Though prices soared inevitably, never had so much money been squandered, and while bare necessities were often lacking, never had so much been spent on superfluities. All the recreations of leisure, due though it now was to unemployment, multiplied a hundredfold. Sometimes Tarrou and Cottard would follow for some minutes one of those amorous couples who in the past would have tried to hide the passion drawing them to each other, but now, pressed closely to each other’s side, paraded the streets among the crowd, with the trancelike self-absorption of great lovers, oblivious of the people around them.
Cottard watched them gloatingly. «Good work, my dears!» he’d exclaim. «Go to it!» Even his voice had changed, grown louder; as Tarrou wrote, he was «blossoming out» in the congenial atmosphere of mass excitement, fantastically large tips clinking on cafe tables, love-affairs shaping under his eyes.
However, Tarrou seemed to detect little if any spiteful-ness in Cottard’s attitude. His «I’ve been through the mill myself» had more pity than triumph in it. «I suspect,» Tarrou wrote, «that he’s getting quite fond of these people shut up under their little patch of sky within their city walls. For instance, he’d like to explain to them, if he had a
chance, that it isn’t so terrible as all that. ‘You hear them saying,’ he told me, ‘ «After the plague I’ll do this or that.»… They’re eating their hearts out instead of staying put. And they don’t even realize their privileges. Take my case: could I say «After my arrest I’ll do this or that»? Arrest’s a beginning, not an end. Whereas plague….
Do you know what I think? They’re fretting simply because they won’t let themselves go. And I know what I’m talking about.'»
«Yes, he knows what he’s talking about,» Tarrou added. «He has an insight into the anomalies in the lives of the people here who, though they have an instinctive craving for human contacts, can’t bring themselves to yield to it, because of the mistrust that keeps them apart. For it’s common knowledge that you can’t trust your neighbor; he may pass the disease to you without your knowing it, and take advantage of a moment of inadvertence on your part to infect you. When one has spent one’s days, as Cottard has, seeing a possible police spy in everyone, even in persons he feels drawn to, it’s easy to understand this reaction.
One can have fellow-feelings toward people who are haunted by the idea that when they least expect it plague may lay its cold hand on their shoulders, and is, perhaps, about to do so at the very moment when one is congratulating oneself on being safe and sound. So far as this is possible, he is at ease under a reign of terror. But I suspect that, just because he has been through it before them, he can’t wholly share with them the agony of this feeling of uncertainty that never leaves them. It comes to this: like all of us who have not yet died of plague he fully realizes that his freedom and his life may be snatched from him at any moment.
But since he, personally, has learned what it is to live in a state of constant fear, he finds it normal that others should come to know this state. Or perhaps it should be put like this: fear seems to him more bearable under these conditions than it was when he had to bear its burden alone. In this respect he’s wrong, and this makes him harder to understand than other people. Still, after all, that’s why he is worth a greater effort to understand.»
Tarrou’s notes end with a story illustrating the curious state of mind arrived at no less by Cottard than by other dwellers in the plague-stricken town. The story re-creates as nearly as may be the curiously feverish atmosphere of this period, and that is why the narrator attaches importance to it.
One evening Cottard and Tarrou went to the Municipal Opera House, where Gluck’s Orpheus was being given. Cottard had invited Tarrou. A touring operatic company had come to Oran in the spring for a series of performances. Marooned there by the outbreak of plague and finding themselves in difficulties, the company and the management of the opera house had come to an agreement under which they were to give one performance a week until further notice. Thus for several months our theater had been resounding every Friday evening with the melodious laments of Orpheus and Eurydice’s vain appeals. None the less, the opera continued in high favor and played regularly to full houses.
From their seats, the most expensive, Cottard and Tarrou could look down at the orchestra seats filled to capacity with the cream of Oran society. It was interesting to see how careful they were, as they went to their places, to make an elegant entrance. While the musicians were discreetly tuning up, men in evening dress could be seen moving from one row to another, bowing gracefully to friends under the flood of light bathing the proscenium. In the soft hum of well-mannered conversation they regained the confidence denied them when they walked the dark streets of the town; evening dress was a sure charm against plague.
Throughout the first act Orpheus lamented suavely his lost Eurydice, with women in Grecian tunics singing melodious comments on his plight, and love was hymned in alternating strophes. The audience showed their appreciation in discreet applause. Only a few people noticed that in his song of the second act Orpheus introduced some tremolos not in the score and voiced an almost exaggerated emotion when begging the lord of the Underworld to be moved by his tears. Some rather jerky movements he indulged in gave our connoisseurs of stagecraft an impression of clever, if slightly overdone, effects, intended to bring out the emotion of the words he sang.
Not until the big duet between Orpheus and Eurydice in the third act, at the precise moment when Eurydice was slipping from her lover, did a flutter of surprise run through the house. And as though the singer had been waiting for this cue or, more likely, because the faint sounds that came to him from the orchestra seats confirmed what he was feeling, he chose this moment to stagger grotesquely to the footlights, his arms and legs splayed out under his antique robe, and fall down in the middle of the property sheepfold, always out of place, but now, in the eyes of the spectators, significantly, appallingly so.
For at the same moment the orchestra stopped playing, the audience rose and began to leave the auditorium, slowly and silently at first, like worshippers leaving church when the service ends, or a death-chamber after a farewell visit to the dead, women lifting their skirts and moving with bowed heads, men steering the ladies by the elbow to prevent their brushing against the tip-up seats at the ends of the rows. But gradually their movements quickened, whispers rose to exclamations, and finally the crowd stampeded toward the exits, wedged together in the bottlenecks, and pouring out into the street in a confused mass, with shrill cries of dismay.
Cottard and Tarrou, who had merely risen from their seats, gazed down at what was a dramatic picture of their life in those days: plague on the stage in the guise of a disarticulated mummer, and in the auditorium the toys of luxury, so futile now, forgotten fans and lace shawls derelict on the red plush seats.
DURING the first part of September Rambert had worked conscientiously at Rieux’s side. He had merely asked for a few hours’ leave on the day he was due to meet Gonzales and the two youngsters again outside the boys’ school. Gonzales kept the appointment, at noon, and while he and the journalist were talking, they saw the two boys coming toward them, laughing. They said they’d had no luck last time, but that was only to be expected. Anyhow, it wasn’t their turn for guard duty this week. Rambert must have patience till next week; then they’d have another shot at it. Rambert observed that «patience» certainly was needed in this business. Gonzales suggested they should all meet again on the following Monday, and this time Rambert had better move in to stay with Marcel and Louis.
«We’ll make a date, you and I. If I don’t turn up, go straight to their place.
I’ll give you the address.» But Marcel, or Louis, told him that the safest thing was to take his pal there right away, then he’d be sure of finding it. If he wasn’t too particular, there was enough grub for the four of them. That way he’d get the hang of things. Gonzales agreed it was a good idea, and the four of them set off toward the harbor.
Marcel and Louis lived on the outskirts of the dockyard, near the gate leading to the cliff road. It was a small Spanish house with gaily painted shutters and bare, dark rooms. The boys’ mother, a wrinkled old Spanish woman with a smiling face, produced a dish of which the chief ingredient was rice. Gonzales showed surprise, as rice had been unprocurable for some time in the town. «We fix it up at the gate,» Marcel explained. Rambert ate and drank heartily, and Gonzales informed him he was «a damned good sort.» Actually the journalist was thinking solely of the coming week.
It turned out that he had a fortnight
