The Little Prince (Translated) E-Book

Antoine de Saint-Exupery

• Herausgeber: David De Angelis
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Beschreibung

"The Little Prince" was published in 1943 by Antoine de Saint-Exupéry. It is a poetic tale in which a pilot strands in the desert and meets a young prince fallen to Earth from a tiny asteroid. The story is philosophical and includes social criticism, remarking on the strangeness of the adult world. While it looks like a children's book, it targets adult relationships with deep thoughts on how adults perceive life and each other. "Children should show great understanding towards grown-ups".

Leseprobe

ANTOINE DE SAINT-EXUPÉRY

THE LITTLE PRINCE

Translation from French by David De Angelis

All rights reserved

Indice

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Chapter 19

Chapter 20

Chapter 21

Chapter 22

Chapter 23

Chapter 24

Chapter 25

Chapter 26

Chapter 27

1

Once when I was six years old I saw a very beautiful picture in a book, called True Stories from Nature, about the primeval forest. It was a picture of a boa constrictor in the act of swallowing an animal. Here is a copy of the drawing.

In the book it said: "Boa constrictors swallow their whole prey, without chewing it. After that they can’t move, and they sleep all the six months they will need for digestion."

I thought deeply, then, over the adventures of the jungle. And after some work with a colored pencil I succeeded in making my first drawing. My Drawing Number One. It looked something like this:

I showed my drawing to the old people, and asked them whether the drawing scared them. But they answered: "scared? Why should anyone be scared by a hat?"

My drawing was not a picture of a hat. It was a picture of a boa digesting an elephant. But since the grown-ups were not able to understand it, I made another drawing: I drew the inside of a boa constrictor, so that the grown-ups could see it clearly. They always need to have things explained. My Drawing Number Two looked like this:

The grown-ups' response, this time, was to advise me to lay aside my drawings of boa constrictors, whether from the inside or the outside, and devote myself instead to geography, history, arithmetic, and grammar. That is why, at the age of six, I gave up what might have been a magnificent career as a painter. I had been desperate by the failure of my Drawing Number One and my Drawing Number Two. Grown-ups never

understand anything by themselves, and it is tiresome for children to be always and forever explaining things to them.

So then I chose another profession, and learned to pilot airplanes. I have flown a little over all parts of the world; and it is true that geography has been very useful to me. From the map I can distinguish China from Arizona. If one gets lost in the night, such knowledge is valuable.

In the course of this life I have had a great many encounters with a great many people who have been concerned with matters of consequence. I have lived a great deal among old people. I have seen them intimately, close at hand. And that hasn't much improved my opinion of them.

Whenever I met one of them who seemed to me at all clear-sighted, I tried the experiment of showing him my Drawing Number One, which I have always kept. I would try to find out, so, if this was a person of true understanding. But, whoever it was, he, or she, would always say:

"That is a hat."

Then I would never talk to that person about boa, or primeval forests, or stars. I would bring myself down to his level. I would talk to him about bridge, and golf, and politics, and neckties. And the grown-up would be greatly pleased to have met such a sensible man.

2

So I lived my life alone, without anyone that I could really talk to, until I had an accident with my plane in the Desert of Sahara, six years ago. Something was broken in my engine. And as I had with me no mechanic and no passengers, I set myself to attempt the difficult repairs all alone. It was a question of life or death: I had just enough drinking water to last a week.

The first night, then, I went to sleep on the sand, a thousand miles from any human habitation. I was more isolated than a shipwrecked sailor on a raft in the middle of the ocean. So you can imagine my amazement, at sunrise, when I was awakened by an odd little voice. It said:

"Please—can you draw me a sheep!" "What!"

"Draw me a sheep!"

I jumped to my feet, completely thunderstruck. I blinked my eyes hard. I looked carefully all around me. And I saw a most extraordinary small person, who stood there examining me with great seriousness. Here you may see the best portrait that, later, I was able to make of him. But my drawing is certainly very much less charming than the model.

That, however, is not my fault. The old people discouraged my painter's career when I was six years old, and I never learned to draw anything, except boas from the outside and boas from the inside.

Now I stared at this sudden apparition with my eyes fairly starting out of my head in astonishment. Remember, I had crashed in the desert a thousand miles from any inhabited region. And yet my little man seemed neither to be straying uncertainly among the sands, nor to be fainting from fatigue or hunger or thirst or fear. Nothing about him gave any suggestion of a child lost in the middle of the desert, a thousand miles from any human habitation. When at last I was able to speak, I said to him:

"But--what are you doing here?"

And in answer he repeated, very slowly, as if he were speaking of a matter of great consequence: "Please—can you draw me a sheep . . ."

When a mystery is too overpowering, one dare not disobey. Absurd as it might seem to me, a thousand miles from any human habitation and in danger of death, I took out of my pocket a sheet of paper and my fountain-pen. But then I remembered how my studies had been concentrated on geography, history, arithmetic and grammar, and I told the little chap (a little crossly, too) that I did not know how to draw. He answered me:

"It doesn't matter. Draw me a sheep . . ."

But I had never drawn a sheep. So I drew for him one of the two pictures I had drawn so often. It was that of the boa from the outside. And I was astounded to hear the little fellow greet it with,

"No, no, no! I do not want an elephant inside a boa constrictor. A boa constrictor is a very dangerous creature, and an elephant is very cumbersome. Where I live, everything is very small. What I need is a sheep. Draw me a sheep."

So then I made a drawing.

He looked at it carefully, then he said:

"No. This sheep is already very sickly. Make me another."

So I made another drawing.

My friend smiled gently and indulgently.

"You see yourself," he said, "that this is not a sheep. This is a ram. It has horns."

So then I did my drawing over once more.

But it was rejected too, just like the others.

"This one is too old. I want a sheep that will live a long time."

By this time my patience was exhausted, because I was in a hurry to start taking my engine apart. So I tossed off this drawing.

And I threw out an explanation with it.

"This is only his box. The sheep you asked for is inside."

I was very surprised to see a light break over the face of my young judge:

"That is exactly the way I wanted it! Do you think that this sheep will have to have a great deal of grass?" "Why?"

"Because where I live everything is very small . . ."

"There will surely be enough grass for him," I said. "It is a very small sheep that I have given you." He bent his head over the drawing.

"Not so small that--Look! He has gone to sleep . . ."

And that is how I made the acquaintance of the little prince.