In Camus’ Plague, the city of Oran is quarantined in an attempt to control the outbreak of the disease, separating spouses, families, friends, and lovers from one another at a time of great peril. As a consequence of the quarantine, a traveling opera company in the city to perform Gluck’s Orphée et Eurydice cannot leave. At the beginning of Part IV of The Plague, Camus describes a performance of the opera during which the singer in the role of Orpheus dies of the disease, just at the dramatic moment in Act 3 when Orpheus loses Eurydice. In this chapter, I will examine the significance of Camus’ account of the incident for an understanding of the philosophy of The Plague, in so far as the novel can be said to illustrate one. The libretto for Gluck’s opera rewrites the original story of Orpheus and Eurydice, giving it a Christian meaning and redemptive resolution. In Camus’ description of the truncated performance of the opera, he restores something of the ancient Greek story, against Gluck, in such manner as to make it relevant for his understanding of the challenges facing anyone attempting to live a life with integrity in the modern world.