An excerpt from the original text.(complete · 1278 words)
oscow’s last day had come. It was a clear bright autumn day, a Sunday.
The church bells everywhere were ringing for service, just as usual on
Sundays. Nobody seemed yet to realize what awaited the city.
Only two things indicated the social condition of Moscow—the rabble,
that is the poor people, and the price of commodities. An enormous crowd
of factory hands, house serfs, and peasants, with whom some officials,
seminarists, and gentry were mingled, had gone early that morning to
the Three Hills. Having waited there for Rostopchín who did not turn
up, they became convinced that Moscow would be surrendered, and then
dispersed all about the town to the public houses and cookshops. Prices
too that day indicated the state of affairs. The price of weapons, of
gold, of carts and horses, kept rising, but the value of paper money and
city articles kept falling, so that by midday there were instances of
carters removing valuable goods, such as cloth, and receiving in payment
a half of what they carted, while peasant horses were fetching five
hundred rubles each, and furniture, mirrors, and bronzes were being
given away for nothing.
In the Rostóvs’ staid old-fashioned house the dissolution of former
conditions of life was but little noticeable. As to the serfs the only
indication was that three out of their huge retinue disappeared
during the night, but nothing was stolen; and as to the value of their
possessions, the thirty peasant carts that had come in from their
estates and which many people envied proved to be extremely valuable and
they were offered enormous sums of money for them. Not only were huge
sums offered for the horses and carts, but on the previous evening and
early in the morning of the first of September, orderlies and servants
sent by wounded officers came to the Rostóvs’ and wounded men dragged
themselves there from the Rostóvs’ and from neighboring houses where
they were accommodated, entreating the servants to try to get them
a lift out of Moscow. The major-domo to whom these entreaties were
addressed, though he was sorry for the wounded, resolutely refused,
saying that he dare not even mention the matter to the count. Pity these
wounded men as one might, it was evident that if they were given one
cart there would be no reason to refuse another, or all the carts and
one’s own carriages as well. Thirty carts could not save all the wounded
and in the general catastrophe one could not disregard oneself and one’s
own family. So thought the major-domo on his master’s behalf.
On waking up that morning Count Ilyá Rostóv left his bedroom softly, so
as not to wake the countess who had fallen asleep only toward morning,
and came out to the porch in his lilac silk dressing gown. In the yard
stood the carts ready corded. The carriages were at the front porch.
The major-domo stood at the porch talking to an elderly orderly and to
a pale young officer with a bandaged arm. On seeing the count the
major-domo made a significant and stern gesture to them both to go away.
“Well, Vasílich, is everything ready?” asked the count, and stroking his
bald head he looked good-naturedly at the officer and the orderly and
nodded to them. (He liked to see new faces.)
“We can harness at once, your excellency.”
“Well, that’s right. As soon as the countess wakes we’ll be off, God
willing! What is it, gentlemen?” he added, turning to the officer. “Are
you staying in my house?”
The officer came nearer and suddenly his face flushed crimson.
“Count, be so good as to allow me... for God’s sake, to get into some
corner of one of your carts! I have nothing here with me.... I shall be
all right on a loaded cart....”
Before the officer had finished speaking the orderly made the same
request on behalf of his master.
“Oh, yes, yes, yes!” said the count hastily. “I shall be very pleased,
very pleased. Vasílich, you’ll see to it. Just unload one or two carts.
Well, what of it... do what’s necessary...” said the count, muttering
some indefinite order.
But at the same moment an expression of warm gratitude on the officer’s
face had already sealed the order. The count looked around him. In the
yard, at the gates, at the window of the wings, wounded officers and
their orderlies were to be seen. They were all looking at the count and
moving toward the porch.
“Please step into the gallery, your excellency,” said the major-domo.
“What are your orders about the pictures?”
The count went into the house with him, repeating his order not to
refuse the wounded who asked for a lift.
“Well, never mind, some of the things can be unloaded,” he added in a
soft, confidential voice, as though afraid of being overheard.
At nine o’clock the countess woke up, and Matrëna Timoféevna, who had
been her lady’s maid before her marriage and now performed a sort of
chief gendarme’s duty for her, came to say that Madame Schoss was much
offended and the young ladies’ summer dresses could not be left behind.
On inquiry, the countess learned that Madame Schoss was offended because
her trunk had been taken down from its cart, and all the loads were
being uncorded and the luggage taken out of the carts to make room for
wounded men whom the count in the simplicity of his heart had ordered
that they should take with them. The countess sent for her husband.
“What is this, my dear? I hear that the luggage is being unloaded.”
“You know, love, I wanted to tell you... Countess dear... an officer
came to me to ask for a few carts for the wounded. After all, ours are
things that can be bought but think what being left behind means to
them!... Really now, in our own yard—we asked them in ourselves and
there are officers among them.... You know, I think, my dear... let them
be taken... where’s the hurry?”
The count spoke timidly, as he always did when talking of money matters.
The countess was accustomed to this tone as a precursor of news of
something detrimental to the children’s interests, such as the building
of a new gallery or conservatory, the inauguration of a private theater
or an orchestra. She was accustomed always to oppose anything announced
in that timid tone and considered it her duty to do so.
She assumed her dolefully submissive manner and said to her husband:
“Listen to me, Count, you have managed matters so that we are getting
nothing for the house, and now you wish to throw away all our—all the
children’s property! You said yourself that we have a hundred thousand
rubles’ worth of things in the house. I don’t consent, my dear, I don’t!
Do as you please! It’s the government’s business to look after the
wounded; they know that. Look at the Lopukhíns opposite, they cleared
out everything two days ago. That’s what other people do. It’s only
we who are such fools. If you have no pity on me, have some for the
children.”
Flourishing his arms in despair the count left the room without
replying.
“Papa, what are you doing that for?” asked Natásha, who had followed him
into her mother’s room.
“Nothing! What business is it of yours?” muttered the count angrily.
“But I heard,” said Natásha. “Why does Mamma object?”
“What business is it of yours?” cried the count.
Natásha stepped up to the window and pondered.
“Papa! Here’s Berg coming to see us,” said she, looking out of the
window.
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Let's Analyse the Pattern
Emergency situations strip away social pretenses and force people to act from their deepest values and automatic responses.
Why This Matters
Connect literature to life
This chapter teaches how to identify people's deepest values by watching their automatic responses when pressure hits.
Practice This Today
This week, notice when someone faces a small crisis—do they help first or protect first, include others or circle the wagons?
Now let's explore the literary elements.
Key Quotes & Analysis
"What does it matter what we take away? Look at them! We can't leave them! It's impossible!"
Context: When he sees wounded officers begging for space in their evacuation carts
This shows the Count's immediate moral response - he can't ignore human suffering even if it costs his family. His repetition of 'impossible' reveals how deeply he feels the moral obligation to help.
In Today's Words:
How can we worry about our stuff when people are literally dying? We have to help them!
"We have been packing all night and have not slept, and now you want to throw away all our work and leave our children as beggars!"
Context: Her angry response to her husband giving away cart space to wounded soldiers
She voices every parent's fear about sacrificing their children's security for strangers. Her exhaustion and panic make her sound selfish, but she's protecting her family's future.
In Today's Words:
I've been working all night to save our family, and now you want to give it all away to people we don't even know!
"Mama, it's not right! Please, let them have the carts!"
Context: Supporting her father's decision to help the wounded officers
Young Natasha instinctively chooses compassion over possessions, showing her moral clarity. Her simple 'it's not right' cuts through adult complexity to basic human decency.
In Today's Words:
Mom, this is wrong! We have to help these people!
Thematic Threads
Class
In This Chapter
The Rostovs' wealth creates the luxury of moral choice—they can afford generosity while others cannot
Development
Evolved from earlier displays of aristocratic privilege to show how class affects moral decision-making
In Your Life:
Your economic position determines which moral choices feel possible versus impossible
Identity
In This Chapter
Count and Countess reveal their core identities through crisis responses—giver versus protector
Development
Builds on character establishment to show identity under extreme pressure
In Your Life:
Crisis moments reveal who you really are beneath your social mask
Social Expectations
In This Chapter
The Countess references what 'other families' do, using social norms to justify self-protection
Development
Continues theme of social pressure influencing personal choices
In Your Life:
You might justify difficult decisions by pointing to what others in your situation typically do
Personal Growth
In This Chapter
Natasha observes her parents' moral conflict, learning about competing values in real time
Development
Continues Natasha's education through witnessing adult complexity
In Your Life:
Watching others navigate moral dilemmas teaches you about your own potential choices
Human Relationships
In This Chapter
Marriage tensions emerge when spouses have different crisis values and priorities
Development
Shows how external pressure tests intimate relationships
In Your Life:
Stress reveals whether you and your partner share the same fundamental values
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
What specific actions did Count Rostov and the Countess take when they discovered wounded soldiers needed help, and why did their responses create conflict?
analysis • surface - 2
Why do you think the Count immediately said yes to helping the soldiers while the Countess immediately fought to protect their belongings? What does this reveal about their different approaches to crisis?
analysis • medium - 3
Think about recent emergencies in your community or workplace. Can you identify people who defaulted to helping others versus those who focused on protecting their own interests first?
application • medium - 4
If you were in Natasha's position, watching your parents clash over this decision, how would you handle being caught between their competing values?
application • deep - 5
What does this family crisis teach us about how people reveal their true priorities when normal life breaks down, and why is this knowledge useful for navigating relationships?
reflection • deep
Critical Thinking Exercise
Map Your Crisis Values
Think about a recent stressful situation in your life - a family emergency, workplace crisis, or community problem. Write down your immediate reaction and actions. Then identify whether your default response was to help/include others or protect/secure your own interests first. Neither is wrong - both serve important purposes.
Consider:
- •Your crisis response reveals your deepest programming, not a character flaw
- •Recognizing your pattern helps you prepare for future emergencies
- •Understanding others' crisis patterns helps you predict and work with their responses
Journaling Prompt
Write about a time when you had to choose between helping someone else and protecting your own interests. What did you choose and why? How did that choice reflect your core values?
Coming Up Next...
Chapter 245: The Furniture and the Wounded
Berg's arrival promises to add another layer of complexity to the Rostov family's evacuation crisis. Will his presence help resolve the tension between the count and countess, or create new complications as Moscow's final hours tick away?




