chains

Chains are the most pervasive and visible symbol of the penal system in Resurrection, marking every convict from the moment of sentencing and accompanying them through the entire journey to Siberia. They are not merely functional restraints but instruments of degradation, public shame, and the systematic dehumanization that Tolstoy condemns throughout the novel. Their constant clanking, the physical pain they cause, and the way they transform men into a uniform mass of suffering creatures make chains the novel's central emblem of the state's cruelty and the absurdity of legal punishment.

Appearance and Physical Reality

Chains are introduced as an immediate, inescapable part of the convict's identity. When the prisoners are brought into the church for the prison mass, the men sentenced to penal servitude are distinguished by the fact that each has half his head shaved, and their presence is indicated by "the clanking of the chains on their feet" . The sound is so constant and so defining that it becomes a kind of auditory signature of the convict world. The chains are not merely heard; they are felt. They bruise the thin ankles of the prisoners, and when the convicts fall down and rise again during the service, the chains rattle with every movement. The physical burden is relentless: the chains prevent an old man from lifting his legs to climb onto a cart, and they catch the feet of other prisoners as they walk. The chains are also a source of constant noise, a metallic clatter that mingles with the coughing, the crying of babies, and the voices of the guards, creating a cacophony of suffering that defines every prison scene.

Symbol of Degradation and Dehumanization

Beyond their physical weight, chains serve as a primary tool of degradation. They are part of a uniform that strips the convict of his individuality and humanity. The shaved heads and the chains together create a visual uniformity that makes the prisoners seem, to Nekhludoff, "not men but some sort of strange and terrible creatures" . The chains are a public mark of shame, a visible sign that the wearer has been cast out of society. This is most powerfully illustrated when the gang of prisoners marches through the streets of a town. The sight of the chained men, women, and even children attracts a mixture of horror and compassion from onlookers. A well-dressed family in a fine carriage is forced to wait while the procession passes, and the children in the carriage are left to interpret the meaning of the spectacle. The chains are the most visible element of this terrible procession, the thing that most clearly separates the convicts from the free world.

The Process of Removal and Reapplication

The management of chains is a constant, bureaucratic process that underscores the mechanical nature of the penal system. On the train to Siberia, convoy soldiers move through the carriages, using a key to unlock the manacles from the hands of the prisoners and collecting them . This act of removal is not an act of mercy but a routine procedure for transport. The chains are then reapplied at the next stage of the journey. The incident with the exile Bousovkin, who has been carrying his small daughter all the way from Tomsk, reveals the arbitrary cruelty of the system. When the officer orders him to be manacled, Bousovkin protests that he cannot carry the child if his hands are chained. The officer, in a fit of rage, beats him and orders the child taken away. The chains are here used not just as a restraint but as a tool of power and humiliation, a way to enforce absolute obedience. The officer's command to "on with them" is a casual, brutal order that prioritizes the rule over the human reality.

Chains and the Journey to Siberia

Throughout the long march to Siberia, the chains are a constant companion. The sound of clanking chains is the first thing heard when the prison gates open, and it continues as the gang moves along the muddy high road. The chains are a source of constant friction and pain, and they slow the prisoners' progress. The weak and the sick are sometimes allowed to ride on carts, but the chains remain, a reminder that even in a moment of relative ease, they are still prisoners. The chains also serve to link the prisoners together, both literally and figuratively. They are chained in couples, their fates bound together by the metal. This physical connection creates a shared identity of suffering, but it also makes the journey more difficult, as one prisoner's stumble can affect his partner. The chains are the final, inescapable reality of the convict's life, a symbol of the state's power that follows them from the courtroom to the grave.