by a schematic composition. As R. Kiyo notes, a specially engaged in comparison of the two editions of the work, in the first "Rieu note, Tarru's notebooks and the Stephen's diary simply books Tarru and the Stephen's diary simply opposed to each other and merged only the narrator, followed by the author easily."

The first edition of the novel was completed in January 1943. At the request of J. Polan, who got acquainted with the manuscript of Camus, an excerpt from her called "Navdasters of Plague" (one of the options for the first chapter of the second part of the novel) was transferred to the publication to the well-known publisher J. Leskure, conceived to revive the freedom-loving traditions "Nouvel Review Frances" in Conditions of occupation. The intelligentsia inserted into the opposition to the opposition tolerated plans to create a kind of "Anti-Nuell Revealed Frances." Collected by J. Leskür, the Solid Anthology "French Delo", published in the summer of 1943 in Switzerland, was one of the first serious evidence of the intellectual opposition of French writers. In the written Leskür, the preface was noted: "For the whole months it seemed that every voice of France was doomed to silence." However, many realized that a voice should be elevated, and this anthology continued J. Leskur, unites the Commonwealth of Writers, which arose "around freedom and man." In fact, the collection "French Welcome" collected under his cover writers the most different areas and beliefs: L. Aragon and P. Valerie, P. Elolar and R. Kepo, J.-P. Sartre and F. Moriac, P. Klodel and A. Kama. They were united by anxiety for the fate of France and faith in the need to revive the meal dignity.

The fragment "Nasters of the Plague" was devoted to the topic of separation, very consonant experiences of many French, according to the will of the invaders who found themselves from loved ones. It is important, according to Camus, that such an intimate feeling, like separation from his beloved, has become a universal experience. The plague in his work, as well as the continued war, united people in suffering. The finished version of the "plague" did not satisfy Camus. Did not satisfy, apparently, precisely the absurd equivalence of depicted life positions, obviously, not fit the ideas of Bunt strut in his consciousness. In the first edition of the novel, even in the title itself - "Plague - Liberator", nihilistic motifs of the absurd philosophy prevailed. This indicates one of the first literary sources "Plague", which, as many researchers believe, influenced the design creative design Champion. We are talking About the literary and aesthetic essay "Theater and Plague, which appeared in October 1934 on the pages of Nuvel Revery Frances. The author was Audonient Arto (1895-1948), the poet, actor, playwright and theoretics of the "Theater of cruelty", who dreamed of the surrealistic aspirations of the "I", crushed by generally accepted standards and obsessive automatis.

Arto, reflecting on the need to harmonize human actions and thoughts, assigns the theater special role In cleansing a person from all unnecessary. According to his ideas, culture has an impact on people with the original force, exalted power, promoting the return of the natural cruelty of a person. The theater is designed to revive the original nature of a person, returning his suppressed desires to him. "The impact of the theater," Arto wrote - as well as the impact of the plague, beneficial, because, forcing people to see themselves as they are in fact, the theater and the plague breaks up masks, open lies, lethargy, lowness, hypocrisy; The theater and the plague will shake the suffocable inertness of matter affecting the most obvious data of the senses, opening their hidden power, the theater and plague forcing them to take them towards the fate of the highest and heroic positions, which would never be without them. " For Arto, the plague is a truly liberator, because it helps to gain the desired freedom, it destroys the scope of morality, spreads the boundaries of the permitted, fonds the internal energy of the individual.

Camus, applied to drama, just in the early 1930s and constantly monitored by the publications "Nouvele Revised Fracsez" could not not know the aesthetic ideas of Arto. His play "Caligula", especially as the editorial office of 1938, is very close to the aesthetics of the "Theater of cruelty". Moreover, in the words of the emperor, who joined the trial of infinite freedom, is heard a direct roll call with the thoughts of Arto about the "educational" role of the plague: "My reign is still too happy. Neither the patient plague, nor inhuman religion, nor even the coup, in short, nothing that can keep you in the memory of descendants. So, in part, so I'm trying to compensate for the caution of fate ... In a word, I replaced the plague. " Plague, destructive and instructive disaster, becomes a gloomy hatching of Caligules, obsessed with the highest loss. Its absurd inevitability is for people of a kind of unconditional refutation of life into carelessness.

In the final edition of the "Plague", the "liberating" role of absurd disaster is almost not visible. Absolute permissiveness, as a possible consequence of the complete hopelessness of the captives of the plague, looming somewhere in the background, a formidable warning: "If the epidemic goes crawled, then the scope of morality is perhaps still spread. And we will see the Milan Saturnalia from the expansion graves. "

However, the main flaw of the first edition of the novel was not so much in the predominance of the motives of the absurd, as in the absence of the ideas of the rebellion against him. It is not by chance that it is already in one of the first sketches to the second version of the novel, a characteristic entry appears: "More social critics and rebellion. " In September 1943, the moral of the active resistance of the evil, which firmly strengthened in the consciousness of the writer, begins to dominate the notes to the novel: "Plague". All struggle - each on his own way. Cowardice - only in putting on the knees. " A person must not humble with evil - this conclusion becomes more and more obvious.

Roman "Plague" Albert Cami, along with his "outsiders" and "nausea" Jean-Field of Sartre, is one of the key works of existentialism. The flows that received such distribution in the middle of the 20th century.

And there is some reason: the second world WarAs a result, the sharp development of science and technology, the lostness of one single person. "Plague" describes the events of the plague year in the Algerian city of Oran. The story is conducted on behalf of Dr. Rie, who, together with companions, is fully fighting with an epidemic. Rie knows that even if the plague is retreating, then the trace that she will leave in people will continue forever, will be a kind of "inner chum."

Images of the novel "Plague"

First of all, the plague is, of course, allegory of fascismwho captured Europe and leaving after himself so sad consequences. But this level of understanding of the novel Cami is the most superficial. Here you need to dig deeper. To do this, consider the main philosophical positions of Albert Cami. So, for example, in the essay, the "man rebellious" the Camus says that man cut off from the world. The problem is not that the world is arranged incorrectly, or that a person is a mistake. The problem is that there are no points of contact between man and world. Here, Camus continues to the line of such outstanding writers The beginning of the 20th century, as Franz Kafka and Andrei Platonov. The man was originally thrown into the world without any meaning. The "Dead on vacation" - so the Cam himself defined the concept of "man." Thus, the plague is the initial gap between man and the world, to overcome which is not possible.

Everything that a person can do is to try to overcome this gap to overcome, giving himself a report that it is impossible. Exactly so Rie is struggling with a disease in a rough oran. Here we can not but remember figure Sisifa, ancient Greek mythological character convicted by the gods for eternal punishment. Sisif must boil a huge boulder on the top of the mountain, where this stone will have to roll down, after which the procedure is repeated. And so forever. Exactly from here in Russian, the concept of "work symps". But if in the household he has the status of negative, because it does not imply any explicit economic meaning, then for Alber Cami "Sisypses of Labor" is the only worthy occupation. Since everything else, expressing the term Pascal, only "entertainment".

Only by removing the shores of social, religious and ethical, and adopting this gaping crevice of being in all its inevitability, only then, according to Camus, a person and makes some attempts to be. Summer himself lived this way. At least he tried, for it is also difficult to do it, how hard the Sisifa push the boulder to the top of the mountain. Camus argued that only the awareness of mortality gives human life at least some meaning. And those of us who are confident in the immortality of their soul (or body) are not able to take each separate day, since they have such days in infinitely a lot. In this sense, Albert Camu was an optimist.

What is honesty? - ... asked Ramber,

To be honest - it means to do your job.

A. Kama "Plague"

Albert Cami - french writer, Nobel Prize laureate, philosopher, participant in resistance movement, in general, outstanding person. Cami like me interesting writer. The work of the "plague" on me impressed not as much as the text, but rather as the subtext. When you read the novel, you need to understand more than what is written, or ask the teacher's explanation, or first read the textbook or preface to the novel - and then read easier and clearer. It surprises a little. After all, L. Tolstoy or F. Dostoevsky, O. Balzak or Ch. Dickens, you just communicate with the author, with his heroes, even become a member of the events (so it seems anyway). To read the novel "Plague", you need to be prepared. It is necessary to be a little philosopher, a little analyst, a little historian ... It all starts with the first phrase: "Interesting events that the plot of this chronicle took place 194 ... years in Oren." Why the author does not indicate the last digit? What's the point of this? Intrigue for the reader so that he himself guessed, what kind of "plague" will we talk about?

Chaos ... solid chaos ... They say randomness does not happen. That's the word "chaos" "fell" at me not by chance. This is a hint! Indeed, if you approach the topic of the work from the very beginning, from the source, then there you can find the word "chaos". It underlies the worldview of the writer, and this perception of the world further affected its works. And views, like works of Cami, carry an imprint of existentialism. What did existentialists prove? They urged that the world is chaos, there is no regularity in it. Everything happens by chance. Man alone, he cannot understand the meaning of his life. The only thing that gives her the opportunity to understand the meaning of its own existence is some kind of critical situation. For example, a person falls into the limiting situation (located on the verge of something, sometimes on the verge of life and death), and then she makes his moral choice, proving himself that she is not an empty place in this world and it all depends on it. So, in front of us the novel "Plague". Limit situation: A terrible chum disease comes to the city of Oran (in figurative sense The author means fascism - look at the date! - In general, any disaster). The usual doctor Bernard Reee notices the danger - rats can dismiss the infection, people will begin to hurt. If you take action earlier, then for people the danger will be less. But those from whom the decision-making depends on something will wait. Maybe not to sow panic, and may not be distracted from today's cases - after all, the problem is not yet hot, maybe everything will pass so ... what to do? Doctors Rie Nobody makes anything to do - he may not be alarming, not to create sanitary teams ... But he does it. He can not otherwise. He in such a border situation begins to think more about himself, but about people, about the whole city. Yes, and journalist Rubber also turns out to be humane man. He accidentally fell under Quarantine, he wants to escape from this city to his native Paris. And first, he is trying to escape from the rough organ. It fails. Ramber is looking for an output. And here - please. It can escape in the car, which will take it invisible from the authority. But no! Ramber now feels responsible for the fate of unfortunate people. In a situation where it is necessary to decide, whose life is more important for him, he refuses to egoistic salvation. He stays in Oran and works for the benefit of people.

It seems to me, just as Cami went on the road to the gradual knowledge of the world, and his heroes are changing throughout the novel. So, a senseless world, it is impossible to overcome the plague (because she came to the city, just moved, and not a vaccine helped here, but it is not known that), but the person must fight. This must be at least in order to reduce the suffering of people, to show their human mercy to each other. And if every person honestly fulfill his work, then the world can become better, and then, perhaps, this world will not be "hostile and incomprehensible." Albert Cami through the metaphor, allegory showed evil in the novel, which always existed in the human environment. Always the lives of mankind accompanied wars, murders, always existed dishonesty, hypocrisy, meanness. Unfortunately, it did not disappear anywhere. Indeed, for years it can sleep somewhere in the stack of linen "Bacillus plague", and then breaks out and make troubles. Fascism has escaped - and "Zachumiv" around themselves, peoples and states. There was a war, there were a lot of deaths. But people opposed this evil. And finally, the evil was overcome and felt like people. Not attentive people, "And people of healthy and clean bodies" (quote from V. Whitman). The joy of victory over evil, over the disease, over powerlessness is the joy of real victory! For this it is worth living!

Nobel Prize winner in 1957 literature. Born in 1913 in Algeria. Exemption poor familyhe studied philosophy and with university Years began to write. Tested the influence of F. Nietzsche, F.M. Dostoevsky and A. Zhaid, later - A. Malro. He worked as a journalist, collaborated with anarchists, was fond of the theater. In 1960 he died in a car accident.

Main works:

"Strying", 1942

"Plague", 1947

"Fall", 1956

"Exile and Kingdom", 1957

As Albert Cammy thoughtfully reads the newspaper in this photo, the reader with the "Chuma" looks like. Each page is surprising, misunderstanding, delight and horror at the same time. In one second, you thirst for throwing Tomik into the wall, to another - gently pick it up and resume reading. This process slows down and accelerates in accordance with the pace of development of the described events. The novel leaves alone even in his free time. We think, analyze and carry on yourself without stopping, 24 hours a day. In a dream, running rats, a strange grandfather sprawling in cats, Dr. Ree and thousands of suffering inhabitants of a small town. I empovery so much that the forces do not remain on something "mentally different." The figurativeness and directness of meanings perfectly contrast, complementing each other.

The action takes place in the really existing Algerian city of Oran on the coast of the Mediterranean. The plague begins suddenly - the rats are massively murut in the city, forming huge heaps of bloody corpses on the outskirts and in the city center. For people, this situation is struggling, but only one person actually draws attention to her - Dr. Rie. He raises anxiety, stating that the plague came to the city. After the first ten of human deaths, any of the authorities remains doubt - it is really a plague. Slowly gaining momentum, the plague is floating the city, which is soon closed on quarantine. Dr. Ree and his friends-associates - Thinker Tarru, official Gran and Journalist Ramber - fighting with terrible disease. Through the painful and incredibly long year, the plague unexpectedly retreats.

Algerian Oran from among the cities where life stopped and does not foreshadow anything interesting, a kind of dead end of life. Therefore, the Wrenched Gorodishko suffers particularly much from the bites of the treasured plague, as with the invasion of real fascists in 1942. Then the city was indeed occupied, and the Cami could not not use allegory abandoned. Comparison of plague and fascism recalls the cruel concentration camps, where they sent all who are not suitable for the Aryan community - in the oran contacting with the "plague" patients, they were locked on quarantine in high buildings, fenced with a concrete fence with wire.

The plague is not a simple allegory to an existing phenomenon, but also a full-fledged character with its own character: a cruel, not knowing justice and mercy, purposeful and cold-blooded, - she pushes residents to actions that contradict them principles and stood; It brutally destroys everything that it was expensive. Plague separates relatives, lovers and friends, leaving them in complete ignorance: are their elects true? Are they alive yet? Will they wait there? Is there anywhere to come back?

The journalist Ramber found himself in such a situation not in his will: Arriving a briefly from Paris in anyone an unknown and God forgotten Oran for work, he stuck there for months. Of all the characters of the novel (in addition to the plague, of course), he most impressed me as a person who subjected to "Chumov" influences. Selfish, hypocritical and non-eminent needs of society, in which it turned out to be openly trying to run, resorting to the most diverse methods. He is not even thinking, whether he is sick with Chuma - it is necessary to go to his beloved, abandoned in the capital of France. With the development of plague, Rubber is slightly transformed by the awareness of the inevitability of its position, and the failures of escape only pour oil into the fire. This journalist became for me the personification of human nature, with its variability and the desire for self-defense from external influences.

Unlike him, Dr. Rie, implied main-Main Character Proverbs, stagnates and to some extent degrades. By the end of the novel, he seemed to me closed, voluntarily deprived of the joy of life and life in itself. Once who gains hope for salvation, he loses her and does not even notice it. Still, this very hope is the key element of one of the topics. Dr. Ree confronts the whole society: Initially, he tries to convince him of the coming of the plague, then in the existence of hope (in which it will lead to himself) and the real possibility of creating a vaccine. He, as mythical hero, with its strength and seven, the city saves the city from the disappearance from the face of the earth. Albert Camo, as it should be gently hinting that a person is a creature capable of collapsed by the world, turn everything from his legs to the head in full of loneliness, without any support. A positive idea for such an oppressive novel, is not it?

The source of strange positivism becomes the understanding and acceptance of human mortality. As long as a person believes that he is waiting for heaven or hell, reincarnation or other religious phenomena providing eternal life, He will not appreciate every day. He will not understand that the day went, not to return it - it means you need to spend all my time without regrets, to a complete coil. In the case of "plague" - try to survive, and if it does not leave, then try to make the remaining time as pleasant as possible. Like someone sometime cleverly ogre: Live as if your last day is today. At the plague, the bill goes in minutes.

Selected quotes:

Evidence has a monstrous force and will always eventually enthusiasm.

Everything is always difficult.

When the war begins, people usually say: "Well, it cannot last long, it's too stupid." And indeed, the war is really too stupid, which, however, does not prevent her long.

And indeed, who will argue that the century of paradise bliss can pay at least a moment of human suffering?

It is worth only to get habits, and the days will flow smoothly.

To lie too tiring.

There can not really divide someone else's mountain, which does not see his own eyes.

It happens often - a person suffers, suffer and does not know himself.

Of course, in our days, no one no one surprises that people work in the morning to night, and then according to their personal tastes kill the time for cards, sitting in a cafe and chatter. But there are such cities and countries where people at least sometimes suspect about the existence of something else.