An excerpt from the original text.(complete · 1218 words)
árya Dmítrievna, having found Sónya weeping in the corridor, made her
confess everything, and intercepting the note to Natásha she read it and
went into Natásha’s room with it in her hand.
“You shameless good-for-nothing!” said she. “I won’t hear a word.”
Pushing back Natásha who looked at her with astonished but tearless
eyes, she locked her in; and having given orders to the yard porter to
admit the persons who would be coming that evening, but not to let them
out again, and having told the footman to bring them up to her, she
seated herself in the drawing room to await the abductors.
When Gabriel came to inform her that the men who had come had run
away again, she rose frowning, and clasping her hands behind her paced
through the rooms a long time considering what she should do. Toward
midnight she went to Natásha’s room fingering the key in her pocket.
Sónya was sitting sobbing in the corridor. “Márya Dmítrievna, for God’s
sake let me in to her!” she pleaded, but Márya Dmítrievna unlocked
the door and went in without giving her an answer.... “Disgusting,
abominable... In my house... horrid girl, hussy! I’m only sorry for her
father!” thought she, trying to restrain her wrath. “Hard as it may
be, I’ll tell them all to hold their tongues and will hide it from the
count.” She entered the room with resolute steps. Natásha lying on the
sofa, her head hidden in her hands, and she did not stir. She was in
just the same position in which Márya Dmítrievna had left her.
“A nice girl! Very nice!” said Márya Dmítrievna. “Arranging meetings
with lovers in my house! It’s no use pretending: you listen when I speak
to you!” And Márya Dmítrievna touched her arm. “Listen when I speak!
You’ve disgraced yourself like the lowest of hussies. I’d treat you
differently, but I’m sorry for your father, so I will conceal it.”
Natásha did not change her position, but her whole body heaved with
noiseless, convulsive sobs which choked her. Márya Dmítrievna glanced
round at Sónya and seated herself on the sofa beside Natásha.
“It’s lucky for him that he escaped me; but I’ll find him!” she said in
her rough voice. “Do you hear what I am saying or not?” she added.
She put her large hand under Natásha’s face and turned it toward her.
Both Márya Dmítrievna and Sónya were amazed when they saw how Natásha
looked. Her eyes were dry and glistening, her lips compressed, her
cheeks sunken.
“Let me be!... What is it to me?... I shall die!” she muttered,
wrenching herself from Márya Dmítrievna’s hands with a vicious effort
and sinking down again into her former position.
“Natalie!” said Márya Dmítrievna. “I wish for your good. Lie still,
stay like that then, I won’t touch you. But listen. I won’t tell you how
guilty you are. You know that yourself. But when your father comes back
tomorrow what am I to tell him? Eh?”
Again Natásha’s body shook with sobs.
“Suppose he finds out, and your brother, and your betrothed?”
“I have no betrothed: I have refused him!” cried Natásha.
“That’s all the same,” continued Márya Dmítrievna. “If they hear of
this, will they let it pass? He, your father, I know him... if he
challenges him to a duel will that be all right? Eh?”
“Oh, let me be! Why have you interfered at all? Why? Why? Who asked
you to?” shouted Natásha, raising herself on the sofa and looking
malignantly at Márya Dmítrievna.
“But what did you want?” cried Márya Dmítrievna, growing angry again.
“Were you kept under lock and key? Who hindered his coming to the house?
Why carry you off as if you were some gypsy singing girl?... Well, if he
had carried you off... do you think they wouldn’t have found him?
Your father, or brother, or your betrothed? And he’s a scoundrel, a
wretch—that’s a fact!”
“He is better than any of you!” exclaimed Natásha getting up. “If you
hadn’t interfered... Oh, my God! What is it all? What is it? Sónya,
why?... Go away!”
And she burst into sobs with the despairing vehemence with which people
bewail disasters they feel they have themselves occasioned. Márya
Dmítrievna was to speak again but Natásha cried out:
“Go away! Go away! You all hate and despise me!” and she threw herself
back on the sofa.
Márya Dmítrievna went on admonishing her for some time, enjoining on her
that it must all be kept from her father and assuring her that nobody
would know anything about it if only Natásha herself would undertake
to forget it all and not let anyone see that something had happened.
Natásha did not reply, nor did she sob any longer, but she grew cold
and had a shivering fit. Márya Dmítrievna put a pillow under her head,
covered her with two quilts, and herself brought her some lime-flower
water, but Natásha did not respond to her.
“Well, let her sleep,” said Márya Dmítrievna as she went out of the room
supposing Natásha to be asleep.
But Natásha was not asleep; with pale face and fixed wide-open eyes she
looked straight before her. All that night she did not sleep or weep and
did not speak to Sónya who got up and went to her several times.
Next day Count Rostóv returned from his estate near Moscow in time for
lunch as he had promised. He was in very good spirits; the affair with
the purchaser was going on satisfactorily, and there was nothing to keep
him any longer in Moscow, away from the countess whom he missed. Márya
Dmítrievna met him and told him that Natásha had been very unwell the
day before and that they had sent for the doctor, but that she was
better now. Natásha had not left her room that morning. With compressed
and parched lips and dry fixed eyes, she sat at the window, uneasily
watching the people who drove past and hurriedly glancing round at
anyone who entered the room. She was evidently expecting news of him and
that he would come or would write to her.
When the count came to see her she turned anxiously round at the sound
of a man’s footstep, and then her face resumed its cold and malevolent
expression. She did not even get up to greet him. “What is the matter
with you, my angel? Are you ill?” asked the count.
After a moment’s silence Natásha answered: “Yes, ill.”
In reply to the count’s anxious inquiries as to why she was so dejected
and whether anything had happened to her betrothed, she assured him
that nothing had happened and asked him not to worry. Márya Dmítrievna
confirmed Natásha’s assurances that nothing had happened. From
the pretense of illness, from his daughter’s distress, and by the
embarrassed faces of Sónya and Márya Dmítrievna, the count saw clearly
that something had gone wrong during his absence, but it was so terrible
for him to think that anything disgraceful had happened to his beloved
daughter, and he so prized his own cheerful tranquillity, that he
avoided inquiries and tried to assure himself that nothing particularly
had happened; and he was only dissatisfied that her indisposition
delayed their return to the country.
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Let's Analyse the Pattern
Families and groups choose comfortable avoidance over painful truth, inadvertently deepening the crisis they're trying to manage.
Why This Matters
Connect literature to life
This chapter teaches how to recognize when someone has moved beyond 'I did something bad' (guilt) into 'I am bad' (shame)—a crucial distinction for knowing how to help.
Practice This Today
This week, notice when someone's self-criticism shifts from specific actions to global self-condemnation, then respond to the person, not just the behavior.
Now let's explore the literary elements.
Key Quotes & Analysis
"You shameless good-for-nothing!"
Context: Her first words when confronting Natásha about the elopement attempt
This shows how quickly shame gets weaponized when people are angry and scared. Márya Dmítrievna isn't just angry about what Natásha did - she's attacking who Natásha is. This kind of language deepens shame rather than addressing the actual problem.
In Today's Words:
You're completely worthless and have no morals!
"I'm only sorry for her father!"
Context: Her thoughts while trying to control her anger about the situation
This reveals how scandals ripple through families. She's not just worried about Natásha - she's thinking about how this will hurt the Count, affect the family's reputation, and potentially lead to violence through dueling. One person's choices impact everyone.
In Today's Words:
I feel terrible for what this is going to do to her dad!
"Hard as it may be, I'll tell them all to hold their tongues and will hide it from the count."
Context: Her decision about how to handle the crisis
This shows the classic family response to scandal - cover it up rather than deal with it openly. She's choosing protection through secrecy, which often backfires because secrets create more problems than truth. Her intentions are good but her method may cause more harm.
In Today's Words:
I'll make sure everyone keeps quiet about this and we won't tell her father what really happened.
Thematic Threads
Shame
In This Chapter
Natásha believes she's fundamentally flawed, not just that she made a mistake
Development
Deepened from earlier social anxiety into core identity crisis
In Your Life:
Notice when you shift from 'I messed up' to 'I'm a mess-up'—that's shame talking.
Family Protection
In This Chapter
Count Rostóv chooses willful ignorance to avoid painful truth about his daughter
Development
Evolved from earlier loving indulgence into active denial
In Your Life:
Sometimes protecting family means facing hard truths together, not avoiding them.
Social Reputation
In This Chapter
Márya Dmítrievna focuses on damage control and preventing scandal
Development
Consistent thread of reputation management over individual wellbeing
In Your Life:
Ask yourself: are you solving the problem or just managing how it looks?
Emotional Isolation
In This Chapter
Natásha withdraws completely, unable to accept comfort or connection
Development
Progressed from social awkwardness to complete emotional shutdown
In Your Life:
When you're spiraling, isolation feels protective but actually makes everything worse.
Avoidance
In This Chapter
Everyone in the household conspires to maintain comfortable illusions
Development
Introduced here as family-wide coping mechanism
In Your Life:
Notice when your family or workplace has unspoken agreements to not discuss certain topics.
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
What are the three different ways people respond to Natasha's crisis, and what is each person trying to protect?
analysis • surface - 2
Why does Count Rostov choose not to ask his daughter what's wrong, even though he can see she's suffering?
analysis • medium - 3
Where have you seen families or groups choose comfortable lies over difficult truths? What were they avoiding?
application • medium - 4
If you were Natasha's friend, how would you break through the wall of silence and shame without making things worse?
application • deep - 5
What's the difference between protecting someone and enabling their isolation? How can you tell when your kindness is actually harmful?
reflection • deep
Critical Thinking Exercise
Map Your Family's Silence Zones
Draw a simple family tree or friend group diagram. Mark the topics everyone avoids discussing with each person. Notice patterns: What subjects create the most elaborate avoidance? Who works hardest to maintain these silences? What would happen if someone broke the pattern and spoke honestly about one of these avoided topics?
Consider:
- •Some silences protect genuine privacy - focus on the ones that enable harm or prevent healing
- •The person working hardest to maintain silence often has the most to lose if truth comes out
- •Breaking silence requires choosing the right time, place, and approach - not just blurting things out
Journaling Prompt
Write about a time when someone's protective silence actually made a situation worse for you. What did you need instead of protection? How would you handle a similar situation now?
Coming Up Next...
Chapter 164: When the Truth Comes Out
Count Rostóv's willful ignorance won't last long. Sometimes the truth has a way of forcing itself into the light, no matter how hard we try to keep it buried.




