An excerpt from the original text.(complete · 1274 words)
he French evacuation began on the night between the sixth and seventh
of October: kitchens and sheds were dismantled, carts loaded, and troops
and baggage trains started.
At seven in the morning a French convoy in marching trim, wearing shakos
and carrying muskets, knapsacks, and enormous sacks, stood in front
of the sheds, and animated French talk mingled with curses sounded all
along the lines.
In the shed everyone was ready, dressed, belted, shod, and only awaited
the order to start. The sick soldier, Sokolóv, pale and thin with dark
shadows round his eyes, alone sat in his place barefoot and not dressed.
His eyes, prominent from the emaciation of his face, gazed inquiringly
at his comrades who were paying no attention to him, and he moaned
regularly and quietly. It was evidently not so much his sufferings that
caused him to moan (he had dysentery) as his fear and grief at being
left alone.
Pierre, girt with a rope round his waist and wearing shoes Karatáev had
made for him from some leather a French soldier had torn off a tea chest
and brought to have his boots mended with, went up to the sick man and
squatted down beside him.
“You know, Sokolóv, they are not all going away! They have a hospital
here. You may be better off than we others,” said Pierre.
“O Lord! Oh, it will be the death of me! O Lord!” moaned the man in a
louder voice.
“I’ll go and ask them again directly,” said Pierre, rising and going to
the door of the shed.
Just as Pierre reached the door, the corporal who had offered him a
pipe the day before came up to it with two soldiers. The corporal and
soldiers were in marching kit with knapsacks and shakos that had metal
straps, and these changed their familiar faces.
The corporal came, according to orders, to shut the door. The prisoners
had to be counted before being let out.
“Corporal, what will they do with the sick man?...” Pierre began.
But even as he spoke he began to doubt whether this was the corporal
he knew or a stranger, so unlike himself did the corporal seem at that
moment. Moreover, just as Pierre was speaking a sharp rattle of drums
was suddenly heard from both sides. The corporal frowned at Pierre’s
words and, uttering some meaningless oaths, slammed the door. The shed
became semidark, and the sharp rattle of the drums on two sides drowned
the sick man’s groans.
“There it is!... It again!...” said Pierre to himself, and an
involuntary shudder ran down his spine. In the corporal’s changed face,
in the sound of his voice, in the stirring and deafening noise of the
drums, he recognized that mysterious, callous force which compelled
people against their will to kill their fellow men—that force the effect
of which he had witnessed during the executions. To fear or to try to
escape that force, to address entreaties or exhortations to those who
served as its tools, was useless. Pierre knew this now. One had to wait
and endure. He did not again go to the sick man, nor turn to look at
him, but stood frowning by the door of the hut.
When that door was opened and the prisoners, crowding against one
another like a flock of sheep, squeezed into the exit, Pierre pushed
his way forward and approached that very captain who as the corporal had
assured him was ready to do anything for him. The captain was also in
marching kit, and on his cold face appeared that same it which Pierre
had recognized in the corporal’s words and in the roll of the drums.
“Pass on, pass on!” the captain reiterated, frowning sternly, and
looking at the prisoners who thronged past him.
Pierre went up to him, though he knew his attempt would be vain.
“What now?” the officer asked with a cold look as if not recognizing
Pierre.
Pierre told him about the sick man.
“He’ll manage to walk, devil take him!” said the captain. “Pass on, pass
on!” he continued without looking at Pierre.
“But he is dying,” Pierre again began.
“Be so good...” shouted the captain, frowning angrily.
“Dram-da-da-dam, dam-dam...” rattled the drums, and Pierre understood
that this mysterious force completely controlled these men and that it
was now useless to say any more.
The officer prisoners were separated from the soldiers and told to march
in front. There were about thirty officers, with Pierre among them, and
about three hundred men.
The officers, who had come from the other sheds, were all strangers to
Pierre and much better dressed than he. They looked at him and at his
shoes mistrustfully, as at an alien. Not far from him walked a fat major
with a sallow, bloated, angry face, who was wearing a Kazán dressing
gown tied round with a towel, and who evidently enjoyed the respect of
his fellow prisoners. He kept one hand, in which he clasped his tobacco
pouch, inside the bosom of his dressing gown and held the stem of his
pipe firmly with the other. Panting and puffing, the major grumbled and
growled at everybody because he thought he was being pushed and that
they were all hurrying when they had nowhere to hurry to and were
all surprised at something when there was nothing to be surprised at.
Another, a thin little officer, was speaking to everyone, conjecturing
where they were now being taken and how far they would get that day. An
official in felt boots and wearing a commissariat uniform ran round from
side to side and gazed at the ruins of Moscow, loudly announcing his
observations as to what had been burned down and what this or that part
of the city was that they could see. A third officer, who by his accent
was a Pole, disputed with the commissariat officer, arguing that he was
mistaken in his identification of the different wards of Moscow.
“What are you disputing about?” said the major angrily. “What does it
matter whether it is St. Nicholas or St. Blasius? You see it’s burned
down, and there’s an end of it.... What are you pushing for? Isn’t the
road wide enough?” said he, turning to a man behind him who was not
pushing him at all.
“Oh, oh, oh! What have they done?” the prisoners on one side and another
were heard saying as they gazed on the charred ruins. “All beyond the
river, and Zúbova, and in the Krémlin.... Just look! There’s not half of
it left. Yes, I told you—the whole quarter beyond the river, and so it
is.”
“Well, you know it’s burned, so what’s the use of talking?” said the
major.
As they passed near a church in the Khamóvniki (one of the few unburned
quarters of Moscow) the whole mass of prisoners suddenly started to one
side and exclamations of horror and disgust were heard.
“Ah, the villains! What heathens! Yes; dead, dead, so he is... And
smeared with something!”
Pierre too drew near the church where the thing was that evoked these
exclamations, and dimly made out something leaning against the palings
surrounding the church. From the words of his comrades who saw better
than he did, he found that this was the body of a man, set upright
against the palings with its face smeared with soot.
“Go on! What the devil... Go on! Thirty thousand devils!...” the convoy
guards began cursing and the French soldiers, with fresh virulence,
drove away with their swords the crowd of prisoners who were gazing at
the dead man.
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Let's Analyse the Pattern
When people's institutional roles systematically suppress their individual humanity and conscience.
Why This Matters
Connect literature to life
This chapter teaches how to recognize when systems activate emergency protocols that shut down individual discretion and human connection.
Practice This Today
This week, notice when customer service reps, nurses, or clerks suddenly become robotic—watch for the shift from person to role.
Now let's explore the literary elements.
Key Quotes & Analysis
"You know, Sokolov, they are not all going away! They have a hospital here. You may be better off than we others"
Context: Pierre tries to comfort the dying Sokolov as the evacuation begins
Pierre's desperate attempt to find hope in a hopeless situation shows his refusal to accept the system's cruelty. His words ring hollow because he knows, and we know, that Sokolov is being abandoned to die.
In Today's Words:
Don't worry, they'll take care of you here - everything will be fine
"O Lord! Oh, it will be the death of me! O Lord!"
Context: The sick prisoner's response to Pierre's false comfort
Sokolov's raw terror and despair cuts through Pierre's well-meaning lies. His repeated appeals to God highlight his complete powerlessness and the absence of human mercy in his situation.
In Today's Words:
This is going to kill me - somebody help me!
"That mysterious, callous force that compelled people to kill their fellow men"
Context: Pierre's realization about what he's witnessing during the evacuation
This captures the central horror Pierre discovers - that ordinary humans can become instruments of systematic cruelty when caught up in institutional machinery. It's not personal evil, but something more frightening.
In Today's Words:
That cold, impersonal system that turns good people into heartless enforcers
Thematic Threads
Power
In This Chapter
Institutional power transforms individuals into functionaries who abandon personal conscience
Development
Evolved from earlier themes about personal power to reveal how systemic power operates
In Your Life:
You see this when your normally understanding boss becomes cold during budget cuts
Identity
In This Chapter
The corporal's identity shifts from individual person to institutional role, making him unrecognizable
Development
Builds on Pierre's identity struggles to show how institutions reshape identity
In Your Life:
You might notice yourself becoming 'different' when you put on your work uniform or enter certain environments
Human Relationships
In This Chapter
Personal connections dissolve when institutional pressures activate, making familiar people strangers
Development
Continues the theme of how external forces strain human bonds
In Your Life:
Relationships can suddenly feel hollow when one person prioritizes their role over the connection
Social Expectations
In This Chapter
The expectation to follow orders and maintain efficiency overrides moral considerations
Development
Shows how social expectations can become coercive forces that eliminate choice
In Your Life:
You feel pressure to 'just do your job' even when it conflicts with your values
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
What changed about the corporal between yesterday and today when Pierre approached him about the sick prisoner?
analysis • surface - 2
Why does Pierre call it 'that mysterious, callous force' - what exactly is this force and how does it work?
analysis • medium - 3
Where have you seen people become 'different' when they're in their work role versus their personal life?
application • medium - 4
If you were in Pierre's situation, knowing that individual appeals won't work, what strategies would you try instead?
application • deep - 5
What does this chapter suggest about when we can and cannot rely on human decency to protect us?
reflection • deep
Critical Thinking Exercise
Map Your Institutional Encounters
Think of a recent frustrating experience with a hospital, government office, school, or large company. Write down the specific moment when you felt the person helping you 'switched off' their individual humanity and became purely procedural. Now analyze what institutional pressures might have caused that switch - deadlines, quotas, policies, or consequences they face.
Consider:
- •The person may genuinely want to help but face system constraints you can't see
- •Institutional roles often require people to suppress their natural empathy to function
- •Understanding the system helps you navigate it more effectively than fighting individuals
Journaling Prompt
Write about a time when you felt yourself 'switching off' your natural responses because of job requirements, family expectations, or social pressure. How did it feel, and what would have helped you maintain your humanity in that situation?
Coming Up Next...
Chapter 293: The Chaos of Retreat
The march continues as Pierre grapples with his new understanding of power and helplessness. Among the other officer prisoners, he observes how different people cope with their shared captivity, each revealing their character through how they handle uncertainty and loss of control.




