This time the comrades rented the bungalow opposite the hospital. A musician was there ready to play on his violin if all were well. For a mile around every cab had been hired to render pursuit difficult. But what was to be done with the soldier who was posted at the gate and who could easily prevent Kropotkin from gaining the street, by merely stepping in front of him with lowered bayonet? Ah, the comrades, like Chitchikoff in Gogol's _Dead Souls_, had an idea. This soldier had once worked in the laboratory of the hospital, and therefore they appointed one of their number to divert his attention by a discussion on microscopes. At four o'clock Kropotkin was escorted to the yard. He waited a moment, wiped his brow as if it were hot, and took off his hat. From the little gray house a violin sounded. The tones fell sweetly on Kropotkin's ears. He moved toward the gate intending to run in a moment. Suddenly--the music ceased. His heart hurt. Something writhed. One painful minute passed ... Two ... Three ... Four ... Five ... Ten minutes ... No music ... A quarter of an hour.... Some heavily loaded carts entered the gate, and Kropotkin understood the cause of the interruption. Immediately the violin trilled. Kropotkin listened with interest. The musician was talented, and performed with much feeling. You felt that if three of the strings broke, like Paganini he would still make ravishing music on the fourth. Moreover his technique was perfect. He was playing a mazurka from Kontsky--wild, eager, thrilling,--a mad mazurka. It attracted Kropotkin like a magnet. It pulled him to the end of the footpath. He trembled lest it should stop again, but the intoxicated sounds floated over the prison yard, louder and louder, with ever-increasing passion and freedom. Kropotkin glanced at the sentry. This hero followed a line parallel to his, but five paces nearer the gate. He was supposed to walk directly behind the prisoner, but as Kropotkin always crawled feebly along at a snail's pace, the able-bodied sentry who was too vigorous to creep, hit upon the above device. Five paces nearer the gate--that was bad. But the sentry was only a sentry, while Peter Kropotkin was a mathematician and a psychologist. He calculated that if he began to run, the soldier instead of heading directly for the gate to cut off his escape, would obey his natural instinct and endeavor to seize him as quickly as possible. He would thus describe two sides of a triangle, of which Kropotkin would describe the third alone. Fortissimo--how loudly that violin played! Kropotkin ran!