First, it was the Mongols under Genghis Khan that invented the first form of biological warfare, by tossing dead, decaying bodies over castle walls, in the hopes that whatever disease the body might have (not to mention that a decaying body was probably disgusting and sickening enough - even if the person was healthy) would spread to the sieged people inside. Though, in Italy, angry people whom had contracted the plague, began hurtling the bodies onto ships, over walls, trying to get at the people whom they'd thought that had infected them.

Plague generally refers to the bubonic plague, also refered to as the "black plague."

The plague is transmitted by the rat flea (Xenopsylla Cheopis). The flea receives the bacteria from the rat; it then spreads it to humans. The bacillus Yersinia Pestis infects the lymph nodes, spreading buboes to the typical rash places, groin, armpits, neck. Other early symptoms includes a fever between 101 and 105 degrees Fahrenheit, nausea, painful joint areas, and vomiting.

The plague makes a person severely lethargic, and purple to black blotches appear all over the skin (thus, the black plague). Death comes quickly - about a week in a strong, healthy person. Easily trasmitted (through both the rats and fleas), it spread quickly throughout European history, killing millions over a span of about three to six years.

Additional Info: the plague, Exotic Weapons, siege

To read an interesting article on the Church's involvement in the plague, feel free to go to

1347 A. D.

Two men enter the harbor at Messina.

"In their bones they bore so virulent a disease that anyone who only spoke to them was seized by a mortal illness and in no manner could evade death."

Every person that came near or touched the two men died. Their bodies siezed by pain, and "developed in their thighs or on their upper arms a boil", and the pain would make them "violently {vomit} blood".

"This vomiting of blood continued without intermission for three days, there being no means of healing it, and then the patient expired."

This disease broke families, destroyed villages, and toppled castles. The plague ravaged until April of 1348, and the last recorded death was that of the Duke Giovanni.

The people of Messina ended up as "godless" frantics.

Plague is a game (probably from the New Games' Movement despite its grisliness) played with any number of people more than 3 although works best with about 10 or so. (Personally, I wouldn't encourage kids to play it - this is an adult thing, I think.) The game requires a squashy ball. It should be played in a confined space suitable for the number of people playing. A large room is ideal, so long as there's nothing to knock over and break.

The principle of the game is easy. Plague is passed from player to player until everyone dies (fun huh?). Someone starts off with the ball - it doesn't contaminate him/her; it's only 'live' after it is passed the first time. The ball is symbolic of the disease. If someone with the ball touches you, they pass you the ball. You must carry the ball in the nearest available place to where the person touched you. If they touch you on the foot, you should hold the ball in the crook of your leg: if your face is touched, you should carry the ball in your mouth, and so on. This should incapacitate you - in effect plague hampers your movements.

You can catch and pass on plague three times; after the third time, you must play dead, remaining in the exact spot and position you are in when you pass the ball on. The part of your body that becomes contaminated by each pass of the ball remains unusable. If you held the ball in the crook of your leg, then you must keep that rigid until you die. Injuries, therefore, accrue. You should also emit moans and cries relevant to the amount of pain you are in. Each time you get the disease, you should moan a little louder. The general moaning in the room should end up rather atmospheric.

One other thing. Play this game at night - and with the lights off. If you've got some Michael Nyman cds, put one on low in the background. Players must crawl and feel their way around (around furniture, over bodies (alive and dead)). It's not a fast game, but it is scary. You can't see - your leg is contaminated. There are moans all around you. You think you're safe, but something is crawling towards you - and you're trapped in a corner. You try not to breathe, but your leg forces a moan out of your mouth. The shadow crawls towards you ... stops, and shambles away... but not before it forces the plague into your armpit...

Clearly the game ends when everyone is dead.

Party game meets gothic horror. How much fun is that?!

A manner of various plagues has been decimating humanity from the earliest days of recorded history. In 430 BC the plague wiped a quarter of the Athenian army. During the first of the great plagues, one third of the population of Europe succumbed. Diseases brought to the New World by the conquistadors aided them in their conquest of Mexico and Peru, the colonization of Brazil by the Portuguese, the settling of North America by the French and British as well as the settlement of Australia. Even though most important killer diseases have been defeated by now, or are at the very least curable, we still read about “cholera in Rwanda”, “flesh-eating bacteria in the UK” and antibiotic resistant strains of tuberculosis. Despite all of the wonders of modern medicine humankind cannot eradicate these diseases and cannot stop fearing them. Not further than two centuries ago pandemics harvested human lives every 10 to 15 years.

In 1664 AD thanks to the information brought by merchant travellers the news of a plague in Holland reached London. The city remained calm. “Hence it was that this rumour died off again,” – writes Daniel Defoe – “and people began to forget it as a thing we were very little concerned in, and that we hoped was not true; till the latter end of November or the beginning of December 1664 when two men, said to be Frenchmen, died of the plague in Long Acre, or rather at the upper end of Drury Lane.” The plague was always a taboo until it struck nearby. In Paris the cholera epidemic of 1832 was a non-issue until the city dwellers witnessed piles of decaying corpses. The only known cure for the plague was escape. The Sorbonne suggested the following in 1348: “Leave in haste, go far away and do not deviate”. The exodus was generally led by the wealthy; they gave the signal to flee. An account from 18th century Marseille: “When it was seen that many reputable citizens left their dwellings, a mass of common citizenry and other inhabitants followed.” Most, however had nowhere to go, others still believed that nothing would happen until a city was placed under quarantine and surrounded by a sanitary cordon. Only then, the feverish search for a cure erupted.

During epidemics all manner of merchants suddenly appeared. All of them offered ‘infallible’ cures and protective talismans. Talismans with the spell “Abracadabra” sold particularly well in London. Previously unknown doctors advertised themselves with their immense knowledge in combating the plague. Signs read: “Famous doctor from Holland, just arrived from Amsterdam where countless souls owe their lives to his mastery in fighting the plague”. The diseases were also supposed to be dispelled by all manner of incantations, some linguists believe that the ever popular “Bless You” or “To your health” (in some languages) following someone sneezing are directly related to the epidemics of the past. Sneezing was one of the first symptoms of the plague. Some medical advice was extraordinarily original, not to say ridiculous. Some believed that the air can be cleared of the plague by horse breath and manure, that’s why the sick were often transported to the stables. Similar rationale induced keeping a smelly ram in the house. Medics suggested frequent sexual contacts so as to prevent the semen from rotting. Other doctors yet claimed that sexual abstinence was the key. Generally most of the remedies were contradictory. Gabriel Garcia Marquez in his “Love in the Time of Cholera” even describes cannon salvos used to disperse the plague, gunpowder supposedly cleaned the air. A similar cleansing effect was supposedly attained by group singing. Some other remedies were much farther reaching however. Animals were exterminated to prevent the spread, in London in 1665, 40 thousand dogs and 200 thousand cats were eliminated.

A, perhaps understandable, reaction to the prevailing disease was enjoying life and lightheartedness. According to the ancient Greek Thucydides: “Before people succumbed to earthly pleasures in secret, now they enjoy the moment for all to see, because they see how quickly the wealthy die and their possessions are confiscated by the poor.” (slightly loose translation from a Polish source) In another account from 16th century Geneva we learn of “dancing broads” in plain view of mortuary carts loaded with corpses. Occasionally the broads would be taken ill or die while feasting. The merry attitude was partly supported by conventional medicine of the time. The medics claimed that the fearful and worrisome would be the first to fall ill. West Prussian authorities suggested their citizens (during the 1831 AD cholera epidemic): “Live a healthy life, do not exert yourself physically, try to avoid sudden emotions – fear, sorrow, panic, try to feel happy and joyful and have a positive outlook to increase your resistance.” (another slightly loose translation from Polish)

The plague created an excellent working environment for all manner of ill-doers (no pun intended). The undertakers and gravediggers were often the foremost villains, stealing all valuables from the corpses. Occasionally they even ‘helped’ the sick by performing involuntary euthanasia on them. Robber gangs scoured the houses of the nobility and aristocracy in plague ridden areas counting on the owners’ absence. That’s why many people hired local peasants to protect their goods in their absence. Thankfully, as always where there are villains there are their antitheses, the good doers. Many charitable organisations sprouted around Europe. In 1613 the Cracow patrician Brabara Langówna took the ill in her house, she single-handedly fed them and provided them with shelter. Many religious organisations have also provided indispensable services to the sick. Most notable of those were the Jesuit priests many of whom died in the process.

Historians do not agree on the origins of the plagues and specifically on whether these were spread intentionally (that would be early bio-terrorism I guess). Thucydides when describing the Peloponnesian Wars mentioned rumours of the Peloponnesians poisoning the Greek water wells. In the middle ages, the Jews served as a common scapegoat. This lead to many pogroms and death of many thousands of people. Most modern historians do not believe in the ‘bio-terrorism’ theories. Throughout human history man has always looked for scapegoats pertaining to the uncontrollable. To calm the emotions, pope Clemens VI, in a rare statement condemned the people persecuting the Jews and stated that they die of the plague just like everyone else. Most likely the common cause of all manner of epidemics used to be poor harvests and famine leading to reduced resistance to viruses and bacteria. We are free of that form of danger, however, new ones such as SARS and AIDS have emerged. Just like our ancestors we are helpless, and like they we often look for scapegoats. This used to be particularly true in the early days of the AIDS epidemic. Most likely we will always have a new invisble enemy to fight due to the wondrous ability of nature to come up with new surprise time and again.

Peloponnesian WarsThucydides
Love in the Time of CholeraGabriel Garcia Marquez
A Journal of the Plague YearDaniel Defoe
Norman Cantor - In the Wake of the Plague: The Black Death and the World It Made

An Australian zombie horror film from 2014. As a review, serious spoilers abound.

Zombie films are never really about the zombies, but the survivors. Even the Ur-example, the epic Night of the Living Dead, was almost all about the power plays between different camps of survivors with the baying ghouls outside.

The genre has been used to comment on a lot of things, when taken seriously, and nothing, when not taken seriously. In the same weekend I saw The Coed and the Zombie Stoner which had literally nothing to say but made up for it with some admittedly very nice full frontal nudity. It's at the beginning, so if you want to see it, you don't have to sit through the rest of the movie to enjoy all it has to offer.

There was a point to that anecdote.

This is a debut feature from two film students who assembled a nice cast of three, with a few more at the beginning who are quickly got out of the way so that the dynamics of the three important characters are allowed to play out.

In this film, Z-Day happens and some survivors are holed up in rural Australia. Final Girl Evie and a rag tag bunch of disposable survivors are holed up in a metal shed. One of their member wants to set out for the coast, but she wants to wait to see if her husband John makes it to their rendezvous point. They were separated in some kind of zombie ambush, and there's an equal chance that he survived, or that he was permanently trapped.

The zombies in this film are a threat. Upon hearing them in the distance they immediately head inside and extinguish all the lights. One says they have half a chance with one or two during daylight, but at night just run. Run like hell.

This achieves two things: one to eliminate the need for any visible zombies throughout most of the film, but also to establish them as a real and viable threat. There will be no strapping-up heroics and taking on the hordes. You do one thing and one thing only, RUN. (This is also important).

The rest decide to leave for the coast, to a more secure place to hole up. When an older man objects, agreeing with Evie that they should try and find her husband first - the younger man blows half his head away with a firearm and orders the rest into the car.

Evie opts to stay. Tearfully, the others obey out of self preservation.

John shows up, a fey, university professor type with asthma. He's livid she "allowed" them to leave with all the supplies. What's clear, though is that they met a gruesome end as one of their party is literally limping back at about the same time, bites of her flesh clearly gouged out by the attack, begging to be shot because the transformation hurts.

John shoots her in the head.

They live out their lives in the shelter, and it gets to John to the point where Evie catches him about to commit suicide. As they deal with that shock a stranger, Charlie, comes in their midst. He's driving a "ute" and is handy with his hands and friendly. John wants to shoot him at first, but Evie takes him in and vituperates his lack of trust.

Charlie's handy, and he has supplies. But he does offer Evie a brooch and hints at a far greater interest in her than he should have. When John's remaining inhaler gives out and he's clearly dying of an asthma attack, she begs Charlie to go find more medication out there - to which he goes into a full bore "nice guy" rant saying that he isn't exactly someone to just order around. He's shown up, he's fixed up their property, he's bought supplies, given them companionship. He could, in theory, leave them both for dead right now. He could in theory go get some medication, sure. Just there is something he wants out of it. She doesn't have to do a single thing. Just not fight back.

He rapes her and leaves, but is a man of his word and returns with the medication: but also subtly orders her to help him unpack the supplies. She's not comfortable any more, but what matters most is that John is alive. She doesn't want Charley around any more but rather than admit what happened or communicate properly makes vague comments about John "being a man" and finds the excuse that a photo Charlie showed them earlier of "his family" clearly wasn't - they find the other half of the picture in his Ute - it's someone else's family. And the last of his conquests who tried to run from him, now a zombie, in the trunk. He's watching her to see how long it takes her to die.

The long and the short of it is, John orders Charley to leave at gunpoint, Evie is finally relieved: until Charley comes back a few minutes later. Correctly guessing that John is too much of a coward to fire at him, he rants about all he's done for them, drags Evie off by the hair and rapes her while John collapses in tears.

He's broken from his reverie by a soldier threatening him with a shotgun. There's an evacuation, but he got separated from his unit. John uses the zombie in the trunk to distract the soldier enough to grab his weapon, and then his clothes. Using the shotgun, he bursts in to the shed and blows Charley away, but doesn't know how to re-rack the shotgun for a second shot. This leaves Charlie, with the pistol - to fire one shot before he dies, which he does into Evie, who collapses with a chest/shoulder wound.

John patches her up and takes her to the point, where his cries out do nothing but attract zombies. He tells her they have to run, but she's too injured and won't stand. He hands her the pistol and starts to run away, but she realizes she's being abandoned and shoots him in the knee. He collapses, she gives him the gun, and starts walking away. John tries the coward's way out but there's no bullets left in the gun, so they dismember him alive, screaming, as she walks away in a haze. Between her gait and their distraction with his body, she gets away... to the extraction point.

There's only one problem with this movie: and that it's written by two men.

Of course it's a long dissertation on the challenges of modern masculinity.

Of course it's going to talk about nice guys, hipsters, jerks, people more ready to commit violence than others, macho blustering, and "get in the car, we're going to drive to certain death, because I can beat my chest harder than you." It's also nice that the "real man" at the beginning leads the party to their doom at the beginning of the film, making the case that violence and alpha domineering is sometimes futile.

But by making the woman the central point of the film and having her merely something fought over, it blunts what the film could have been. It either should have made her little more than a pawn and explored the conflicts between the men, or been written by a woman and had character development as to how the woman discovers her own power, or at least explored being treated as property from her point of view. The Seasoning House is a harrowing description of even worse circumstances (a deaf and mute girl in a war zone preparing women for prostitution by injecting them with heroin to be compliant) from a female perspective so when done with the right amount of guts it works really well.

Instead what we end up with is a fey, constantly crying hipster being menaced by a "Nice Guy"(TM) while the girl complains the former "social studies" professor isn't "acting like a real man" which is apparently the way women say "the man raped me, so would you please kill the bastard already."

Don't get me wrong. It's a good film. It's a pretty good debut film. It's a decent zombie film after the genre got plugged up with dreck like The Coed and the Zombie Stoner whose only real attraction is the nipples and pert labia of two of the female stars who run towards the camera completely naked at the beginning.

But what keeps it from being an amazing film is that it hinted at some character development, but ultimately delivered little more than a few cliches. It was competently scripted and acted, but outbursts and fury are no match for a genuine change in character. These are young men with chops and with a bright future ahead of them - with some interactions with better writers and some life experience, they'll turn out some excellent stuff.

Plague (?), n. [L. plaga a blow, stroke, plague; akin to Gr. , fr. to strike; cf. L. plangere to strike, beat. Cf. Plaint.]


That which smites, wounds, or troubles; a blow; a calamity; any afflictive evil or torment; a great trail or vexation.


And men blasphemed God for the plague of hail. Wyclif.

The different plague of each calamity. Shak.

2. Med.

An acute malignant contagious fever, that often prevails in Egypt, Syria, and Turkey, and has at times visited the large cities of Europe with frightful mortality; hence, any pestilence; as, the great London plague.

"A plague upon the people fell."


Cattle plague. See Rinderpest. -- Plague mark, Plague spot, a spot or mark of the plague; hence, a token of something incurable.


© Webster 1913.

Plague, v. t. [imp. & p. p. Plagued (?); p. pr. & vb. n. Plaguing.]


To infest or afflict with disease, calamity, or natural evil of any kind.

Thus were they plagued And worn with famine. Milton.


Fig.: To vex; to tease; to harass.

She will plague the man that loves her most. Spenser.

Syn. -- To vex; torment; distress; afflict; harass; annoy; tease; tantalize; trouble; molest; embarrass; perplex.


© Webster 1913.

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