An excerpt from the original text.(complete · 1383 words)
n Saturday, the thirty-first of August, everything in the Rostóvs’
house seemed topsy-turvy. All the doors were open, all the furniture was
being carried out or moved about, and the mirrors and pictures had been
taken down. There were trunks in the rooms, and hay, wrapping paper, and
ropes were scattered about. The peasants and house serfs carrying out
the things were treading heavily on the parquet floors. The yard was
crowded with peasant carts, some loaded high and already corded up,
others still empty.
The voices and footsteps of the many servants and of the peasants who
had come with the carts resounded as they shouted to one another in
the yard and in the house. The count had been out since morning. The
countess had a headache brought on by all the noise and turmoil and was
lying down in the new sitting room with a vinegar compress on her head.
Pétya was not at home, he had gone to visit a friend with whom he meant
to obtain a transfer from the militia to the active army. Sónya was in
the ballroom looking after the packing of the glass and china. Natásha
was sitting on the floor of her dismantled room with dresses, ribbons,
and scarves strewn all about her, gazing fixedly at the floor and
holding in her hands the old ball dress (already out of fashion) which
she had worn at her first Petersburg ball.
Natásha was ashamed of doing nothing when everyone else was so busy, and
several times that morning had tried to set to work, but her heart was
not in it, and she could not and did not know how to do anything except
with all her heart and all her might. For a while she had stood beside
Sónya while the china was being packed and tried to help, but soon gave
it up and went to her room to pack her own things. At first she found it
amusing to give away dresses and ribbons to the maids, but when that was
done and what was left had still to be packed, she found it dull.
“Dunyásha, you pack! You will, won’t you, dear?” And when Dunyásha
willingly promised to do it all for her, Natásha sat down on the floor,
took her old ball dress, and fell into a reverie quite unrelated to what
ought to have occupied her thoughts now. She was roused from her reverie
by the talk of the maids in the next room (which was theirs) and by the
sound of their hurried footsteps going to the back porch. Natásha got
up and looked out of the window. An enormously long row of carts full of
wounded men had stopped in the street.
The housekeeper, the old nurse, the cooks, coachmen, maids, footmen,
postilions, and scullions stood at the gate, staring at the wounded.
Natásha, throwing a clean pocket handkerchief over her hair and holding
an end of it in each hand, went out into the street.
The former housekeeper, old Mávra Kuzmínichna, had stepped out of the
crowd by the gate, gone up to a cart with a hood constructed of bast
mats, and was speaking to a pale young officer who lay inside.
Natásha moved a few steps forward and stopped shyly, still holding her
handkerchief, and listened to what the housekeeper was saying.
“Then you have nobody in Moscow?” she was saying. “You would be more
comfortable somewhere in a house... in ours, for instance... the family
are leaving.”
“I don’t know if it would be allowed,” replied the officer in a weak
voice. “Here is our commanding officer... ask him,” and he pointed to a
stout major who was walking back along the street past the row of carts.
Natásha glanced with frightened eyes at the face of the wounded officer
and at once went to meet the major.
“May the wounded men stay in our house?” she asked.
The major raised his hand to his cap with a smile.
“Which one do you want, Ma’am’selle?” said he, screwing up his eyes and
smiling.
Natásha quietly repeated her question, and her face and whole
manner were so serious, though she was still holding the ends of her
handkerchief, that the major ceased smiling and after some reflection—as
if considering in how far the thing was possible—replied in the
affirmative.
“Oh yes, why not? They may,” he said.
With a slight inclination of her head, Natásha stepped back quickly to
Mávra Kuzmínichna, who stood talking compassionately to the officer.
“They may. He says they may!” whispered Natásha.
The cart in which the officer lay was turned into the Rostóvs’ yard,
and dozens of carts with wounded men began at the invitation of the
townsfolk to turn into the yards and to draw up at the entrances of the
houses in Povarskáya Street. Natásha was evidently pleased to be dealing
with new people outside the ordinary routine of her life. She and Mávra
Kuzmínichna tried to get as many of the wounded as possible into their
yard.
“Your Papa must be told, though,” said Mávra Kuzmínichna.
“Never mind, never mind, what does it matter? For one day we can move
into the drawing room. They can have all our half of the house.”
“There now, young lady, you do take things into your head! Even if we
put them into the wing, the men’s room, or the nurse’s room, we must ask
permission.”
“Well, I’ll ask.”
Natásha ran into the house and went on tiptoe through the half-open door
into the sitting room, where there was a smell of vinegar and Hoffman’s
drops.
“Are you asleep, Mamma?”
“Oh, what sleep—?” said the countess, waking up just as she was dropping
into a doze.
“Mamma darling!” said Natásha, kneeling by her mother and bringing her
face close to her mother’s, “I am sorry, forgive me, I’ll never do it
again; I woke you up! Mávra Kuzmínichna has sent me: they have brought
some wounded here—officers. Will you let them come? They have nowhere to
go. I knew you’d let them come!” she said quickly all in one breath.
“What officers? Whom have they brought? I don’t understand anything
about it,” said the countess.
Natásha laughed, and the countess too smiled slightly.
“I knew you’d give permission... so I’ll tell them,” and, having kissed
her mother, Natásha got up and went to the door.
In the hall she met her father, who had returned with bad news.
“We’ve stayed too long!” said the count with involuntary vexation. “The
Club is closed and the police are leaving.”
“Papa, is it all right—I’ve invited some of the wounded into the house?”
said Natásha.
“Of course it is,” he answered absently. “That’s not the point. I beg
you not to indulge in trifles now, but to help to pack, and tomorrow we
must go, go, go!...”
And the count gave a similar order to the major-domo and the servants.
At dinner Pétya having returned home told them the news he had heard.
He said the people had been getting arms in the Krémlin, and that though
Rostopchín’s broadsheet had said that he would sound a call two or three
days in advance, the order had certainly already been given for everyone
to go armed to the Three Hills tomorrow, and that there would be a big
battle there.
The countess looked with timid horror at her son’s eager, excited face
as he said this. She realized that if she said a word about his not
going to the battle (she knew he enjoyed the thought of the impending
engagement) he would say something about men, honor, and the
fatherland—something senseless, masculine, and obstinate which there
would be no contradicting, and her plans would be spoiled; and so,
hoping to arrange to leave before then and take Pétya with her as their
protector and defender, she did not answer him, but after dinner called
the count aside and implored him with tears to take her away quickly,
that very night if possible. With a woman’s involuntary loving cunning
she, who till then had not shown any alarm, said that she would die of
fright if they did not leave that very night. Without any pretense she
was now afraid of everything.
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Let's Analyse the Pattern
Under pressure, people default to their core nature as social masks fall away and true character emerges.
Why This Matters
Connect literature to life
This chapter teaches how to recognize that people's crisis behavior reveals their core values, not their character flaws.
Practice This Today
Next time someone reacts 'badly' to stress at work or home, ask what their response reveals about their fears rather than judging their methods.
Now let's explore the literary elements.
Key Quotes & Analysis
"Natasha was ashamed of doing nothing when everyone else was so busy"
Context: While the household frantically packs, Natasha sits motionless in her room
This shows how guilt can paralyze us during crisis. Sometimes the pressure to 'do something' makes us freeze up completely. Natasha feels ashamed but can't move past her overwhelm.
In Today's Words:
She felt guilty for just sitting there while everyone else was running around getting stuff done
"The old ball dress (already out of fashion) which she had worn at her first Petersburg ball"
Context: Natasha holds onto a dress from her past while everything changes around her
The dress represents her lost innocence and carefree past. It's already out of fashion, just like that version of herself. She's mourning who she used to be.
In Today's Words:
That old outfit from when life was simple and fun, before everything got complicated
"The countess had a headache brought on by all the noise and turmoil"
Context: The mother retreats to her room during the family evacuation
Physical symptoms often mask emotional overwhelm. The countess can't handle the chaos and stress, so her body shuts down. It's a common response to feeling powerless.
In Today's Words:
Mom got a stress headache from all the crazy stuff happening and had to lie down
Thematic Threads
Class
In This Chapter
The wealthy Rostovs face the same vulnerability as everyone else when Moscow falls—money can't buy safety from war
Development
Continues the theme of aristocratic privilege being stripped away by historical forces
In Your Life:
Economic downturns reveal that job security and financial stability are more fragile than they appear
Identity
In This Chapter
Natasha holds her ball dress, symbolizing how her old identity as carefree socialite no longer fits her reality
Development
Natasha's identity continues evolving from naive girl to woman shaped by loss and responsibility
In Your Life:
Major life transitions force you to let go of who you used to be to become who you need to be
Personal Growth
In This Chapter
Natasha moves from paralysis to action when she sees others in need, discovering her capacity for leadership
Development
Shows Natasha's continued maturation through adversity and service to others
In Your Life:
Growth often happens when you stop focusing on your own problems and start helping others with theirs
Human Relationships
In This Chapter
Family dynamics shift as each member copes differently—some retreat, others take charge, revealing relationship patterns
Development
Continues exploring how crisis tests and transforms family bonds
In Your Life:
Family emergencies show you which relatives you can count on and which ones disappear when things get hard
Social Expectations
In This Chapter
Normal social rules collapse as aristocrats offer their homes to wounded soldiers—crisis breaks down class barriers
Development
War continues dismantling the rigid social hierarchies that seemed permanent
In Your Life:
Emergency situations reveal that many social rules are just conventions that disappear when real needs arise
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
What different ways do the Rostov family members react to the crisis of evacuating Moscow?
analysis • surface - 2
Why does Natasha snap out of her paralysis when she sees the wounded soldiers, but stays frozen when dealing with her own family's evacuation?
analysis • medium - 3
Think about a recent crisis in your community or workplace. How did different people's true personalities emerge under pressure?
application • medium - 4
When you're overwhelmed by your own problems, what helps you shift focus to helping others? What gets in the way?
application • deep - 5
What does this chapter suggest about the difference between who we think we are and who we actually are when everything falls apart?
reflection • deep
Critical Thinking Exercise
Map Your Crisis Response Pattern
Think of three different stressful situations you've experienced - maybe a family emergency, job loss, relationship conflict, or health scare. Write down your first instinct in each situation: Did you jump into action, withdraw and hide, freeze up, or immediately start helping others? Look for patterns in your responses across different types of crisis.
Consider:
- •Notice whether your response changes based on whether the crisis affects you directly or others
- •Consider whether your first reaction served you well or created additional problems
- •Think about what your default response reveals about your core values and fears
Journaling Prompt
Write about a time when crisis revealed something about yourself that surprised you - either positively or negatively. What did you learn about who you really are under pressure?
Coming Up Next...
Chapter 243: Crisis Leadership and Unexpected Returns
As the Rostovs prepare for their final departure from Moscow, a familiar face appears among the wounded soldiers - someone whose presence will change everything for Natasha and force the family to confront what truly matters when everything else is lost.




