The plague Page 3

  His notebooks comprise a sort of chronicle of those strange early days we all lived through. But an unusual type of chronicle, since the writer seems to make a point of understatement, and at first sight we might almost imagine that Tarrou had a habit of observing events and people through the wrong end of a telescope. In those chaotic times he set himself to recording the history of what the normal historian passes over. Obviously we may deplore this curious kink in his character and suspect in him a lack of proper feeling. All the same, it is undeniable that these notebooks, which form a sort of discursive diary, supply the chronicler of the period with a host of seeming-trivial details which yet have their

  importance, and whose very oddity should be enough to prevent the reader from passing hasty judgment on this singular man.

  The earliest entries made by Jean Tarrou synchronize with his coming to Oran. From the outset they reveal a paradoxical satisfaction at the discovery of a town so intrinsically ugly. We find in them a minute description of the two bronze lions adorning the Municipal Office, and appropriate comments on the lack of trees, the hideousness of the houses, and the absurd lay-out of the town. Tarrou sprinkles his descriptions with bits of conversation overheard in streetcars and in the streets, never adding a comment on them except— this comes somewhat later—in the report of a dialogue concerning a man named Camps. It was a chat between two streetcar conductors.

  "You knew Camps, didn't you?" asked one of them. "Camps? A tall chap with a black mustache?" "That's him. A switchman." "Ah yes, I remember now." "Well, he's dead." "Oh? When did he die?" "After that business about the rats." "You don't say so! What did he die of?" "I couldn't say exactly. Some kind of fever. Of course, he never was what you might call fit. He got abscesses under the arms, and they did him in, it seems." "Still, he didn't look that different from other people." "I wouldn't say that. He had a weak chest and he used to play the trombone in the town band. It's hard on the lungs, blowing a trombone."

  "Ah, if you've got weak lungs, it don't do you any good, blowing down a big instrument like that."

  After jotting down this dialogue Tarrou went on to speculate why Camps had joined a band when it was so clearly inadvisable, and what obscure motive had led him to risk his life for the sake of parading the streets on Sunday mornings.

  We gather that Tarrou was agreeably impressed by a little scene that took place daily on the balcony of a house facing his window. His room at the hotel looked on to a small side street and there were always several cats sleeping in the shadow of the walls. Every day, soon after lunch, at a time when most people stayed indoors, enjoying a siesta, a dapper little old man stepped out on the balcony on the other side of the street. He had a soldierly bearing, very erect, and affected a military style of dressing; his snow-white hair was always brushed to perfect smoothness. Leaning over the balcony he would call: "Pussy! Pussy!" in a voice at once haughty and endearing. The cats blinked up at him with sleep-pale eyes, but made no move as yet. He then proceeded to tear some paper into scraps and let them fall into the street; interested by the fluttering shower of white butterflies, the cats came forward, lifting tentative paws toward the last scraps of paper. Then, taking careful aim, the old man would spit vigorously at the cats and, whenever a liquid missile hit the quarry, would beam with delight.

  Lastly, Tarrou seemed to have been quite fascinated by the commercial character of the town, whose aspect, activities, and even pleasures all seemed to be dictated by considerations of business. This idiosyncrasy—the term he uses in his diary—was warmly approved of by Tarrou; indeed, one of his appreciative comments ends on the exclamation: "At last!"

  These are the only passages in which our visitor's record, at this period, strikes a seemingly personal note. Its significance and the earnestness behind it might escape the reader on a casual perusal. For example, after describing how the discovery of a dead rat led the hotel cashier to make an error in his bill, Tarrou added: "Query: How contrive not to waste one's time? Answer: By being fully aware of it all the while. Ways in which this can be done: By spending one's days on an uneasy chair in a dentist's waiting-room; by remaining on one's balcony all a Sunday afternoon; by listen-

  ing to lectures in a language one doesn't know; by traveling by the longest and least-convenient train routes, and of course standing all the way; by lining up at the box-office of theaters and then not buying a seat; and so forth."

  Then, immediately following these eccentricities of thought and expression, we come on a detailed description of the streetcar service in the town, the structure of the cars, their indeterminate color, their unvarying dirtiness—and he concludes his observations with a "Very odd," which explains -nothing.

  So much by way of introduction to Tarrou's comments on the phenomenon of the rats.

  "The little old fellow opposite is quite disconsolate today. There are no more cats. The sight of all those dead rats strewn about the street may have excited their hunting instinct; anyhow, they all have vanished. To my thinking, there's no question of their eating the dead rats. Mine, I remember, turned up their noses at dead things. All the same, they're probably busy hunting in the cellars—hence the old boy's plight. His hair isn't as well brushed as usual, and he looks less alert, less military. You can see he is worried. After a few moments he went back into the room. But first he spat once—on emptiness.

  "In town today a streetcar was stopped because a dead rat had been found in it. (Query: How did it get there?) Two or three women promptly alighted. The rat was thrown out. The car went on.

  "The night watchman at the hotel, a level-headed man, assured me that all these rats meant trouble coming. 'When the rat leave a ship . . .' I replied that this held good for ships, but for towns it hadn't yet been demonstrated. But he stuck to his point. I asked what sort of 'trouble' we might expect. That he couldn't say; disasters always come out of the blue. But he wouldn't be surprised if there were an earthquake brewing. I admitted that was possible, and then he asked if the prospect didn't alarm me.

  " 'The only thing I'm interested in,' I told him, 'is acquiring peace of mind.'

  "He understood me perfectly.

  "I find a family that has its meals in this hotel quite interesting. The father is a tall, thin man, always dressed in black and wearing a starched collar. The top of his head is bald, with two tufts of gray hair on each side. His small, beady eyes, narrow nose, and hard, straight mouth make him look like a well-brought-up owl. He is always first at the door of the restaurant, stands aside to let his wife—a tiny woman, like a black mouse—go in, and then comes in himself with a small boy and girl, dressed like performing poodles, at his heels. When they are at the table he remains standing till his wife is seated and only then the two poodles can perch themselves on their chairs. He uses no terms of endearment to his family, addresses politely spiteful remarks to his wife, and bluntly tells the kids what he thinks of them.

  " 'Nicole, you're behaving quite disgracefully.'

  "The little girl is on the brink of tears—which is as it should be.

  "This morning the small boy was all excitement about the rats, and started saying something on the subject.

  " 'Philippe, one doesn't talk of rats at table. For the future I forbid you to use the word.'

  " 'Your father's right,' approved the mouse.

  "The two poodles buried their noses in their plates, and the owl acknowledged thanks by a curt, perfunctory nod.

  "This excellent example notwithstanding, everybody in town is talking about the rats, and the local newspaper has taken a hand. The town-topics column, usually very varied, is now devoted exclusively to a campaign against the local authorities. 'Are our city fathers aware that the decaying bodies of these rodents constitute a grave danger to the population?' The manager of the hotel can talk of nothing else. But he has a personal grievance, too; that dead rats should be found in the elevator of a three-star hotel seems to

  him the end of all things. To console him, I said: 'But, you know, ever
ybody's in the same boat.'

  " 'That's just it,' he replied. 'Now we're like everybody else.'

  "He was the first to tell me about the outbreak of this queer kind of fever which is causing much alarm. One of his chambermaids has got it.

  " 'But I feel sure it's not contagious,' he hastened to assure me.

  "I told him it was all the same to me.

  " 'Ah, I understand, sir. You're like me, you're a fatalist.'

  "I had said nothing of the kind and, what's more, am not a fatalist. I told him so. . . ."

  From this point onwards Tarrou's entries deal in some detail with the curious fever that was causing much anxiety among the public. When noting that the little old man, now that the rats had ceased appearing, had regained his cats and was studiously perfecting his shooting, Tarrou adds that a dozen or so cases of this fever were known to have occurred, and most had ended fatally.

  For the light it may throw on the narrative that follows, Tarrou's description of Dr. Rieux may be suitably inserted here. So far as the narrator can judge, it is fairly accurate.

  "Looks about thirty-five. Moderate height. Broad shoulders. Almost rectangular face. Dark, steady eyes, but prominent jaws. A biggish, well-modeled nose. Black hair, cropped very close. A curving mouth with thick, usually tight-set lips. With his tanned skin, the black down on his hands and arms, the dark but becoming suits he always wears, he reminds one of a Sicilian peasant.

  "He walks quickly. When crossing a street, he steps off the sidewalk without changing his pace, but two out of three times makes a little hop when he steps on to the sidewalk on the other side. He is absentminded and, when driving his car, often leaves his side-signals on after he has turned a corner. Always bareheaded. Looks knowledgeable."

  T

  arrou's figures were correct. Dr. Rieux was only too well aware of the serious turn things had taken. After seeing to the isolation of the concierge's body, he had rung up Richard and asked what he made of these inguinal-fever cases.

  "I can make nothing of them," Richard confessed. "There have been two deaths, one in forty-eight hours, the other in three days. And the second patient showed all the signs of convalescence when I visited him on the second day."

  "Please let me know if you have other cases," Rieux said.

  He rang up some other colleagues. As a result of these inquiries he gathered that there had been some twenty cases of the same type within the last few days. Almost all had ended fatally. He then advised Richard, who was chairman of the local Medical Association, to have any fresh cases put into isolation wards.

  "Sorry," Richard said, "but I can't do anything about it. An order to that effect can be issued only by the Prefect. Anyhow, what grounds have you for supposing there's danger of contagion?"

  "No definite grounds. But the symptoms are definitely alarming."

  Richard, however, repeated that "such measures were outside his province." The most he could do was to put the matter up to the Prefect.

  But while these talks were going on, the weather changed for the worse. On the day following old Michel's death the sky clouded up and there were brief torrential downpours,

  each of which was followed by some hours of muggy heat. The aspect of the sea, too, changed; its dark-blue translucency had gone and, under the lowering sky, it had steely or silvery glints that hurt the eyes to look at. The damp heat of the spring made everyone long for the coming of the dry, clean summer heat. On the town, humped snail-wise on its plateau and shut off almost everywhere from the sea, a mood of listlessness descended. Hemmed in by lines and lines of whitewashed walls, walking between rows of dusty shops, or riding in the dingy yellow streetcars, you felt, as it were, trapped by the climate. This, however, was not the case with Rieux's old Spanish patient, who welcomed this weather with enthusiasm.

  "It cooks you," he said. "Just the thing for asthma."

  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. That this impression was unreasonable he knew, and he attributed it to nervous exhaustion; he had certainly his full share of worries just at present. In fact, it was high time to put the brakes on and try to get his nerves into some sort of order.

  On reaching his destination he found that the police inspector hadn't turned up yet. Grand, who met him on the landing, suggested they should wait in his place, leaving the door open. The municipal clerk had two rooms, both very sparsely furnished. The only objects to catch the eye were a bookshelf on which lay two or three dictionaries, and a small blackboard on which one could just read two half-obliterated words: "flowery avenues."

  Grand announced that Cottard had had a good night. But he'd waked up this morning with pains in his head and feeling very low. Grand, too, looked tired and overwrought; he kept pacing up and down the room, opening and closing a

  portfolio crammed with sheets of manuscript that lay on the table.

  Meanwhile, however, he informed the doctor that he really knew very little about Cottard, but believed him to have private means in a small way. Cottard was a queer bird. For a long while their relations went no farther than wishing each other good-day when they met on the stairs.

  "I've only had two conversations with him. Some days ago I upset a box of colored chalks I was bringing home, on the landing. They were red and blue chalks. Just then Cottard came out of his room and he helped me pick them up. He asked me what I wanted colored chalks for."

  Grand had then explained to him that he was trying to brush up his Latin. He'd learned it at school, of course, but his memories had grown blurred.

  "You see, doctor, I've been told that a knowledge of Latin gives one a better understanding of the real meanings of French words."

  So he wrote Latin words on his blackboard, then copied out again in blue chalk the part of each word that changed in conjugation or declension, and in red chalk the part of the word that never varied.

  "I'm not sure if Cottard followed this very clearly, but he seemed interested and asked me for a red chalk. That rather surprised me, but after all— Of course I couldn't guess the use he'd put it to."

  Rieux asked what was the subject of their second conversation. But just then the inspector came, accompanied by a clerk, and said he wished to begin by hearing Grand's statement. The doctor noticed that Grand, when referring to Cottard, always called him "the unfortunate man," and at one moment used even the expression "his grim resolve." When discussing the possible motives for the attempted suicide, Grand showed an almost finical anxiety over his choice of words. Finally he elected for the expression "a secret grief." The inspector asked if there had been anything

  in Cottard's manner that suggested what he called his "intent to felo-de-se."

  "He knocked at my door yesterday," Grand said, "and asked me for a match. I gave him a box. He said he was sorry to disturb me but that, as we were neighbors, he hoped I wouldn't mind. He assured me he'd bring back my box, but I told him to keep it."

  The inspector asked Grand if he'd noticed anything queer about Cottard.

  "What struck me as queer was that he always seemed to want to start a conversation. But he should have seen I was busy with my work." Grand turned to Rieux and added rather shyly: "Some private work."

  The inspector now said that he must see the invalid and hear what he had to say. Rieux thought it would be wiser to prepare Cottard for the visit. When he entered the bedroom he found Cottard, who was wearing a gray flannel nightshirt, sitting up in bed and gazing at the door with a scared expression on his face.

  "It's the police, isn't it?"

  "Yes," Rieux said, "but don't get flustered. There are only some formalities to be gone through, and then you'll be left in peace."

  Cottard replied that all this was quite needless, to his thinking, and anyhow he didn't like the police.

  Rieux showed some irritation.
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  "I don't love them either. It's only a matter of answering a few questions as briefly and correctly as you can, and then you'll be through with it."

  Cottard said nothing and Rieux began to move to the door. He had hardly taken a step when the little man called him back and, as soon as he was at the bedside, gripped his hands.

  "They can't be rough with an invalid, a man who's hanged himself, can they, doctor?"

  Rieux gazed down at him for a moment, then assured him

  that there was no question of anything like that, and in any case he was here to protect his patient. This seemed to relieve Cottard, and Rieux went out to get the inspector.

  After Grand's deposition had been read out, Cottard was asked to state the exact motive of his act. He merely replied, without looking at the police officer, that "a secret grief" described it well enough. The inspector then asked him peremptorily if he intended to "have another go at it." Showing more animation, Cottard said certainly not, his one wish was to be left in peace.

  "Allow me to point out, my man," the police officer rejoined with asperity, "that just now it's you who're troubling the peace of others." Rieux signed to him not to continue, and he left it at that.

  "A good hour wasted!" the inspector sighed when the door closed behind them. "As you can guess, we've other things to think about, what with this fever everybody's talking of."

  He then asked the doctor if there was any serious danger to the town; Rieux answered that he couldn't say.

  "It must be the weather," the police officer decided. "That's what it is."

  No doubt it was the weather. As the day wore on, everything grew sticky to the touch, and Rieux felt his anxiety increasing after each visit. That evening a neighbor of his old patient in the suburbs started vomiting, pressing his hand to his groin, and running a high fever accompanied by delirium. The ganglia were much bigger than M. Michel's. One of them was beginning to suppurate, and presently split open like an overripe fruit. On returning to his apartment, Rieux rang up the medical-stores depot for the district. In his professional diary for the day the only entry was: "Negative reply." Already he was receiving calls for similar cases from various parts of the town. Obviously the abscesses had to be lanced. Two crisscross strokes, and the ganglion disgorged a mixture of blood and pus. Their limbs stretched