In the very first chapter, the narrator draws a sharp contrast between the respective ways grown-ups and children view the world. He depicts grown-ups as unimaginative, dull, superficial, and stubbornly sure that their limited perspective is the only one possible. He depicts children, on the other hand, as imaginative, open-minded, and aware of and sensitive to the mystery and beauty of the world.
As the story progresses, other examples of the blindness of adults emerge. As the little prince travels from planet to planet, the six adults he encounters proudly reveal their character traits, whose contradictions and shortcomings the little prince then exposes.
The little prince represents the open-mindedness of children. He is a wanderer who restlessly asks questions and is willing to engage the invisible, secret mysteries of the universe.
The Little Prince for Grownups
The novel suggests that such inquisitiveness is the key to understanding and to happiness. However, The Little Prince shows that age is not the main factor separating grown-ups from children. The narrator, for example, has aged enough to forget how to draw, but he is still enough of a child to understand and befriend the young, foreign little prince.
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It is through his encounter with the lost prince in the lonely, isolated desert that the friendless narrator achieves a newfound understanding of the world. If you love a flower that lives on a star, it is sweet to look at the sky at night.
The Little Prince & The Value Of Thinking Like A Child | The Great Everything
All the stars are a-bloom with flowers…. The shame of it was that they loved each other.
But they were both too young to know how to love. Well, I must endure the presence of a few caterpillars if I wish to become acquainted with the butterflies. It is only with the heart that one can see rightly; what is essential is invisible to the eye. The most beautiful things in the world cannot be seen or touched, they are felt with the heart.
Accepted authority rests first of all on reason.
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This is probably the reason a couple of grand musical endeavors have been perpetrated in its name. And now there's an opera by the film composer Rachel Portman, which had its premiere in Houston in in a production that arrived for an eight-performance run at City Opera on Saturday afternoon. Both of these pieces are less faithful retellings of "The Little Prince" than adult projections of what a fabulous work for children can include.
Portman, certainly, has responded less to the challenge of translating "The Little Prince" than to the challenge of creating a children's opera -- something she has done serviceably well. It's odd that "The Little Prince" should inspire such colorful outpourings, literally colorful in the gorgeous bright set that Maria Bjornson conceived for this production shortly before she died in The book has an aesthetic of spareness, both in its language and in the black-and-white drawings so essential to the story that the first few are reproduced -- in color -- at the beginning of the opera.
But the opera is veritably opulent, with a large children's chorus, a sizable cast and an orchestra so lush it necessitates the use of microphones for the two children in leading roles: Graham Phillips, who does a smashing job as the Prince, and Stephanie Styles, who exhibited Broadway precociousness, as the Rose.
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