The Little Prince describes his journey from planet to planet, each tiny world populated by a single adult. It's a wonderfully inventive sequence, which evokes not only the great fairy tales but also such monuments of postmodern whimsy as Italo Calvino's Invisible Cities. And despite his tone of gentle bemusement, Saint-Exupéry pulls off some fine satiric touches, too. There's the king, for example, who commands the Little Prince to function as a one-man (or one-boy) judiciary:
I have good reason to believe that there is an old rat living somewhere on my planet. I hear him at night. You could judge that old rat. From time to time you will condemn him to death. That way his life will depend on your justice. But you'll pardon him each time for economy's sake. There's only one rat.
The author pokes similar fun at a businessman, a geographer, and a lamplighter, all of whom signify some futile aspect of adult existence. Yet his tale is ultimately a tender one--a heartfelt exposition of sadness and solitude, which never turns into Peter Pan-style treacle. Such delicacy of tone can present real headaches for a translator, and in her 1943 translation, Katherine Woods sometimes wandered off the mark, giving the text a slightly wooden or didactic accent. Happily, Richard Howard (who did a fine nip-and-tuck job on Stendhal's The Charterhouse of Parma in 1999) has streamlined and simplified to wonderful effect.
Hoàng tử bé mô tả hành trình của mình từ hành tinh này sang hành tinh khác, mỗi thế giới nhỏ bé chỉ có một người trưởng thành sinh sống. Đây là một chuỗi sự kiện đầy sáng tạo, gợi lên không chỉ những câu chuyện cổ tích vĩ đại mà còn cả những tượng đài của trào lưu hậu hiện đại kỳ quặc như Thành phố Vô hình của Italo Calvino. Và mặc dù có giọng điệu nhẹ nhàng, Saint-Exupéry cũng khéo léo lồng ghép những nét châm biếm tinh tế. Ví dụ, có vị vua ra lệnh cho Hoàng tử bé hoạt động như một hệ thống tư pháp độc nhất vô nhị:
Ta có lý do chính đáng để tin rằng có một con chuột già sống đâu đó trên hành tinh của ta. Ta nghe thấy tiếng nó vào ban đêm. Ngươi có thể phán xét con chuột già đó. Thỉnh thoảng ngươi sẽ kết án tử hình nó. Bằng cách đó, mạng sống của nó sẽ phụ thuộc vào công lý của ngươi. Nhưng lần nào ngươi cũng sẽ tha thứ cho nó vì lý do kinh tế. Chỉ có một con chuột.
Tác giả cũng chế giễu một doanh nhân, một nhà địa lý và một người thắp đèn, tất cả đều tượng trưng cho một khía cạnh phù phiếm nào đó của cuộc sống trưởng thành. Nhưng rốt cuộc, câu chuyện của ông lại rất dịu dàng - một lời bộc bạch chân thành về nỗi buồn và sự cô đơn, mà không hề trở nên sáo rỗng như kiểu Peter Pan. Giọng văn tinh tế như vậy đôi khi có thể gây đau đầu cho người dịch, và trong bản dịch năm 1943, Katherine Woods đôi khi đã đi chệch hướng, khiến văn bản có phần cứng nhắc hoặc mang tính giáo huấn. May mắn thay, Richard Howard (người đã khéo léo chỉnh sửa tác phẩm The Charterhouse of Parma của Stendhal năm 1999) đã tinh giản và đơn giản hóa đến mức tuyệt vời.
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