Kichkina Shahzoda – The Little Prince

Hikoyachi kattalarning tabiati va ularning ayniqsa muhim narsalarni idrok eta olmasligi haqida bahslashishdan boshlanadi. Voyaga etgan odamning ma’rifatli va boladek ekanligini aniqlash uchun sinov sifatida u ularga 6 yoshida filni yeb qo’ygan ilon tasvirlangan rasmini ko’rsatadi. Voyaga etganlar har doim rasmda shlyapa tasvirlangan deb javob berishadi va shuning uchun u xayoliy emas, balki ularga “oqilona” narsalar haqida gapirishni biladi.

Hikoyachi a ga aylanadi uchuvchi va, bir kuni uning samolyoti Sahara, uzoqda tsivilizatsiya. U 8 kunlik suv ta’minotiga ega va qutulish uchun samolyotini tuzatishi kerak.

Cho’l o’rtasida hikoyachini kutilmaganda “kichik shahzoda” laqabli yosh bola kutib oladi. Shahzoda oltin sochlari, yoqimli kulgisi va savollarga javob berguncha takrorlaydi.

Hikoyachiga duch kelganda, kichkina shahzoda undan qo’y chizishini so’raydi. Hikoyachi avval unga ilon ichidagi filning eski rasmini ko’rsatadi, bu rivoyatchini hayratga solgan holda, shahzoda to’g’ri talqin qiladi. Qo’yni chizishda uchta muvaffaqiyatsiz urinishdan so’ng, hafsalasi pir bo’lgan rivoyatchi shunchaki quti ichida (sandiq) tortadi, shahzoda xohlagan qo’ylar qutining ichida deb aytadi. Qutida uchta teshik bor edi. Shunga qaramay, rivoyatchi ajablanib, shahzoda aynan shu o’zi xohlagan rasm ekanligini aytadi.

Sakkiz kun davomida sahroda qolib, rivoyatchi samolyotini ta’mirlamoqchi bo’lganda, kichkina shahzoda o’z hayoti haqida hikoya qiladi.

Shahzoda o’zining kichkina uy sayyorasidagi hayotni tasvirlash bilan boshlanadi: aslida uy kattaligida asteroid “nomi bilan tanilganB 612 “Yerda. Asteroidning eng ko’zga ko’ringan xususiyatlari uchta minuskuldir vulqonlar (ikkitasi faol va bittasi) uxlab yotgan yoki yo’q bo’lib ketgan ) shuningdek, turli xil o’simliklar.

Shahzoda avvalgi kunlarini vulqonlarni tozalash va sayyora tuprog’iga zarar etkazadigan keraksiz urug’lar va novdalarni tozalash bilan o’tkazganini tasvirlaydi; xususan, tortib olish baobab doimo sirtni ag’darish yoqasida turgan daraxtlar. Agar baobablar tanib olingan paytdan boshlab yo’q qilinmasa, u juda kech bo’lguncha va daraxt katta bo’lguncha o’sib chiqquncha qoldirilishi mumkin, uning ildizlari kichkina sayyoraga halokatli ta’sir qiladi.

Shahzoda qo’yni istalmagan o’simliklarni yeyishini istaydi, lekin u tashvishlansa, tikanli o’simliklarni ham iste’mol qiladi.

Shahzoda bir muncha vaqt oldin asteroid yuzasida o’sishni boshlagan behuda va bema’ni atirgulga bo’lgan sevgisi haqida hikoya qiladi. Atirgul diqqatni jalb qilish va shahzoda unga g’amxo’rlik qilish uchun haddan tashqari kasalliklarga berilib, bo’rttirib ko’rsatiladi. Shahzodaning aytishicha, u gulni boqgan va unga tashrif buyurgan, uni sovuq shamoldan himoya qilish uchun ekran yoki shisha globus yasagan, uni sug’organ va tırtıllardan saqlagan.

Shahzoda atirgulni sevib qolganiga qaramay, u ham undan foydalanayotganini his qila boshladi va u olamning qolgan qismini o’rganish uchun sayyorani tark etishga qaror qildi. Xayrlashganda, atirgul jiddiy va o’zini yaxshi ko’rganini ko’rsata olmaganligi va ikkalasi ham bema’ni bo’lganliklari uchun uzr so’raydi. U unga yaxshilik tilaydi va o’zini himoya qilishini aytib, uni shisha globusda qoldirish istagini rad etdi.

Shahzoda u bilan birga bo’lganida atirgulni qanday sevishni tushunmasligini va uning behuda so’zlarini emas, balki uning mehribon harakatlarini tinglashi kerakligini aytadi.

Shundan keyin shahzoda yana oltitasini ziyorat qildi sayyoralar, ularning har birida bitta, mantiqsiz, tor doiradagi kattalar yashagan, ularning har biri jamiyatning bir elementini tanqid qilishni nazarda tutgan. Ular quyidagilarni o’z ichiga oladi:

Hech qanday bo’ysunmaydigan podshoh, u faqat amal qilishi mumkin bo’lgan buyruqlarni beradi, masalan, quyosh botishida quyosh botishini buyuradi.
O’ziga xos yashamaydigan sayyoradagi hayrat va maqtovga sazovor odam bo’lishdan iborat maqtovni istagan narsisistik odam.
Ichkilikning sharmandaligini unutish uchun ichadigan ichkilikboz.
Yulduzlarning go’zalligidan ko’z yumadigan va buning o’rniga ularni barchasiga “egalik qilish” uchun ularni cheksiz sanaydi va kataloglaydi (tanqid qilish) materializm )
Sayyoradagi chiroq shu qadar kichkina, to’liq kun bir daqiqa davom etadi. U ko’r-ko’rona ergashib o’z hayotini behuda sarflaydi buyurtmalar har 30 soniyada chiroqni o’chirib, qayta yoqib, sayyorasining kechayu kunduziga to’g’ri keladi.
Qariya geograf u hech qachon hech qaerda bo’lmagan yoki karikaturasini taqdim etgan yozuvlarini ko’rmagan ixtisoslashuv zamonaviy dunyoda.

Bu geograf shahzodaga uning atirgulini an vaqtinchalik bo’lish, bu yozilmagan va shahzodaga keyingi sayyoraga tashrif buyurishni tavsiya qiladi Yer.

Yerga tashrif insoniyatni chuqur pessimistik baholash bilan boshlanadi. Muqaddimaning so’zlariga ko’ra, shahzoda ilgari duch kelgan oltita bema’ni odamni o’z ichiga oladi, deyarli butun kattalar dunyosi. Yerda bor edi

111 qirol . 7000 geograf, 900000 ishbilarmon, 7500000 suv ko’taruvchilar, 311.000.000 mag’rur erkaklar; ya’ni taxminan 2.000.000.000 kattalar.

Shahzoda cho’lga tushganligi sababli, u Yerda odamlar yashamaydi deb ishongan. Keyin u sariq ilon bilan uchrashdi, agar u hech qachon qaytib kelishni xohlasa, uni o’z uyiga qaytarishga qodirligini aytdi. Keyin shahzoda cho’l gulini uchratdi, u unga dunyoning bu qismida faqat bir nechta odamlarni ko’rganini va ularning ildizi yo’qligini aytib, shamol ularni atrofida aylanib, qattiq hayot kechirayotganini aytdi. O’zi ko’rgan eng baland toqqa ko’tarilgach, shahzoda butun Erni ko’rishga umid qildi va shu tariqa odamlarni topdi; ammo, u faqat ulkan, xarob manzara ko’rdi. Shahzoda qichqirganida, uning aks-sadosi unga javob berdi, u buni zerikarli odamning ovozi deb talqin qildi, u faqat boshqalarning aytganlarini takrorlaydi.

Shahzoda butun qatorga duch keldi atirgullar, o’z gulining noyob ekanligini va u yolg’on gapirgan deb o’ylab, birdan tushkunlikka tushdi. U o’zining buyuk shahzodasi emasligini his qila boshladi, chunki uning sayyorasida atigi uchta mayda narsa bor edi vulqonlar va endi u oddiy deb o’ylagan gul. U o’tga yotdi va yig’lab yubordi, a tulki birga keldi.

Tulki uyg’otishni xohladi va shahzodaga uni qanday qilib bo’ysundirishni o’rgatadi. O’rgatish orqali biron bir narsa oddiy va boshqalar singari o’ziga xos va noyob bo’lishga aylanadi. Kamchiliklar mavjud, chunki aloqa uzilib qolganda qayg’u va intilishga olib kelishi mumkin.

Tulkidan shahzoda uning atirgulining chindan ham noyob va o’ziga xosligini bilib oladi, chunki u shahzodaning muhabbati va zamonining ob’ekti bo’lgan; u uni “uyg’otdi”, endi u bog’da ko’rgan atirgullarning hammasidan ham qadrliroq edi.

Tulki ularning qayg’uli ketishidan sir tutadi: muhim narsalarni ko’z bilan emas, balki faqat yurak bilan ko’rish mumkin.

Shahzoda nihoyat Yerdan ikki kishi bilan uchrashadi:

Unga yo’lovchilar qanday qilib doimo bir joydan ikkinchi joyga poezdda bostirib borganliklari to’g’risida, u qaerdaligidan mamnun emasligi va nima bilan mashg’ul bo’lishlarini bilmaganligi haqida aytgan temir yo’l qo’riqchisi; faqat ularning orasidagi bolalar hech qachon derazalarga qarashdan bezovtalanishgan.
Shahzoda bilan o’z mahsuloti haqida suhbatlashgan savdogar, bir hafta ichishga bo’lgan ehtiyojni yo’q qiladigan tabletka odamlarni 53 daqiqasini tejashga imkon berdi.

Hozirgi vaqtda, bu rivoyatchi samolyot qulaganidan sakkizinchi kun, va roviy va shahzoda chanqovdan o’lmoqda. Shahzoda ko’rinadigan darajada ahloqsiz va esdaliklaridan xafa bo’lib, uyiga qaytib, uning gulini ko’rishni orzu qiladi.

Shahzoda ularni qutqarib, quduq topadi. Keyinchalik, rivoyatchi shahzodani ilon bilan suhbatlashayotganini, uyiga qaytishi va gulini yana ko’rish istagi haqida suhbatlashayotganini topadi. Shahzoda rivoyatchi bilan hayajonli xayrlashib, agar u xuddi o’lganga o’xshab ko’rinsa, faqat tanasi o’zi bilan sayyorasiga olib borish uchun juda og’ir bo’lganligi sababli aytadi. Shahzoda rivoyat qiluvchini uning ketishini tomosha qilmaslik haqida ogohlantiradi, chunki bu uning xafa bo’lishiga olib keladi. Hikoya qiluvchi nima bo’lishini tushunib, shahzodaning yonidan ketishni rad etadi. Shahzoda, shahzodaning yoqimli kulgisi haqida o’ylash uchun faqat yulduzlarga qarash kerak, va hamma yulduzlar kulgandek bo’lib tuyuladi, deb hikoyachini taskin beradi. Keyin shahzoda rivoyatchidan uzoqlashib, tovushsiz yiqilib, ilonni tishlashiga imkon beradi.

Ertasi kuni ertalab, rivoyatchi shahzodaning jasadini topa olmaydi. Nihoyat u samolyotini ta’mirlab, cho’lni tark etdi. Shahzodaning uyga qaytganligini yoki vafot etganini aniqlash o’quvchiga topshiriladi.

Hikoya shahzoda va rivoyatchi uchrashgan va ilon shahzodaning tanaviy hayotini olgan manzara tasviri bilan yakunlanadi. Hikoyachi har qanday savolga javob berishdan bosh tortgan, oltin buruqli kichkina odamga duch kelganida, o’sha hududdagi har bir kishi darhol murojaat qilishni so’raydi.

Ohang va yozuv uslubi

Ning hikoyasi Kichkina shahzoda uchuvchi-rivoyatchi tomonidan kichkina do’sti xotirasiga bag’ishlangan ohangda, “shahzodaning yodgorligi – nafaqat shahzoda, balki shahzoda va rivoyatchi birga bo’lgan vaqt” yodga olinadi. [18] Kichkina shahzoda Sent-Ekzuperi “chet elda yurgan va o’z mamlakatida va dunyoda sodir bo’layotgan voqealardan xavotirda” bo’lganida yaratilgan. [13] Bir tahlilga ko’ra, “Kichkina shahzoda haqidagi hikoyada juda ko’p fantastik, haqiqiy bo’lmagan unsurlar mavjud . Siz boshqa qushlar qushini boshqa sayyoraga minib o’tirolmaysiz . Kichkina shahzodaning fantaziyasi ishlaydi, chunki hikoya kattalarning qat’iy realizmidan ko’ra, bolalar tasavvuriga asoslangan. ” [19]

XIX asr frantsuz shoiriga o’xshagan nafis adabiy mukammallik Stefan Mallarme, [20] Sent-Ekzuperi “qo’lyozmalarning nozik chiziqlari bilan qoplangan, ularning ko’p qismi astoydil kesib tashlangan, yuzta so’z bo’lgan joyda bitta so’z qoldirilgan, sahifaga bitta jumla o’rnini bosgan [ing] . ” qoralama sahifalarini ishlab chiqardi. [21] U “uzoq vaqt katta konsentratsiya bilan” ishladi. Muallifning so’zlariga ko’ra, uning ijodiy yozish jarayonlarini boshlash juda qiyin bo’lgan. [22] Biograf Pol Vebster aviator-muallif uslubi haqida shunday yozgan: “Sen-Ekzuperining kamolotga intilishi ortida tahrirlash va qayta yozish juda mashaqqatli jarayon edi, bu asl nusxalarni uchdan ikki qismigacha kamaytirdi”. [23] Frantsuz muallifi tez-tez tunda yozgan, odatda soat 23.00 dan boshlab. kuchli qora kofe laganda bilan birga. 1942 yilda Sent-Ekzuperi amerikalik ingliz tili o’qituvchisi Adel Breaux bilan bog’liq bo’lib, tunning shunday vaqtida u o’zini “erkin” his qilgan va “bir necha soat charchamasdan va uyqusiz yozish bilan” bir zumda uxlab qolguncha fikrlarini jamlay olgan. [21] U keyinroq, kunduzi, hali ham ish stolida, boshini quchoqlagan holda uyg’onar edi. Sankt-Ekzuperi bu ishlashning yagona usuli ekanligini ta’kidladi, chunki u yozish loyihasini boshlaganidan keyin u obsesyonga aylandi. [24]

Hikoya ozmi-ko’pmi tushunarli bo’lsa ham, rivoyatchi kichik shahzoda sayyoralar o’rtasida sayohat qilgan paytdan deyarli hech qanday aloqani o’rnatmagan, ammo u buni kitob maxfiy o’g’il boladan aytilganidek his qilishi uchun ataylab qilgan. [ iqtibos kerak ]

Sen-Ekzuperi frantsuz tilini yaxshi bilgan bo’lsa-da, u hech qachon kambag’al ingliz tilini to’xtatishdan boshqa narsaga erisha olmadi. Adele Breaux, uning yoshi Northport Keyinchalik u yozishni bag’ishlagan ingliz tili o’qituvchisi (“Miss Adele Breaux uchun, u menga ingliz tilining sirlarini juda yumshoq ko’rsatib berdi”) o’zining mashhur shogirdi bilan bo’lgan voqealarini aytib berdi Amerikadagi Sent-Ekzuperi, 1942–1943: Xotira, 1971 yilda nashr etilgan. [25]

“Sankt-Ekzuperining mo”jizaviy asarlari va adabiyotshunosligi ba’zida uni qamrab olgan va ba’zida u yakka harbiy kashfiyot parvozlariga uchib ketguncha adabiy asarlarni o’qishni davom ettirar edi, chunki u uchish paytida ham o’qishni ham, yozishni ham usta edi. oyog’ida muvozanatli ochiq kitob, uning ekipaj “juda qiyin” narsaga murojaat qilgandan keyin uning vazifasi tezda tugashidan qo’rqadi. Bir reysda, uning kelishini kutayotgan hamkasblarining noroziligiga, u Tunis aeroportini roman o’qishni tugatishi uchun bir soat aylanib chiqdi. Sent-Ekzuperi tez-tez chiziq bilan parvoz qilar edi karnet (daftar) o’zining uzoq, yakka parvozlari paytida va ba’zi bir falsafiy asarlari, u o’zining ostidagi dunyo haqida mulohaza yurita oladigan, “ideallarni qidirishda g’amgin bo’lgan” davrlarda yaratilgan. ” [26] [27]

Ilhomlanishlar

Voqealar va belgilar

Sankt-Ekzuperi qulab tushgan Simoun yonida (juda muhim radioga ega emas) ertalab soat uchlarda havo poygasi paytida Sahroga qulagan. Saygon, Vetnam. Uning tirik qolish sinovlari boshlanish arafasida edi (Misr, 1935).

Yilda Kichkina shahzoda, uning hikoyachisi, uchuvchi, halokatga uchragan samolyoti yonida cho’lda qolib ketishi haqida gapiradi. Ushbu voqea Sent-Ekzuperining o’zining Sahrodagi tajribasidan aniq foydalangan, bu uning 1939 yilgi xotirasida batafsil tasvirlangan sinov Shamol, qum va yulduzlar (asl frantsuzcha: Terre des hommes). [8]

1935 yil 30-dekabr kuni soat 02:45 da, havoda 19 soat 44 minutdan keyin Sent-Ekzuperi va uning nusxa ko’chiruvchisi André Prevot bilan birga Sahroi Kabir sahrosida qulab tushdi. [28] Ular o’sha paytda mashhur bo’lgan “Parij-Saygon” reysi bo’yicha tezlikni rekordini buzishga urinishgan. reyd, bu 150 000 mukofotga ega edifrank. [29] Ularning samolyoti a Kaudron C-630 Simoun, [3-eslatma] va halokat joyiga yaqin bo’lgan deb taxmin qilinmoqda Vadi Natrun ga yaqin bo’lgan vodiy Nil deltasi. [30]

Ikkalasi ham avariyadan mo”jizaviy tarzda omon qoldi, faqat kuchli cho’l jaziramasida tez suvsizlanishga duch keldi. [31] Ularning xaritalari ibtidoiy va noaniq edi. Bir necha uzum, termos kofe, bitta apelsin va ozgina sharob bilan qum tepaliklari orasida yo’qolgan juftlikda faqat bir kunlik suyuqlik bor edi. Ikkalasi ham ko’rishni boshladi saroblar, ularni tezda yanada yorqinroq kuzatib borishdi gallyutsinatsiyalar. Ikkinchi va uchinchi kunlarda ular shunchalik suvsizlanishganki, ular terlashni umuman to’xtatdilar. Nihoyat, to’rtinchi kuni, a Badaviylar tuyada ularni kashf etdi va mahalliy regidratatsiya muolajasini o’tkazdi, bu Sent-Ekzuperi va Prevotning hayotini saqlab qoldi. [29]

Shahzodaning uyi “A-Asteroid B-612”, ehtimol Sen-Ekzuperi samolyotlaridan birining “A-612” seriya raqamiga ega bo’lgan aviakompaniya uchuvchisi sifatida uchishi natijasida paydo bo’lgan. Sent-Ekzuperi Sahroda pochta uchuvchisi sifatida xizmat qilganida a fennec (cho’l qum tulkisi), bu unga kitobda tulki xarakterini yaratishga ilhom bergan bo’lishi mumkin. G’arbiy Sahrodan singlisi Didiga yozgan xatida Jubi burni, u 1928 yilda aviakompaniyaning to’xtash stantsiyasining menejeri bo’lganida, u o’zini sevgan fenekni ko’tarish haqida gapirib beradi. [ iqtibos kerak ]

Novellada muallifning Nyu-York shahridagi samimiy do’sti Silviya Xamilton Reynxardtdan olingan deb hisoblangan tulki shahzodaga uning atirguli o’ziga xos va o’ziga xos ekanligini aytadi, chunki u o’zi sevadi. [32] Novellaning “Odam aniq yurak bilan ko’radi” degan iborasini Raynxardt taklif qilgan deb hisoblashadi.

Qo’rqinchli, tushunadigan baobab daraxtlar, tadqiqotchilar ta’kidlaganidek, vakillik qilishlari kerak edi Natsizm sayyorani yo’q qilishga urinish. [32] Kichkina shahzodaning uchuvchiga shahzodaning jasadi faqat bo’sh qobiq ekanligiga ishontirishi Antuanning o’layotgan ukasi Fransuaning muallifga o’lim to’shagidan aytgan so’nggi so’zlariga o’xshaydi: “Xavotir olmang, men yaxshiman. Men qo’limdan keladi. Bu yordam bermaydi. Bu mening tanam “. [33]

Gul

The Rose in Kichkina shahzoda ehtimol, Sent-Ekzuperining Salvadorlik rafiqasi tomonidan ilhomlangan, Konsuelo (Monreal, 1942).

Ko’pgina tadqiqotchilar shahzodaning mehribon, ammo petulant va behuda bo’lgan Roza Sent-Ekzuperi tomonidan ilhomlangan deb hisoblashadi. Salvador xotin Consuelo de Saint Exupéry, [32] [34] kichik uy sayyorasi Gvatemaladan ilhomlanib, u halokatga uchragan, bir nechta suyaklarni sindirib tashlagan, [35] va 3 ta vulqon manzarasi bilan o’ralgan holda tiklanish uchun qoldi. [36] Bezovta turmushga qaramay, Sent-Ekzuperi Konsuloni yuragiga yaqin tutdi va uni shamol ekrani bilan mehr bilan himoya qiladigan va kichkina sayyorasida shisha gumbaz ostiga qo’ygan shahzodaning atirguli sifatida tasvirladi. Sen-Ekzuperining xiyonati va uning nikohidagi shubhalar shahzodaning Yerga tashrifi chog’ida duch kelgan ulkan atirgullar maydonida ramziy ma’noga ega. [8]

Ushbu talqinni biograf Pol Vebster tasvirlab bergan, u “Sen-Ekzuperi jonini mo’l-ko’l harflar bilan to’kkan muz . . Konsuelo gul edi Kichkina shahzoda. “Men uni so’zlari bilan emas, balki ishlariga qarab baholashim kerak edi”, – deydi shahzoda. “U meni o’rab oldi va meni yoritib berdi. Men hech qachon qochmasligim kerak edi. Men uning bechora hiyla-nayranglari ortidagi muloyimlik haqida taxmin qilishim kerak edi”. [23]

Shahzoda

Sent-Ekzuperi yoshligida shahzodaning fe’l-atvori va tashqi qiyofasi uchun o’ziga xos ilhom baxsh etgan bo’lishi mumkin, chunki uning dastlabki yillarida do’stlari va oilasi uni chaqirishgan le Roi-Soleil (“Quyosh shohi”) oltin jingalak sochlari tufayli. Shuningdek, muallif sakkiz yashar, jingalak sariq sochlar bilan, oilasida yashagan paytida uchrashgan. Kvebek shahri 1942 yilda, Tomas De Koninck, faylasufning o’g’li Charlz De Koninck. [37] [38] [39] Kichkina shahzoda uchun yana bir ilhom manbai – boshqa hamkasbning yosh, oltin sochli o’g’li Land Morrow Lindbergh. Charlz Lindberg va uning rafiqasi, Anne Morrow Lindberg u bilan bir kechada uchrashganda uchrashgan Long Island 1939 yilda uy. [40] [41] [4-eslatma]

Ba’zilar shahzodani Masihning qiyofasi deb bilishadi, chunki bola gunohsiz va “o’limdan keyingi hayotga ishonadi”, so’ngra o’zining shaxsiy osmoniga qaytadi. [42] Qachon Hayot fotomuxbir Jon Fillips muallif-aviatorni bola fe’l-atvori uchun ilhomlantirganligi to’g’risida so’ragan edi, Sent-Ekzuperi unga bir kun u bo’sh choyshab deb o’ylagan narsaga past nazar bilan qaraganini va kichkina bolalarga o’xshagan shaklni ko’rganligini aytdi: “Men undan kimligini so’radim”, deb javob berdi u. . “Men kichkina shahzodaman” deb javob berdi. [43]

Sent-Ekzuperining kichik shahzodaga ilk adabiy murojaatlaridan biri uning Moskvadan 1935 yil 14-maydagi ikkinchi xabar jo’natishida uchraydi. Uning yozishmalarida maxsus muxbir sifatida Parij-Soir, muallif Frantsiyadan to .gacha sayohat qilishni tasvirlab berdi Sovet Ittifoqi poezdda. Kechga yaqin, sayohat paytida u o’zining birinchi toifadagi turar joyidan uchinchi toifadagi vagonlarga yo’l oldi, u erda vataniga qaytib kelayotgan polshalik oilalarning katta guruhlariga duch keldi. Uning sharhida nafaqat kichraytiradigan shahzoda tasvirlangan, balki turli xil falsafiy yozuvlarga kiritilgan Sent-Ekzuperi mavzulariga ham to’xtalgan: [44]

Men [uxlab yotgan] juftlikka o’tirdim. Erkak va ayol o’rtasida bir bola o’zini bo’shatdi va uxlab qoldi. U uyqusida o’girildi va xira chiroq yorug’ida men uning yuzini ko’rdim. Qanday yoqimli yuz! Bu ikki dehqondan oltin meva tug’ildi . Bu musiqachining yuzi, dedim o’zimga. Bu bola Motsart. Bu go’zal va’dalarga to’la hayot. Afsonalardagi kichik shahzodalar bundan farq qilmaydi. Himoyalangan, boshpana olgan, o’stirilgan, bu bola nimaga aylana olmadi? Mutatsiyada bog’da yangi atirgul tug’ilganda, barcha bog’bonlar xursand bo’lishadi. Ular atirgulni ajratadilar, boqadilar, boqadilar. Ammo erkaklar uchun bog’bon yo’q. Ushbu kichkina Motsart oddiy shtamplash mashinasi tomonidan boshqalarga o’xshab shakllanadi . Bu kichkina Motsart qoralandi.

— Hayot tuyg’usi: AQShga yo’l.

Fon

Yozuvchi-aviator yoqilgan Lak-Sent-Luis Germaniya bilan sulh tuzgandan keyin Frantsiyani qo’llab-quvvatlash uchun nutq safari paytida. U romanga o’z ishini Qo’shma Shtatlarga qaytib kelganidan ko’p o’tmay boshladi (Kvebek, 1942).

Kasallik boshlanganda Ikkinchi jahon urushi, Frantsiyaning bir qator eng yuqori adabiy mukofotlari laureati va urushdan oldin muvaffaqiyatli kashshof aviator bo’lib, u dastlab razvedka eskadrilyasi bilan zaxira harbiy uchuvchi sifatida uchib ketdi. Armée de l’Air (Frantsiya havo kuchlari). [8] Frantsiyaning 1940 yildagi mag’lubiyatidan keyin va uning Germaniya bilan sulh shartnomasi, u va Konsuelo ishg’ol qilingan Frantsiyadan qochib, Shimoliy Amerikada istiqomat qilishdi, Sent-Ekzuperi birinchi bo’lib 1940 yil dekabr oyining oxirlarida o’zi kelgan. Tashrifdan maqsad AQShni tezda qarshi urushga kirishishga ishontirish edi. Natsistlar Germaniyasi va Eksa kuchlari va tez orada u chet elliklarning ovozlaridan biriga aylandi Frantsiya qarshilik. Shaxsiy g’alayonlar va sog’lig’i yomonlashgan paytda, u eslab qoladigan yozuvlarning deyarli yarmini, shu jumladan, yolg’izlik, do’stlik, muhabbat va yo’qotish haqidagi yumshoq ertakni Erga tashrif buyurgan yosh shahzodaning shaklida yaratdi. [45]

Muallifning avvalgi esdaliklarida Sahroda o’zining aviatsiya tajribalari haqida hikoya qilingan va u syujet elementlari bilan bir xil tajribalardan foydalangan deb o’ylashadi. Kichkina shahzoda.

U qo’lyozmani 1942 yil yozi va kuzida yozgan va tasvirlab bergan. Garchi frantsuz tilida so’zlashadigan amerikaliklar va undan oldin Nyu-Yorkda bo’lgan chet ellik chet elliklarning salomlari bilan kutib olishgan bo’lsa-da, uning 27 oylik yashashida sog’lig’i yomonlashib, bir necha bor qattiq stress, jangovar va oilaviy nizolar. Bunga muallifning ashaddiy tarafdorlariga nisbatan neytral pozitsiyasiga partiyaviy hujumlar kiritilgan Frantsiya galisti va Vichi Frantsiya. [46] Sen-Ekzuperining amerikalik tarjimoni (muallif ingliz tilida kambag’al gapirgan) shunday yozgan edi: “U hijronda notinch va baxtsiz edi, o’z mamlakati uchun yana jang qilishning yo’lini ko’rmadi va frantsuzni frantsuzga qarshi qo’ygan siyosiy janjallarda qatnashishdan bosh tortdi”. [21] Biroq, bu davr “qorong’i, ammo samarali vaqt” bo’lishi kerak edi, u davomida u uchta muhim asarni yaratdi. [47]

1941 yilning yanvaridan 1943 yil apreliga qadar Sen-Ekzuperi ikki pentxaus kvartirasida yashadilar Markaziy Park Janubiy, [48] keyin Bevin uyi qasr Asharoken, Nyu-York va yana keyinroq Nyu-York shahridagi Beekman Place-da ijaraga olingan uyda. [49] [50]

Er-xotin ham qolishdi Kvebek 1942 yil bahorining oxirida besh hafta davomida ular Sent-Ekzuperilar yashagan faylasuf Charlz De Koninkkning o’g’li Tomas, sariq jingalak sochli, sakkiz yoshli o’g’il bolani uchratdilar. [51] [52] [53] [54] Oldingi 1939 yil avgustda Long-Aylendga tashrif buyurganida, Sankt-Ekzuperi shuningdek, kashshof amerikalik aviator Charlz Lindberg va uning rafiqasi yosh, oltin sochli o’g’li Land Morrow Lindberg bilan uchrashgan edi. Anne Morrow Lindberg. [40] [41]

Kvebekdagi nutq safari davomida AQShga qaytib kelgandan so’ng, Sent-Ekzuperi AQShdagi noshirining xotinlaridan biri Yelizaveta Reynalning bolalar kitobi ustida ishlashga majbur bo’ldi. Reynal va Xitkok. Evgeniy Reynalning frantsuz rafiqasi bir necha oy davomida Sen-Ekzuperini diqqat bilan kuzatgan va uning sog’lig’i va stress darajasi yuqori ekanligini ta’kidlab, unga bolalar haqidagi hikoya ustida ishlash yordam berishini taklif qilgan. [55] [5-eslatma] Muallif yozgan va tasvirlangan Kichkina shahzoda Nyu-York shahrining turli joylarida, lekin asosan Long Island orolining shimoliy sohilidagi jamoasida Asharoken 1942 yil o’rtalarida – oxirlarida, qo’lyozma oktyabr oyida tugallangan. [50] [51] [57]

The Bevin uyi kuni Long Island, joylashgan joylardan biri Kichkina shahzoda 1942 yil yoz va kuz oylarida yozilgan. [50]

Garchi kitob uning ichida boshlangan bo’lsa-da Markaziy Park Janubiy Pent-xaus, Sent-Ekzuperi tez orada Nyu-York shahrining shovqini va yozning jazirama jaziramasi ishlash uchun juda noqulay bo’lganini sezdi va shu sababli yaxshilangan turar joylarni topish uchun Konsuelo jo’natildi. Biroz vaqtni yaroqsiz klapan taxtasida o’tkazgandan so’ng Westport, Konnektikut, [56] ular Bevin uyini, Asharokendagi 22 xonali qarorgohni topdilar Long Island Sound. Muallif-aviator dastlab shikoyat qildi: “Men kulbani xohlardim, va bu shunday Versal saroyi.” [58] Bir necha hafta o’tgach, muallif o’z loyihasiga sarmoya kiritdi va bu uy “yozma makonga aylandi, men hayotimda hech qachon bo’lmagan eng yaxshi joy” ga aylandi. [59] U o’zini yarim kechada, asosan yarim kechada kitobga bag’ishladi, [21] odatda soat 23.00 dan boshlab, ingliz keklari, jin va toniklari, koka-kolalar, sigaretalardagi maydalangan tuxumlarning yordami va taniqli yurtdoshini ko’rish uchun kelgan do’stlar va chet elliklarning ko’plab tashriflari bilan ta’minlanadi. Tashrif buyurganlardan biri uning rafiqasining shveytsariyalik yozuvchisi paramour edi Denis de Rugemont Shuningdek, u Kichkina shahzodaning qornida, oyoqlari va qo’llari havoda cho’zilib yotgan holda rasmini yaratgan. [45] [50] Keyinchalik De Rugemont Consueloga tarjimai holini yozishda yordam beradi, Atirgul haqida ertak, shuningdek, Sent-Ekzuperining o’z tarjimai holini yozadi.

Muallifning shaxsiy hayoti tez-tez tartibsiz bo’lgan bo’lsa-da, uning yozish paytida ijodiy jarayoni intizomli edi. Kristin Nelson, adabiy va tarixiy qo’lyozmalar kuratori Morgan kutubxonasi va muzeyi 1968 yilda Sent-Ekzuperining asl qo’lyozmasini qo’lga kiritgan edi: “Bir tomondan u voqeaning shakli, ohang va xabari to’g’risida aniq tasavvurga ega edi. Boshqa tomondan, u butun parchalarni kesib tashlashda shafqatsiz edi. shunchaki unchalik to’g’ri emas edi “, natijada 30000 so’zli qo’lyozmani kichik rasmlar va eskizlar ilova qilingan holda distillyatsiya qilib, asl uzunligining taxminan yarmiga etkazdi. [60] Bu hikoya, deya qo’shimcha qildi kurator, u “sobiq patriat va o’z mamlakatida va dunyoda sodir bo’layotgan voqealar to’g’risida xavotirda” bo’lganida yaratilgan. [13]

Katta oq Ikkinchi Frantsiya imperiyasi – baland daraxtlar orqasida yashiringan uslubiy qasr yozuvchiga ko’plab ish sharoitlarini yaratgan, ammo u odatda katta stolda yozgan. [21] Shuningdek, u o’z yozuvlari ustida, so’ngra eskizlari va akvarellari ustida soatlab soatlab ishlashga imkon berdi, kreslo va molbertni kutubxonadan quyosh nurini izlash uchun xonaga birma-bir xonaga qarab harakatlantirdi. Uning Bevin uyidagi quyosh botishiga meditatsion qarashlari kitobga kiritilgan, shahzoda qaerda 43 kunlik quyosh botishi bilan kichik sayyoraga tashrif buyuradi, bu erda quyosh botishini ko’rish uchun “stulni bir necha qadam siljitish kerak”. [45] [50] [6-eslatma]

Qo’lyozmasi

140 betlik asl nusxasi imzo qo’lyozmasi ning Kichkina shahzoda, turli xil qoralamalar va sinov rasmlari bilan birga muallifning yaqin do’sti Silviya Xemiltondan 1968 yilda Perpont Morgan kutubxonasi kuratori Gerbert Kaxun tomonidan sotib olingan (hozirda Morgan kutubxonasi va muzeyi ) ichida Manxetten, Nyu-York shahri. [10] [61] [62] Bu butun asarning qo’lda yozilgan saqlanib qolgan yagona qoralamasidir. [63] Qo’lyozma sahifalarida muallifning nasridan katta hajmdagi ma’lumotlar mavjud zarba berildi va shuning uchun birinchi nashrning bir qismi sifatida nashr etilmagan. Qo’lyozma bilan bir qatorda, bir nechta akvarel rasmlari muallif tomonidan ham muzey saqlanadi. Ular birinchi nashrning bir qismi emas edi. Ushbu muassasa romanning nashr etilishining 50 va 70 yillik yubileylarini hamda muallifning tug’ilgan kunining yuz yilligini nishonlash bilan birga yirik ko’rgazmalar bilan ham nishonladi. Antuan de Sent-Ekzuperi adabiy asarlari. [32] [64] Jismoniy jihatdan qo’lyozma piyoz po’stlog’i mo’rt bo’lib qoldi va zarar etkazilishi mumkin. Sent-Ekzuperi qo’lyozmasi shifokorga o’xshash, ta’riflanib bo’lmaydigan narsalarga o’xshashdir. [65]

Hikoyaning asosiy mazmuni aforizm, On ne voit bien qu’avec le cœur. L’essentiel est invisible pour les yeux (“Inson faqat yurak bilan aniq ko’radi. Muhimi nima bo’lsa, ko’zga ko’rinmaydi”) oxirgi iborasiga erishishdan oldin 15 marta qayta yozilgan va qayta yozilgan. Sent-Ekzuperi ham a Diktofon yozuvchisi uning yozuvchisi uchun og’zaki qoralamalarni ishlab chiqarish. [21] [61] Uning dastlabki 30000 so’zli ishchi qo’lyozmasi og’ir tahrir seanslari orqali asl hajmining yarmidan kamigacha distillangan. Uning ko’plab sahifalarining bir nechta versiyalari yaratildi va keyinchalik nasrlari bir nechta qoralamalar ustida sayqallandi, muallif vaqti-vaqti bilan soat 02: 00da do’stlariga telefon qilib, yangi yozilgan parchalari to’g’risida fikr so’radi. [21]

U hikoyaning mavzusi va xabarlariga noaniqlik tuyg’usini saqlab qolishga intilgani sababli, ko’plab sahifalar va rasmlar tugatilgan ishdan kesilgan. Uning 17-bobidagi o’chirishlar qatoriga Nyu-Yorkdagi mahalliy tillarga havolalar kiritilgan, masalan Rokfeller markazi va Long Island. Boshqa o’chirilgan sahifalarda shahzodaning vegetarian parhezi va uning uyidagi asteroiddagi loviya, turp, kartoshka va pomidorni o’z ichiga olgan, ammo shahzodaning sayyorasini ag’darishi mumkin bo’lgan mevali daraxtlar yo’qligi tasvirlangan. O’chirilgan boblarda marketing iboralari bilan to’ldirilgan chakana sotuvchi egallagan boshqa asteroidlarga tashriflar va ijodiyoti uning boshqaruviga tegishlicha istalgan ob’ektni ishlab chiqarishi mumkin bo’lgan ixtirochi haqida. Ehtimol, Evropada davom etayotgan urushning natijasi Sent-Ekzuperi yelkasida bo’lgan, muallif uch sahifadan iborat bo’lgan epilog “Bir yulduzda kimdir do’stini yo’qotdi, boshqasida kimdir kasal, boshqasida urushda . ” deb nola qilish, hikoyaning uchuvchi-hikoyachisi Shahzodani ta’kidlab: “u hamma narsani ko’radi . U uchun , tun umidsiz. Va men uchun, uning do’sti, tun ham umidsiz. ” Epilog qoralamasi ham roman chop etilishidan chiqarib tashlangan. [61]

Qo’shimcha ma’lumotlar: Morgan ko’rgazmalari

2012 yil aprel oyida Parijdagi kim oshdi savdosi uyi yangi matnni o’z ichiga olgan ikki noma’lum qo’lyozma sahifasi topilganligini e’lon qildi. [9] [66] Yangi kashf etilgan materialda shahzoda kelganidan keyin birinchi Earthling bilan uchrashadi. U uchrashgan odam “inson ruhining elchisi” dir. [9] [66] Elchi yo’qolgan olti harfli so’zni qidirayotganini aytib, suhbatlashish uchun juda band: “Men G bilan boshlanadigan olti harfli so’zni” gargling “degan ma’noni izlayapman”, deydi u. Sankt-Ekzuperi matnida bu so’z nima ekanligi aytilmagan, ammo mutaxassislar bu “guerre” (yoki “urush”) bo’lishi mumkin deb hisoblashadi. Shunday qilib, roman, urushga qarshi kayfiyatni yanada siyosiylashtirgan uslubni oladi, chunki frantsuz tilida “chayqash” bu “sharaf” ga norasmiy murojaat bo’lib, muallif uni millatlar o’rtasidagi harbiy qarama-qarshiliklarning asosiy omili deb bilgan bo’lishi mumkin. [66] [67]

Bag’ishlanish

Sent-Ekzuperi uchrashdi Leon Vert (1878-1955), yozuvchi va san’atshunos, 1931 yilda. Vert tez orada Sen-Ekzuperining tashqarisidagi eng yaqin do’stiga aylandi. Aeropostale sheriklar. Vert anarxist, chap tarafdor edi Bolshevik qo’llab-quvvatlovchi kelib chiqishi yahudiy, Sent-Ekzuperidan yigirma ikki yosh katta.

Sen-Ekzuperi unga ikkita kitob bag’ishladi, Lettre à un otage [fr ] (Garovga olingan shaxsga xat) va Le Petit shahzodasi (Kichkina shahzoda) va yana uchta asarida Vertga murojaat qilgan. Yozish paytida Ikkinchi Jahon urushi boshida Kichkina shahzoda, Sent-Ekzuperi Nyu-York shahridagi o’zining kvartirasida yashab, vatani Frantsiya va uning do’stlarini o’ylardi. Vert urushni bemalol o’tkazdi Sent-Amur, uning qishlog’i Yura, u Shveytsariya yaqinidagi tog’li viloyat, u erda “yolg’iz, sovuq va och qolgan”, bu erda frantsuz qochqinlari uchun muloyim so’zlar bo’lmagan. Sert-Ekzuperi kitobni unga bag’ishlagan romanning muqaddimasida Vert paydo bo’ladi: [68]

Leon Vertga Men bolalardan ushbu kitobni kattalarga bag’ishlaganim uchun meni kechirishlarini so’rayman. Menda jiddiy uzr bor: bu kattalar bu dunyodagi eng yaxshi do’stim. Menda yana bir bahona bor: bu kattalar hamma narsani, hatto bolalar uchun kitoblarni ham tushunishi mumkin. Menda uchinchi bahona bor: u Frantsiyada yashaydi, u och va sovuq. Unga tasalli berish kerak. Agar bu bahonalarning barchasi etarli bo’lmasa, men ushbu kitobni ilgari katta bo’lgan bolaga bag’ishlamoqchiman. Barcha kattalar birinchi navbatda bolalar edi. (Ammo ularning bir nechtasi buni eslaydi.) Shuning uchun men o’zimni bag’ishlaganimni to’g’irlayman: Leon Vertga,
U kichkina bola bo’lganida

Sent-Ekzuperi samolyoti 1944 yilning iyulida O’rta er dengizi ustida g’oyib bo’ldi. Keyingi oy Vert do’stining yo’qolib qolganligi to’g’risida radioeshittirishdan xabar topdi. Hali ham eshitmagan holda Kichkina shahzoda, Noyabr oyida Vert Sent-Ekzuperi AQShda o’tgan yili o’zi tasvirlab bergan afsonani nashr etganini va unga bag’ishlanganligini aniqladi. [69] Antuan de Sent-Ekzuperi yashamagan Ikkinchi Jahon urushi oxirida, Vert shunday dedi: “Tinchliksiz, Toniosiz (Sent-Ekzuperi) bu butunlay tinchlik emas”. Vert u uchun juda mas’uliyatli bo’lgan matnni do’stining o’limidan besh oy o’tgach, Sent-Ekzuperining frantsuz noshiri, Gallimard, unga maxsus nashr yubordi. Vert 1955 yilda Parijda vafot etdi.

Tasvirlar

Barcha новеллalar sodda, ammo oqlangan akvarel rasmlari hikoyaning ajralmas qismi bo’lgan Sent-Ekzuperi tomonidan bo’yalgan. He had studied architecture as a young adult but nevertheless could not be considered an artist – which he self-mockingly alluded to in the novella’s introduction. Several of his illustrations were painted on the wrong side of the delicate onion skin paper that he used, his medium of choice. [50] As with some of his draft manuscripts, he occasionally gave away preliminary sketches to close friends and colleagues; others were even recovered as crumpled balls from the floors in the cockpits he flew. [7-eslatma] Two or three original Kichkina shahzoda drawings were reported in the collections of New York artist, sculptor and experimental filmmaker Jozef Kornell. [70] One rare original Kichkina shahzoda watercolour would be mysteriously sold at a second-hand book fair in Japan in 1994, and subsequently authenticated in 2007. [71] [72] An unrepentant lifelong doodler and sketcher, Saint-Exupéry had for many years sketched little people on his napkins, tablecloths, letters to paramours and friends, lined notebooks and other scraps of paper. [43] [45] Early figures took on a multitude of appearances, engaged in a variety of tasks. Some appeared as doll-like figures, baby puffins, angels with wings, and even a figure similar to that in Robert Crumb ‘s later famous Truckinda davom eting of 1968. In a 1940 letter to a friend he sketched a character with his own thinning hair, sporting a bow tie, viewed as a boyish alter-ego, and he later gave a similar doodle to Elizabeth Reynal at his New York publisher’s office. [43] Most often the diminutive figure was expressed as “. a slip of a boy with a turned up nose, lots of hair, long baggy pants that were too short for him and with a long scarf that whipped in the wind. Usually the boy had a puzzled expression. [T]his boy Saint-Exupéry came to think of as “the little prince,” and he was usually found standing on top of a tiny planet. Most of the time he was alone, sometimes walking up a path. Sometimes there was a single flower on the planet.” [56] His characters were frequently seen chasing butterflies; when asked why they did so, Saint-Exupéry, who thought of the figures as his alter-egos, replied that they were actually pursuing a “realistic ideal”. [45] Saint-Exupéry eventually settled on the image of the young, precocious child with curly blond hair, an image which would become the subject of speculations as to its source. One “most striking” illustration depicted the pilot-narrator asleep beside his stranded plane prior to the prince’s arrival. Although images of the narrator were created for the story, none survived Saint-Exupéry’s editing process. [13] To mark both the 50th and 70th anniversaries of The Little Prince’s nashr, Morgan kutubxonasi va muzeyi mounted major exhibitions of Saint-Exupéry’s draft manuscript, preparatory drawings, and similar materials that it had obtained earlier from a variety of sources. One major source was an intimate friend of his in New York City, Silvia Hamilton (later, Reinhardt), to whom the author gave his working manuscript just prior to returning to Algiers to resume his work as a Bepul Frantsiya havo kuchlari uchuvchi. [32] [64] [73] Hamilton’s black pudel, Mocha, is believed to have been the model for the Little Prince’s sheep, with a Raggedy Ann type doll helping as a stand-in for the prince. [63] Additionally, a pet bokschi, Hannibal, that Hamilton gave to him as a gift may have been the model for the story’s desert fox and its tiger. [47] A museum representative stated that the novella’s final drawings were lost. [32] Seven unpublished drawings for the book were also displayed at the museum’s exhibit, including fearsome looking baobab trees ready to destroy the prince’s home asteroid, as well as a picture of the story’s narrator, the forlorn pilot, sleeping next to his aircraft. That image was likely omitted to avoid giving the story a ‘literalness’ that would distract its readers, according to one of the Morgan Library’s staff. [32] According to Christine Nelson, curator of literary and historical manuscripts at the Morgan, “[t]he image evokes Saint-Exupéry’s own experience of awakening in an isolated, mysterious place. You can almost imagine him wandering without much food and water and conjuring up the character of the Little Prince.” [13] Another reviewer noted that the author “chose the best illustrations. to maintain the ethereal tone he wanted his story to exude. Choosing between ambiguity and literal text and illustrations, Saint-Exupéry chose in every case to obfuscate.” [74] Not a single drawing of the story’s narrator–pilot survived the author’s editing process; “he was very good at excising what was not essential to his story”. [13] In 2001 Japanese researcher Yoshitsugu Kunugiyama surmised that the cover illustration Saint-Exupéry painted for Le Petit shahzodasi deliberately depicted a stellar arrangement created to celebrate the author’s own centennial of birth. According to Kunugiyama, the cover art chosen from one of Saint-Exupéry’s watercolour illustrations contained the planets Saturn va Yupiter, plus the star Aldebaran, arranged as an yonbosh uchburchak, a celestial configuration which occurred in the early 1940s, and which he likely knew would next reoccur in the year 2000. [75] Saint-Exupéry possessed superior mathematical skills and was a master celestial navigator, a vocation he had studied at Salon-de-Provans bilan Armée de l’Air (French Air Force).

Post-publication

Steysi Shiff, bittasi Sent-Ekzuperi ‘s principal biographers, wrote of him and his most famous work, “rarely have an author and a character been so intimately bound together as Antoine de Saint-Exupéry and his Little Prince”, and remarking of their dual fates, “the two remain tangled together, twin innocents who fell from the sky”. [76] Another noted that the novella’s mystique was “enhanced by the parallel between author and subject: imperious innocents whose lives consist of equal parts flight and failed love, who fall to earth, are little impressed with what they find here and ultimately disappear without a trace.” [77] Only weeks after his novella was first published in April 1943, despite his wife’s pleadings and before Saint-Exupéry had received any of its royalties (he never would), the author-aviator joined the Erkin frantsuz kuchlari. He would remain immensely proud of Kichkina shahzoda, and almost always kept a personal copy with him which he often read to others during the war. [76]

Qo’shimcha ma’lumotlar: Antoine de Saint-Exupéry – Disappearance

As part of a 32 ship military convoy he voyaged to North Africa where he rejoined his old squadron to fight with the Allies, resuming his work as a reconnaissance pilot despite the best efforts of his friends, colleagues and fellow airmen who could not prevent him from flying. [8-eslatma] He had previously escaped death by the barest of margins a number of times, but was then lost in action during a July 1944 spy mission from the moonscapes of Korsika ga qit’a ga tayyorgarlikda Allied invasion of occupied France, only three weeks before the Parijni ozod qilish. [45] [9-eslatma]

Qabul qilish

Many of the book’s initial reviewers were flummoxed by the fable’s multi-layered story line and its morals, [8] perhaps expecting a significantly more conventional story from one of France’s leading writers. Its publisher had anticipated such reactions to a work that fell neither exclusively into a children’s nor adult’s literature classification. The New York Times reviewer wrote shortly before its publication “What makes a good children’s book. . Kichkina shahzoda, which is a fascinating fable for grown-ups [is] of conjectural value for boys and girls of 6, 8 and 10. [It] may very well be a book on the order of Gulliverning sayohatlari, something that exists on two levels”; “Can you clutter up a narrative with paradox and irony and still hold the interest of 8 and 10-year olds?” Notwithstanding the story’s duality, the review added that major portions of the story would probably still “capture the imagination of any child.” [80] Addressing whether it was written for children or adults, Reynal va Xitkok promoted it ambiguously, saying that as far as they were concerned “it’s the new book by Saint-Exupéry”, adding to its dustcover “There are few stories which in some way, in some degree, change the world forever for their readers. This is one.” [61] Others were not shy in offering their praise. Austin Stevens, also of The New York Times, stated that the story possessed “. large portions of the Saint-Exupéry philosophy and poetic spirit. In a way it’s a sort of kredo.” [56] P.L. Travers, muallifi Meri Poppins series of children books, wrote in a New York Herald Tribune review: “Kichkina shahzoda will shine upon children with a sidewise gleam. It will strike them in some place that is not the mind and glow there until the time comes for them to comprehend it.” [61] [81] British journalist Neil Clark, in Amerika konservatori in 2009, offered an expansive view of Saint-Exupéry’s overall work by commenting that it provides a “…bird’s eye view of humanity [and] contains some of the most profound observations on the human condition ever written”, and that the author’s novella “doesn’t merely express his contempt for selfishness and materialism [but] shows how life should be lived.” [82] The book enjoyed modest initial success, residing on The New York Times Eng yaxshi sotuvchilar ro’yxati for only two weeks, [65] as opposed to his earlier 1939 English translation, Shamol, qum va yulduzlar which remained on the same list for nearly five months. [43] As a cultural icon, the novella regularly draws new readers and reviewers, selling almost two million copies annually and also spawning numerous adaptations. Modern-day references to Kichkina shahzoda include one from The New York Times that describes it as “abstract” and “fabulistic”. [64]

Qiziqarli malumotlar
Kichkina shahzoda – The Little Prince