The Last Days of Pekin — Inside the Classic
Edition facts
This digital edition of The Last Days of Pekin — Inside the Classic is described by source-level measurements including 69,337 words, 5 hr 2 min estimated reading time, and 9 detected text sections.
The text analysis averages about 28.4 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Beijing (China) -- Description and travel,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
o one to be seen in the long devastated streets where the framework of the houses, as well as the tiles and the bricks, had tumbled down. Crows croaked in the silence. Horrible dogs who feed on the dead fled before us, hanging their tails. We had glimpses of Chinese prowlers, wretched-looking creatures, trying to find something to steal, or of some of the dispossessed timidly creeping along the walls attempting to find out what has become of their homes.
The sun is already low, and the wind is rising as it does every night. We shiver with the sudden cold. Empty houses fill the shadows.
These houses are all of considerable extent, with recesses, a succession of courts, rock work, basins, and melancholy gardens. Crossing the threshold, guarded by the ever-present granite monsters worn by the rubbing of hands, one finds oneself in an endless series of apartments. The intimate details of Chinese life are touchingly and graciously revealed by the arrangement of potted plants, flowerbeds, and little balconies where bindweed and other vines are trained.
Here, surrounded with playthings, is a poor doll, which doubtless belonged to some child whose head has been broken; there a cage hangs with the bird still in it, dried up in one corner with its feet in the air.
Everything is sacked, removed, or destroyed; furniture is broken, the contents of drawers thrown about the floors, papers, blood-stained clothing, Chinese women's shoes spattered with blood, and here and there limbs, hands, heads, and clumps of hair.
In certain of the gardens neglected plants continue to blossom gaily, running over into the walks amongst the human remains. Around an arbor which conceals the body of a woman, twines pink convolvulus in blossoming garlands. The blossom is still open at this late hour of the day and in spite of the cold nights, which quite upsets our European ideas of convolvulus.
In one of the houses back in a recess in a dark loft, something moves! Two women cower pitifully! Finding themselves discovered, they are seized with terror and fall at our feet, trembling, weeping, clasping their hands, and begging for mercy. One is young, the other older, and they look alike. Mother and daughter! "Pardon, sir, pardon; we are afraid," translates little Toum naïvely, understanding their broken words. Evidently they expect the worst of us--and then death. For how long have they lived in this hole, these two poor things, thinking with each step that resounds on the pavement of the deserted court that their end has come? We leave them a few pieces of silver, which perhaps humiliates without helping them, but it is all that we can do, and then we go.
Another house, a house of the rich this one is, with a profusion of potted plants in enamelled porcelain jars in the sad little garden. In an apartment that is already dark (for decidedly night is coming on, the uncertainty of twilight is beginning), but where the havoc is less extensive, for there are great chests and beautiful arm-chairs still intact, Osman suddenly recoils with terror before something which emerges from a bucket placed upon a board. Two torn thighs, the whole lower part of a woman thrust into this bucket with the feet in the air! Undoubtedly the mistress of this elegant home. Her body? Who knows what has been done with the body? But here is the head, under this arm-chair, near the skeleton of a cat. The mouth is open, showing the teeth, and the hair is long.
In addition to the broad, almost straight streets whose desolation is visible from one end to the other, there are little tortuous streets leading up to gray walls. They are the most desolate to enter at this twilight hour, with only the cry of the crow as an accompaniment. Little stone gnomes guard their mysterious doors, and their pavements are strewn with human heads with long queues. One approaches certain turns in the streets with a heavy heart. It is over, and nothing in the world would tempt us to enter again at this hour one of those frightfully still houses where one meets with so many gruesome encounters.
We had gone far into the city before night came on, and the silence had become intolerable. We return to the region where the troops are quartered, cut by the north wind and chilled by the cold and gloom; our return is rapid; broken china and other débris impossible to define crackle under our feet.
The banks are lined with soldiers warming themselves and cooking their suppers over bright fires, where they are burning chairs, tables, and bits of carved wood or timbers. Coming out of the Dantesque streets, it all bespeaks joy and comfort to us.
Pierre Loti's The Last Days of Pekin opens with a dedication to Vice-Admiral Pottier, revealing the book's origin as daily notes sent to Figaro during a campaign. Loti admits the collection may contain repetition, written amid the excitement of shipboard life. He restricts himself to personal observations during missions assigned by the admiral, noting that Pekin had already fallen when they reached the Yellow Sea. The tone is set by his concern for the sailors left behind, whose obscure hardships he contrasts with the responsibilities of superiors. This framing immediately establishes the work as a subjective, episodic record rather than a comprehensive history.
A Diary of Occupation
The text is structured as dated entries, beginning with Thursday, October 25, where Loti describes working alone in the Rotunda Palace with only his cat for company. This intimate detail grounds the narrative in a specific time and place. The diary format allows Loti to shift between personal reflection and reportage, as when he visits Monsignor Favier, the Bishop of Pekin. The bishop's room, pierced by a cannon-ball, contains Chinese bibelots he is selling to feed refugees. Loti notes that Favier cut off his queue after hostilities against Christians, a detail that underscores the political shifts. The entry conveys the aftermath of siege through concrete objects and conversations.
Voices from the Siege
Loti's account of his visit to Favier includes the bishop's low-toned narrative of the defence: fourteen hundred metres of wall held by a young ensign and thirty sailors against thousands. The story is relayed secondhand, with Loti emphasizing the need to record it in letters of gold. He specifies that the sailors were not picked men but chosen hap-hazard, and that an officer and ten Italian soldiers also fought, leaving six dead. The passage highlights the heroism of Chinese Christians, both Catholic and Protestant, who sought protection. Loti's language grows warmer as he recounts the defence, yet he remains an observer, not a participant.
The Weight of Atmosphere
Throughout the excerpts, Loti pays close attention to sensory details: the red sun setting behind the Lake of the Lotus, the dusty cathedral seen as through a fog, the cold and horrors shut off by panes of glass. These observations create a mood of melancholy and decay. The setting is not merely described but felt—the imperial silks and cushions contrast with the violence outside. Loti's prose often juxtaposes beauty with ruin, as when he notes the cathedral riddled with balls yet newly built. This technique gives the reader a visceral sense of Pekin's transformation under occupation.
Limits of Perspective
Loti is candid about his restricted viewpoint. He writes only of what he observed during missions assigned to him, and he acknowledges that the war was over by the time he arrived. His focus on the French and allied forces leaves Chinese perspectives largely absent, except through the bishop's account of Christian refugees. The dedication admits the book may contain repetition, and the diary form reinforces its fragmentary nature. Readers should approach the text as a personal document shaped by Loti's role as an aide-de-camp, not as a comprehensive history of the siege or of Beijing itself.
Loti's The Last Days of Pekin rewards readers who attend to its diaristic structure and sensory detail. The book's value lies not in grand narrative but in the accumulation of small observations—a cat in a palace, a bishop selling bibelots, sailors chosen hap-hazard. Because the excerpts are incomplete, the full scope of Loti's journey remains unknown, but the available text offers a vivid, if partial, record of a city in transition. Read it as a travelogue shaped by war, not a history of the Boxer Rebellion.
Reading Loti’s ruin-filled diary, I remembered standing in a mountain holler where the past felt equally heavy, yet alive. There is a strange kinship between Pekin’s scorched palaces and those old Carolina ridges—both places where loss lingers like weather. The Heart of the Alleghanies; or, Western North Carolina — Reading Notes once gave me that same ache, of watching silence hold what people left behind.
There are no reviews for this eBook.
Take a moment to reflect on this book
Create a short personal record of your experience with this book.