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The Plague Mortality Quotes

How we cite our quotes: Citations follow this format: (Part.Chapter.Paragraph). We used Stuart Gilbert's translation.

Quote #1

But at Oran the violent extremes of temperature, the exigencies of business, the uninspiring surroundings, the sudden nightfalls, and the very nature of its pleasures call for good health. An invalid feels out of it there. Think what it must be for a dying man, trapped behind hundreds of walls all sizzling with heat, while the whole population, sitting in cafes or hanging on the telephone, is discussing shipments, bills of lading, discounts! It will then be obvious what discomfort attends death, even modern death, when it waylays you under such conditions in a dry place (1.1.5)

How fitting. A town that refuses to let people die inside its walls falls victim to a plague and has its gates shut.

Quote #2

He saw a big rat coming toward him from the dark end of the passage. It moved uncertainly, and its fur was sopping wet. The animal stopped and seemed to be trying to get its balance, moved forward again towards the doctor, halted again, then spun around on itself with a little squeal and fell on its side. (1.2.2)

This is exactly the manner in which people will later die – pre-death pirouette and everything. The Plague suggests that men are made equal to animals by their common mortality.

Quote #3

He wasn’t thinking about the rat. That glimpse of spurting blood had switched his thoughts back to something that had been on his mind all day. His wife, who had been ill for a year now, was due to leave the next day for the sanatorium in the mountains.(1.2.3)

Indeed, Rieux makes this connection himself.

Quote #4

His wife was thirty, and the long illness had left its mark on her face. Yet the thought that came to Rieux’s mind as he gazed at her was: "How young she looks, almost like a little girl!" (1.2.5)

We are reminded that sickness and disease do not discriminate; the young and the old alike are afflicted.

Quote #5

"The rats?" he said. "It’s nothing."

The only impression of that moment which, afterwards, he could recall was the passing of a railroadman with a box full of dead rats under his arm. (1.2.41-42)

This sets up a pattern in The Plague of unfounded statements being met by portentous responses (check out Father Paneloux’s second sermon, when the doors of the church blow open).

Quote #6

Even in the busy heart of the town you found them piled in little heaps on landings and in backyards. Some stole forth to die singly in the halls of public offices, in school playgrounds, and even on café terraces. Our townsfolk were amazed to find such busy centers as the Place d’Armes, the boulevards, the promenade along the waterfront, dotted with repulsive little corpses. (1.2.72)

It looks as though death also doesn’t discriminate between the busy, upscale centers of town and the dirty outskirts.

Quote #7

It was as if the earth on which our houses stood were being purged of its secreted humors; thrusting up to the surface the abscesses and pus-clots that had been forming in its entrails. (1.2.72)

Gross. And also some serious imagery of the town itself being like a human body – subject to the same illnesses and decay.

Quote #8

Only the old Spaniard whom Dr. Rieux was treating for asthma went on rubbing his hands and chuckling: "They’re coming out, they’re coming out," with senile glee. (1.2.73)

Repeatedly in The Plague we see elderly characters unfazed by the pestilence. Some are indifferent, such as Mme. Rieux or Marcel and Louis’s mother, and others are downright gleeful, such as the old asthmatic patient. What is it about old age that protects these characters from fear?

Quote #9

As he walked down the stairs, Rieux caught himself glancing into the darker corners, and he asked Grand if the rats had quite disappeared in his part of the town. (1.2.103)

Yet another structural recurrence is established: the calm before the storm.

Quote #10

Certainly it "cooked you," but exactly like a fever. Indeed, the whole town was running a temperature; such anyhow was the impression Dr. Rieux could not shake off as he drove to the rue Faidherbe for the inquiry into Cottard’s attempted suicide. (1.4.8)

Cottard’s suicide attempt is remarkably timed. While the town begins to struggle against death with all its might, Cottard tries to walk straight into it.

Quote #11

A pestilence isn’t a thing made to man’s measure; therefore we tell ourselves that pestilence is a mere bogy of the mind, a bad dream that will pass away. But it doesn’t always pass away and, from one bad dream to another, it is men who pass away, and the humanists first of all, because they haven’t taken their precautions. (1.5.3)

Given that many label The Plague to be Camus’s humanist work, this is an interesting line. First of all, humanists believe that all people are good and valuable; they seek rational ways of solving problems. The sentiment expressed here is clearly anti-humanist – they are more vulnerable to defeat because they refuse to recognize pestilence and take precaution accordingly. However, this is only anti-humanist if you assume that Camus is on the side of the narrator. If the narrator is held up in ridicule, as a negative example (which we know is true of the narrator’s claim to be objective), then the statement is ironic and in fact a defense of humanism. Our heads hurt.

Quote #12

He recalled that some thirty or so great plagues known to history had accounted for nearly a hundred million deaths. 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 throughout history are no more than a puff of smoke in the imagination. (1.5.5)

Here’s where we get into the popular argument that The Plague is an allegory for war. Perhaps Camus is suggesting that we allow wars to occur because we can’t really comprehend what it means for millions of people to die.

Quote #13

Ten thousand dead made about five times the audience in a biggish cinema. Yes, that was how it should be done. You should collect the people at the exits of five picture-houses, you should lead them to a city square and make them die in heaps if you wanted to get a clear notion of what it means. Then at least you could add some familiar faces to the anonymous mass. But naturally that was impossible to put into practice; moreover, what man knows ten thousand faces? (1.5.5)

This is an essential humanist problem: how to care about man when it’s too easy to make him into an idea instead of a being? Even more difficult, how to care about death when you don’t individually know those who are dying? If suffering can not effectively be communicated through language, then Dr. Rieux’s narration is doomed to fail in its attempts to express his experiences.

Quote #14

On leaving Cottard the doctor noticed that he was thinking of Grand, trying to picture him in the midst of an outbreak of plague—not an outbreak like the present one which would probably not prove serious, but like one of the great visitations of the past. "He’s the kind of man who always escapes in such cases." Rieux remembered having read somewhere that the plague spared weak constitutions and chose its victims chiefly among the robust. (1.6.19)

Rieux thinks that Grand will survive the plague because he is insignificant. Yes, this is irrational, but hey, so is an existential world.

Quote #15

"There," Castel said, "I don’t agree with you. These little brutes always have an air of originality. But, at bottom, it’s always the same thing." (1.8.43)

Castel is referring to different strains of the plague. All these varieties of pestilence, he argues, are really the same thing, probably because of the common death they cause. This is similar to the way humans are rendered equal by their common mortality.

Quote #16

Moreover, the epidemic seemed to be on the wane; on some days only ten or so deaths were notified. Then, all of a sudden, the figure shot up again, vertically. On the day when the death-roll touched thirty, Dr. Rieux read an official telegram that the Prefect had just handed him, remarking: "So they’ve got alarmed at last." The telegram ran: Proclaim a state of plague stop close the town. (1.8.99)

Again we see this common theme of brief recession followed by resurgence. The plague – and the death it causes – follow no reasonable or logical path.

Quote #17

From now on, it can be said that plague was the concern of all of us. (2.1.1)

This drives home the point that every man is made equal by death.

Quote #18

But the gaunt, idle cranes on the wharves, rip—carts lying on their sides, neglected heaps of sacks and barrels—all testified that commerce, too, had died of plague. (2.2.1)

Death comes in many forms and affects both people and their constructs.

Quote #19

Nobody as yet had really acknowledged to himself what the disease connoted. Most people were chiefly aware of what ruffled the normal tenor of their lives or affected their interests. (2.2.2)

The citizens at first view the plague selfishly. They are more interested in how it affects them personally than in how to fight against it for the good of the community.

Quote #20

To begin with, the Prefect took measures controlling the traffic and the food-supply. Gasoline was rationed and restrictions were placed on the sale of foodstuffs. Reductions were ordered in the use of electricity. Only necessaries were brought by road or air to Oran. Thus the traffic thinned out progressively until hardly any private cars were on the roads; luxury shops closed overnight, and others began to put up "Sold Out" notices, while crowds of buyers stood waiting at their doors. (2.2.4)

The plague brings all kinds of loss, not just physical death.