原型理论视角下《小王子》中主人公的人物性格分析

摘要

《小王子》是法国作家安东尼·德·圣·埃克苏佩里于1942年写成的著名儿童文学短篇小说，一直受到大众人民的喜爱，老少皆读。它被翻译成100多种语言，而且再版了许多次。研究《小王子》的多是从价值观、主题思想入手，分析其象征、隐喻认知、社会“异化”的意义，暂没有学者运用荣格的原型理论中的人格面具、阴影以及自性化进程来分析文本。

本文置于荣格的分析心理学的理论框架中，主要运用其原型理论，试图来分析主人公人物性格的发展历程，旨在研究小王子的精神回归给读者所带来的积极意义。

本文置于荣格的分析心理学的理论框架中，主要运用其原型理论。第一方面通过描述其他人物虚伪的人格面具来反衬小王子纯洁天真的人格面具。第二方面分析在旅途前由于玫瑰花虚伪的向小王子展示自己，希望获得更多的爱，却反作用的引起了小王子的反感，以至于在后来有了没看清玫瑰花内心的苦恼、并在旅途中产生了迷惑。这些都对小王子带来了阴影。第三方面探讨小王子的自性化进程的进展有了显著的变化。分析主人公人物性格的发展历程，旨在研究小王子的精神回归能给读者带来的积极意义,即使认识到了不同的人，但仍能执着找回本心的过程，用荣格的原型理论分析，能给读者一个不同的视角去理解《小王子》。

关键词：小王子；原型理论；人格面具；阴影；自性

Abstract

The Little Prince, a famous short story of children's literature, which written by the French writer Antoine de Saint-Exupery in 1942. It has been loved by the masses of the people and both young and old read it. It has been translated into more than 100 languages and has been reprinted many times. The study of The Little Prince is mainly from the values and themes, and the significance of its symbols, metaphorical cognition and social alienation. No scholars have analyzed the text with the persona, shadow, and self-realization in Carl Jung's archetypal theory.

In the theoretical framework of Carl Jung's analytical psychology, this thesis mainly uses its archetype theory to try to analyze the development process of the protagonist, aim to study the positive significance of the return of the prince's spirit. This thesis under the theoretical framework of Carl Jung's analytical psychology, and mainly uses his archetypal theory. The first is to reflect the pure and naive persona of the little prince by describing the hypocritical persona of other characters. The second is the analysis of the rose that she wanted to show herself to the little prince, to gain more love before the journey, but her hypocritical expression caused the little prince's repugnance. So that produced confusion later in the journey that the prince did not see the troubles of the roses and his true heart. All these have brought shadow to the little prince. The third hand is the progress of self - realization of the little prince has changed significantly. The analysis of the character of the protagonist's character is aim to study the positive significance of the return of the little prince's spirit to the reader. Even if he met the different people in the journey, he can still keep finding his heart. Through analyzing the text by using Carl Jung's archetypal theory, the reader can understand The Little Prince in a different perspective.

燕山大学里仁学院本科生毕业论文

Keywords: The Little Prince; archetype theory; persona; shadow; selfII

I

Contents

摘要 I

Abstract II

Contents 3

Chapter 1 Introduction 1

Chapter 2 Literature Review 3

2.1 Preview Studies on Analyzing The Little Prince at Home 3

2.2Preview Studies on Analyzing The Little Prince Abroad 8

2.3 Research Problems 8

Chapter 3 Theoretical Foundation 10

3.1 Persona 10

3.2 Shadow 11

3.3 Self 11

3.4 Preview Studies on Archetype Theory at Home and Abroad 12

3.5 Recent Development of Archetype Theory and Related Theories 14

Chapter 4 Data Analysis and Discussion 16

4.1 The Encounter with the Persona 16

4.1.1 Comparison 17

4.1.2 Limited Persona 18

4.2 The Prince’s Struggle Against the Shadow 20

4.2.1 Shadow from the Rose 20

4.2.2 Shadow from Others 22

4.3 The Prince’s Self-realization 22

4.3.1 Guide from the Fox 23

4.3.2 Help from the Snake 23

Chapter 5 Conclusion 26

References 27

Chapter 1 Introduction

In 1935, Antoine de Saint-Exupéry, on the train to Moscow, saw a sleeping child in the light of the lantern. His lovely face reminded him that every child should be a prince of Mozart and a legend in his childhood. In December of the same year, St. ex and a mechanic tried to create a Paris – Xi Gong direct flight record lost the direction over the desert two hundred kilometers away and crashed into a slope when he was bent down under the wing to find a ghostly target. I struggled for three days on the death line. Fortunately, an Arabia herdsman saved them. These two things have become the longitude and latitude of the story of the little prince.

The Little Prince, this fairy tale is the author finished in 3 months, but it has a profound background of creation, is the accumulation of life and emotion of author in several years or even decades, also the product of accumulating richly and breaks forth vastly. It is not only a fairy tale for children but also a crystallization of philosophy and thinking. It is full of understanding of life.

In fairy tales, children are endowed with the unique inspiration of human beings. They are able to capture the secrets of the universe and life that have not yet shown enough signs, so as to show the magic of life. In The Little Prince, the writer magnified the children's intuition, and through the constant cognition of the little prince to the world, we try to explore the purpose of life's true meaning.

The thesis was divided into five parts. The first part is an introduction. It recommend e d the background of Saint-Exupéry and The Little Prince, this thesis is ready to solve following questions: what different persona does the little prince have, how

does the shadow form, what is the final personality of the little prince, and a brief introduction to the main content. The second part expounded existing studies. Many scholars have researched The Little Prince, they all draw splendid conclusions, and author will analyze the text from a different aspect. The third part is the theoretical foundation. It detailed introduction of Jung’s archetype theory. The fourth part is data analysis and discussion. The specific analysis process is in this part. The fifth part is the conclusion. It included main discovery, enlightenment, boundedness and what to research next.

Chapter 1 Introduction

1

Chapter 2 Literature Review

In recent years, the development of archetype theory and related derivation theory has been growing rapidly. It has been involved in many fields of linguistic research. In the literature of linguistics, archetype theory and related theories are widely discussed and applied.

2.1 Preview Studies on Analyzing The Little Prince at Home

The domestic research about The Little Prince is mainly focused on the construction of existentialism, the symbolic meaning, and theme of fairy tales, alienation, inter-subjectivity, metaphor, different archetypes, evaluation theory and the appreciation of its aesthetic significance. The followings are selected representative articles to give a brief explanation.

In the aspect of existentialism, Li (2013) used existentialism and symbolic criticism found that the description of various planets in the book of The Little Prince is a portrayal of all kinds of human souls lost in symbols, separated and far from the source of life; in the course of escaping the roses, the little prince comprehends the secret of love not in speech, but in quiet waiting, and is waiting to establish a spiritual connection; and one in the book. The danger of "baobab tree", which is emphasized again, is a warning to all kinds of symbolic values that have long infringed upon the true and existing state of human beings and the ultimate alienation of human nature. And on the basis of careful study of the text of the little prince, Qiu (2014) examined the world of the absurd adult, the unique living space of the children, the collision between the adult world and the children's world on the basis of an existentialist perspective.

The analysis of the symbolic meaning of The Little Prince, Xu (2010) with the "duality-world" of children and adults, ideal and reality, civilization and nature reflected in his works, excavates the real meaning and spiritual essence expressed in the symbol, answers the doubts of the author, and also hopes to arouse the reflection of modern people to their own survival predicament. Hu (1998) found that many of the symbols in the book are still alive today, because the typical characters of the little prince, which spit on the mental defects of the book, are far from being hidden, and the ugly phenomenon whipped in the book is far from being eliminated. This is the fundamental reason why Saint Perry did not want to treat the work with a rash attitude. Sun (2012) thinks The Little Prince is not a simple fairy tale, but a life guidance manual. In this fairy tale, adults can see their own shortcomings and ugliness, and find the way to innocence. Through this untrue world, Saint-Exupéry conveys true feelings of life to people, hoping that the angels they create can lead people out of the greed of human nature, and return to the simplicity of life and the innocence of human nature. And in Wang’s thesis (2012), she wrote the text describes the world of children but gives adults too much thinking, love and responsibility, pay and claim, they are not contradictory, and they are attached to each other. Understand the essence of love, learn to take the responsibility of love,

and sublimate the idea of love. The essence of love lies in the connection, patience, and responsibility of little fox. In the journey of love, we still need to learn a lot. It is a long way to go.

From the theme of fairy tales, Shi (2002) summarized the text has the following characteristics: the first is the philosophy of life under childlike innocence. The little prince is not a simple fairy tale, but a philosophical fairy tale, which is integrated into the author's whole life philosophy. The second is the narrative structure of the two opposite sides. He described the story of the little prince from a child's perspective and arranges the potential polarization between children and adults in this story. Children and adults are two poles of human life form. Compared with adults, children have their own unique culture. The third is the narrative discourse of children. Although The Little Prince uses the most commonly used and simplest words of children, the author gives them the more profound meaning behind the simple signifier of these words. This makes the fairy tale shrouded in a thick layer of poetry and symbolism. And Liu (2015) tried to analyze why The Little Prince is so attractive. He not only analyzed the story structure and narrative time arrangement but also analyzed it from the psychological aspect.

From the perspective of alienation, Yang (2013) explores the authenticity of individual identity in alienated society. The analysis of the authenticity of the little prince helps the individual to draw on the social identity and moral responsibility of the individual in the reality of the social alienation, so as to think about the significance and value of the true nature exploration. And Guo (2016) did the research from the same perspective. It expresses its deep thinking of society and life with the light and shallow style of fairy tales. Compared with the heavy and dark depth of the adult, the little prince does not avoid the heavy and lonely life of life, but it is a firm and warm belief that "there must be a well in the depths of the desert". This is a belief in the oasis of the desert, which is also a unique belief in fairy tales. The little prince created an ancient and fresh world of dawn, a world that was reflected by the struggle of the stars, but the world was created by modifying the dark and absurd real world. This is why we feel sad and warm when we read the little prince.

Li (2009) research the text from the perspective of inter-subjectivity. Through The Little Prince, she sees the Saint-Exupéry, a perplexed generation, standing on the ruins of faith and war, feeling lonely and not knows what course to take, because they were discarded by God and history. He and the little prince and even the reader need to exchange, dialogue and return and inter-subjectivity is the golden key to open the door of communication and get on the road of regress. Finding the inter-subjective semantic field constructed by the author is a prerequisite and necessity. This is also the value and significance of this study. Understanding is in progress between the subjects, so the text is not the object, but the subject. And the interpretation of the text is a dialogue between the author andthe reader. Inter-subject ivity theory is just an explanation for this intersexual dialogue. The main content of inter-subjectivity is to study or regulate the theory of how a subject interacts with another subject that operates together. It is not a self-regarded as an isolated individual, but a coexistence with other subjects.

Gong (2013) used metaphor to research the three conflicts as lead wire in the text, human conflicts, emotional conflicts and life conflicts, made the final illustration of prince’s love by metaphor. And Chen (2015) used metaphor and symbolize to analyze the text. He mainly researched the childhood archetype’s symbolize meaning. For star B612, the little prince's meaning is not what has ruled, but is what he can do for other people and other things. However, others need the little prince

The significance of the archetype based on the mask, it has a very rich symbolic expression, what we used to cover our bodies (clothes or veil), a symbol of occupation role (tool bag or work package) and the symbol of status (car, house, and Diploma), hair, physique, good manners, communication, they are symbolic expressions of the persona, all these symbols as representative of masks can be seen in the dream made by clinical visitors. In any society, a means of promoting relations and communication is needed. This function is done by a persona. Different cultures build different principles of persona, and it will change and develop over time. When a person identifies with his mask too much, there may be a danger, which means that he lacks awareness expect social role or sexual role (such as mother), nor consider maturity into account. At this point, it is called a morbidity or false persona.

3.2 Shadow

Carl Jung uses shadow to describe the cryptic or unconscious psychological aspects of our own heart. "The shadow is the hidden, repressed part of our heart "

In 1945, Carl Jung gave a direct, clear definition of the shadow: "it is the kind of thing that the individual does not want to be." The composition of shadow is due to the inhibition of consciousness itself, or the unrealized part, but most of the content makes our conscious shame or embarrassment. These personality traits, which let us dissatisfied and exist in our own unconscious, tend to be projected onto others.

Carl Jung emphasized again and again that we all have shadows. Every real thing has its shadow. The shadow of self is just like the dark to light, the shadow makes

us become human. Because the shadow is an archetype, its content is powerful, and its symbols are emotional, confusing, possessive and autonomous. In short, the shadow can shock and overwhelm orderly self.

In the sense of psychoanalysis, the shadow is not completely negative. It has some positive signs to realize the existence of the shadow itself. It is also an important task, in the process of psychological analysis, to detect the shadow of one's own and to achieve a certain psychological integration. Shadow and persona are the archetypal images that correspond to each other. We tend to hide our shadows, and at the same time tend to modify and dress our persona. In the sense of psychoanalysis, when we identify ourselves with a nice persona, our shadows are getting darker. The inharmonious and conflict of them will bring many psychological problems and obstacles.

3.3 Self

Self is Carl Jung's last concept of "archetype". Its presentation shows that Carl Jung's psychology is not a general sense of "ego psychology", but a "self-psychology". In Carl Jung's view, "self is the archetype of unity, organization, and order. It attracts

all archetypes and the appearance of these archetypes in consciousness and emotion, and keeps them in a harmonious state." He also said that: "when a man says he feels that he is in a harmonious state with himself and the whole world It is precisely because the self-archetype is effectively exercising its functions. Conversely, if someone says he feels uncomfortable or dissatisfied, or feels conflict intense in the heart and feels his spirit is going to collapse, it shows that the self-archetype is not working well.”

Carl Jung believes that the self-archetype seems the human potential and personality as a whole. Though he divides personality into consciousness, individual unconscious and collective unconscious, they are not independent and unrelated. They integrate all the components of personality into an organic ensemble under the unified command of "self" archetype. In life, self-require be recognizing, integrating and implementing, but it is impossible to combine such huge fragments of human in the limited range of human consciousness. Therefore, the relationship between ego and

self is a never-ending process. As a unified principle of human mind, self-archetype occupied the central position of authority in the relationship with the spiritual life. Therefore, it is the fate of the individual. Carl Jung once said that his life course was the process of "self” consciousness and realized that he knew a complete himself. So, Carl Jung believes that "self" is a transcendental concept, the essence of a complete man, and a real existence.

3.4 Preview Studies on Archetype Theory at Home and Abroad

The archetype category theory is a hierarchical model in cognitive science. In this pattern, in the same category, some projects are more core than other projects. Archetype theory proposal to extend or hide orientation of set theory in semantic, against the definition basic model of the category, regard the category as it was composed of some irrelevant state elements, thus derived the concept levels in the category, which is in many cognitive sciences and cognitive semantics models, are all core concepts.

As early as 2000 years ago, Aristotle had a very classic discussion of the category, he divided the exit into different models, and the establishment of a system of categories, which contains the categories as followed: substance, quality, quantity, relation, action, passion, place and time. This category system established by Aristotle can be regarded as the world's first thesis on category system.

The ancestor of archetype theory is Edward Taylor, a British anthropologist. In 1871, Taylor first proposed that art originated from the theory of "witchcraft" and explained the primitive cultural phenomenon with the theory of archetype. The famous British anthropologist Fraser published an anthropology book named The Golden Bough in 1890, which is considered to be the foundation of archetype theory.

The archetype theory developed by Swiss psychologist Carl Jung, he is a world-famous Austria psychologist Freud’s younger generation and partner. In the early years, he has put forward the theory of the collective unconscious, and later became the core content in Carl Jung’s analysis psychology: there not only have personal experience from childhood but also have many primitive and ancestral experiences. A person is not a whiteboard when born, but inherits a racial memory inborn, like the Animals’ instincts. In order to explore the non-personal factors hidden in the bottom of the human mind, Carl Jung turned his research object to myth and literature, shifted from psychiatry to anthropology. So Carl Jung finally found the entity which unified the symbolic form and the collective unconscious into together, and named this entity "primitive image", and renamed it to "Archetype". Carl Jung's ", "Symbol and Change of Libido is also considered as the cornerstone of archetypal criticism. The archetype and the theory of collective unconscious have a great

in fluence on the literature and art. In thefield of literary criticism, since Maud Bodkin uses Carl Jung's archetype theory to the analysis of poetries, the concept of "Archetype" began being used many times in literary criticism.

Canadian scholar Northrop Frye investigated the myth archetype from the perspective of literature systematically, his began the discussion of the myths and rituals which are seen as the form of primitive accumulation of human ancestors experience and the archetype image form, he believes that literature is the myth-ritual performance, is the revive of myth and resurrection, the theory of archetypal criticism has interpretive systematically in his book Anatomy of Criticism.

In the contemporary era of China, Ye Shuxian, who worked in Chinese Academy of Social Sciences should be authority figure of the “mythology archetype theory”, he published a series academic monographs and thesis of myth archetype theory, such as: the Hero and the Sun: the Prototype of China Ancient Epic Reconstruction (1957),

Archetype and Cross-cultural Interpretation and Archetype and Chinese Characters (1995) and Archetype Reconstruction (2002).

3.5 Recent Development of Archetype Theory and Related Theories

The development of archetype theory and related derivative theories, such as family resemblance theory, has been developing rapidly in all over the world since the 1990s. Especially in the US, its development is very outstanding. Its development occupies an absolute advantage position compared with other countries.

The development of prototype theory in China although the ranked top of the world, more advanced than other countries, but there is a large gap compared with the United States, the research of family resemblance theory have a larger gap, there are many problems in many aspects need researchers to research and solve. Therefore, archetype theory and its development have broad prospects and wide application space in various fields, such as in foreign language teaching practice, it can achieve a fast, intuitive and efficient teaching, students can have a basic recognize about archetype, which will help students’ understanding and the speed of accepting increased rapidly, thus greatly improving the teaching efficiency; at the same time, it will be well developed and applied in the fields of literary creation, literary criticism, psycholinguistics, comparative analysis of English and Chinese, and it is worth us to explore and study.

With this theory, we can split and analyze the mental and personality changes of the characters relatively easily, and classify them. Therefore, it helps us to analyze the characters of The Little Prince.

Chapter 4 Data Analysis and Discussion

Antoine de Saint-Exupery's The Little Prince is a fairy tale with philosophical implications. It published in 1946, until the 60th anniversary in 2006, has sold eighty million copies of the book, which is considered to be a book for eight to eighty-eight years of age. In China, The Little Prince is the most translated foreign literary work in China so far. It has successfully transcended national boundaries, time, and moved the hearts of children and adults. The whole book is based on a young prince from another planet and a young pilot on the earth. What the prince sees and heard is the thought in the eyes of the children, from children's perspective, naive, fancy, and fairy tales. But the whole text is full of poetry, with plaintive expression and lyric, and the external form is more like a poem. Therefore, Maurois of France, Zhou Guoping of China, said that "they will not to try to explain the philosophy of the little prince", but "only can use the heart to comprehend".

A philosophical fairy tale does not reveal the philosophy contained in it, but it may ham per thespread of the precious idea of the little prince. At the time o f publication, the United States readers "do not know what this little man wants to convey to everyone." After sixty years, some Chinese readers failed to fully understand it. Therefore, the author tries to talk about the little prince from the perspective of prototype theory by using the method of text reading.

4.1 The Encounter with the Persona

The Little Prince was written in the middle of the 40s of the last century. The author, Saint-Exupery, was experienced personally by the abuse of power by Hitler, the king of Africa and other dictators, and the worship of power by the author, Saint-Exupery. Under the prosperity of capitalism, people were obsessed with money, the bitterness of fame, the bigotry of knowledge, and the indifference to love and friendship. The development of science has promoted the progress of the society, the expansion of people's rationality, the exhaustion of emotion and imagination; "God is dead", some people face value, the crisis of faith, no goal of life, and so on. The author saw these dangers, and warned people with his little prince: return to the truth.

4.1.1 Comparison

In the course of the little prince's journey to a few small planets, the plots of the king, the businessman, the vain guy, the geologist, revealed that power, money, fame, and knowledge bring people a hypocrisy persona; the drunkard, the light man, and the people on the earth reveal the people who have no living goals. They are pain and poor. And the little prince's contacts with young pilot and fox show the importance of sensibility, intuition, and imagination on the front of these people, and convey the value of sincerity, friendship, love, communication, and sense of responsibility.

The little prince met a king on the first small planet, “clad in royal purple and ermine, he was seated upon a throne.” This is a solitary king, without subjects, but the king is full of authority, with dignity, arrogance, and self-respect as the most important persona. “To them, all men are subjects.” He had a little conversation with the little prince, but the tone of the command was used 12 times. These commands are ridiculous, such as “I order you to yawn.”“Come, now! Yawn again! It is an order.”“I order you sometimes to yawn and sometimes to”“I order you to do so.” "I order you to ask me a question" and so on. The author's carefully designed plot and characters' speech expressed strong irony, negation, and criticism of the fans of power. Not only for those in power, but also for those who are not in power. Thousands of years of class society accumulated the persona of respect for power in people's hearts. The prince refused all the king's appointments and said, “If Your Majesty wishes to be promptly obeyed,” he said. “He should be able to give me a reasonable order. He should be able, for example, to order me to be gone by the end of one minute.” But the king did not order that. The little prince sighed and left. He sighed, grown-ups are so strange. People have to know that they need more beyond the power.

On the third little planet, the little prince met a businessman who pursues money. He spent all his energy on calculating money and even did not have time to look up at the little prince. He had no time to light his cigarette. But what is the merchant's money? He was calculating the stars in the sky and find out how many stars he has found, then saved them in the bank to buy many stars, and sold them to buy more stars. Stars in the sky, they should belong to the whole universe, but he thinks, "because I was the first person to think of it", so these stars belong to him. The absurd logic is a metaphor for profound philosophy: the society believes in money is all bringing people the thick persona of venality, and people’s life becomes meaningless. The businessman's behavior is useless to the stars in the sky and is useless to businessmen himself. It is not as good as the relationship between the little prince and his own rose. The flower is worrying, consoling, warming and loving to the little prince and vice versa.

The author also uses the same absurd plot to describe the conceited man and a geographer, revealing the persona of the vanity and paranoid of speculative knowledge. The former can take falsehood as true and satisfy the vanity; the latter is rigid in mind and has nothing to do with nature. These two people also live alone on small planets. Words and deeds are equally funny and eccentric.

4.1.2 Limited Persona

The author also asked the little prince to talk to the bottom of the society. The first is a drunken man who has been stacked with empty bottles beside him. He also felt abused by drinking, and quit. But, the way to quit drinking is to drink a lot and to forget his shame in anesthesia, and then, drink more. The second is the lonely

lantern, his planet is very small, one minute turn round, one-minute alternation of day and night, so just light, and immediately turn out the light, because with an obedient personality persona, obey orders, tired exhausted. The third is people on the earth who travel by train. They are busy and do not know where to go. These three plots cannot find solutions to the predicament of the alienated human society. The drunken man "abstinence with wine" is just as ridiculous as the ancient philosopher Zhuang Zi criticized the idea of "fighting for fire and saving water for water". However, the purpose of philosophers is not in this sense, but in other words: people often make things contrary to their purpose, and the result is just the opposite. For example, in Chinese idioms, "eliminate war with war, fight criminal offenders by death penalty", "cure a poisoned patient with poison", "an eye for an eye, a tooth for a tooth", etc. People do not think they are wrong, and they are often used in this way to deal with the contradiction between nation and nation.

The twenty-third chapter of the fairy tale further reveals that modern society deviates from its purpose in dealing with its own contradictions. Thirsty people should drink water, but businessmen are selling thirst pills. It is said that they not only quench thirst but also save fifty-three minutes a week to drink water. Thirst and drinking water are human's nature. Thirst for thirst, apart from special circumstances, it deviates from human nature. So, the little prince said: “if I had fifty-three minutes to spend as I liked, I should walk at my leisure toward a spring of fresh water.”

The story of the lamplighter, alleging the rigid and conservative defects of the modern social system, the society is changing, but the system does not change, the bitter is the people in the system; on the other hand, it is also alleged the restraint and rigidity of the system to human nature. People do not have the ability to innovate, dare not go one step beyond the limit. As long as the lantern man takes two steps forward, the edge of the planet is always daylight without lighting up; the two steps backward is always the night, and the lamp is lit. But he kept lighting the lights and putting out the lights because they were orders and orders not violable. He has no power to choose freely. The people on the earth train are not satisfied with their own places, riding a train, or sleeping, or yawning, unconcerned about the scenery outside the car. In the view of the little prince, "they simply don't know where to go and what to look for."

In fact, the bustling passengers are all for the benefit, rather than looking for the truth they have missed, rather than looking for the rose in the heart, rather than looking for the spring of the desert. In the eyes of the little prince, "he has never smelled a flower. He has never looked at a star. He has never loved anyone. He has never done anything in his life but adds up figures." "He is not a man he is a mushroom!" This is the beginning of a French absurd drama in which people become rhinoceros.

4.2 The Prince’s Struggle Against the Shadow

On the little planet B612, the little prince gets along with the rose with the color of "symbiotic union". “The connotation of 'symbiotic union' is that they live together and need each other. It is divided into passive and active forms, and the characteristics of the passive form are reflected in the submission, which is to consciously put themselves in the form of arrangement under a person or an organization. He was willing to become a dependency of the other so that he could get rid of loneliness and separation. In this sense, the other side is his life, regardless of whether he or she is God. It is the absolute authority to him.”

4.2.1 Shadow from the Rose

At first, the little prince was lonely. His planet is small, with only a few simple flowers,

mad baobabs, and 3 volcanoes. The little prince lived alone, and his only diversion was to move the stool to enjoy the eternal sunset. Until one day, a rose that did not know where she came from, she was enchanted and fragrant, so she broke into the little prince’s life. The little prince fell in love with the rose and took care of her carefully. Even if she is not modest, he still waters her, listens to her grief and boasts. But it is also a flower who with childish temper and artificial. In order to get more love from the little prince, she pretended so weak as to be unable to stand any breeze, let the little prince look for a glass cover for her, and exaggerate to say that her four spines were used to deal with the tiger. The rose likes the kind of scheming woman who took an endless love by using her own weakness and beauty. The little prince was at a nonplus and annoyed. From the beginning, the rose was in the utilitarian Road, and farther and farther, which made her far away from real life. After realized her childish lies, the flower was so ashamed and angry. It made the little prince had a suspicion of "love". The rose let the little prince get rid of loneliness, and made his life full of fun and meaning, but also made him understand sadness and pain. So the little prince decided to leave. He wanted to retrieve himself, calm the sadness caused by love, and also unravel the confusion of "love". In any case, the shadow exists, and the little prince cannot understand why the harm is adulterated in love, why the love cannot exists in a pure way, so he left. Perhaps, leaving is not the end, but the beginning of a new journey, a gesture that greets the arrival of new hope. On earth, when five thousand of the same roses were displayed in front of the little prince, he realized that the roses on his own planet were not unique. He cannot hide his loss of heart, and even feel confused. His later planet journey proved that his departure gave him the opportunity to experience more ways of life, both lovely and ugly, and their existence was inspiring him, both in enriching his cognitive world and promoting his growth.

In the relationship with the rose, the little prince of the passive side of the majority

of the behavior is submission, and the rose, as an active party, is mainly expressed as manipulate. The passive party makes itself as a tool for the active party and becomes a tool for something that is thought to be and the initiative improves their position by cooperating with another person who adored them. At this stage, the two sides cannot really appreciate the value of love and the connotation of responsibility. Rose does not understand how to care about her lover, how to express its care and the sense of responsibility to each other, only to ask for and coercion, in some degree. However, her arrogant and blaze of talk, in the eyes of the little prince, became she has a strange temper and loves to say false words, the initial panic gradually changed into impatience. We can say this: love is a child from freedom, not a child from control. The little prince cannot receive respect for his own soul and the realization of his own value from the only lover who is staying with him morning and night and finally begins his journey to seek a certain inner value and universal truth. This is a long and painful journey to the sense of love and responsibility.

4.2.2 Shadow from Others

Except the shadow from the rose, the adults with different characters, the flower with three petals without roots, the mountain only repeat without imagination, and the human on the earth all give the little prince shadow. Their personas show readers hypocritical and unrealistic masks, it made the little prince saw the personas of the adults. They left the little prince with the impression that "these adults are really strange". In the desert, he met the flower of three petals, because of its own roots deep in the land, when it see the six or seven human lonely walk on the earth by the wind, it feel that they are very poor. The mountain echoes to the little prince, and wherever have atmosphere of loneliness and fear. No one responds, only a conversation with himself. Therefore, the little prince thought the human always

lonely.

4.3 The Prince’s Self-realization

On earth, he came across the snake, the garden of roses, fox, railway switchman, merchant, and pilot, they made the little prince lack understanding the life form and state of life on this planet, and this feeling was Saint-Exupéry's disagreement and resistance to the human world. The baffle of love has reached the peak when the little prince saw five thousand almost identical roses in the blooming garden, and all same as his one, and he cried with grief. Though the rose lets him understand love, it does not make him realizes the method of love. Therefore, the little prince is still suffering in the confusion of love.

4.3.1 Guide from the Fox

When he wanted to make friends with the fox and let the fox play with him to ease his grief, the fox refused, "I cannot play with you." "I am not tamed." but the fox gave directions to the little prince. In contact with the fox, the little prince finally realized a secret. The fox told him, "It is only with the heart that one can see rightly. What is essential is invisible to the eye." The little prince saw the light suddenly, he slowly understood what was love, slowly understood the inner thoughts of the rose, and slowly found the source of the heart and the true meaning of love, and began to regret himself to leave his own unique rose. After the tamed and established an emotional connection with the fox, the little prince understood the reason why the rose was ten thousand precious to him, because he was tamed by her, so a single one is more precious than the five thousand in the garden.

The little prince is lucky because when he is confused, there appears a fox that guides him. If the relationship between the little prince and the rose has given him a small lesson in life and love, the association with the fox has given him a big lesson about the general connection between people.

4.3.2 Help from the Snake

“The men where you live raise five thousand roses in the same garden – and they do not find in it what they are looking for.”“And yet what they are looking for could be found in one single rose, or in a little water.” After traveling through these planets, the little prince who has been exhausted by such a ridiculous world has finally found the value of himself and the true meaning of life, that is, the meaning of love and responsibility. He began to miss his hometown, with his thoughts and repentance towards his lover. The little prince decided to return to his planet and return to his beloved rose.

When everything is approaching perfection, the author gives us a slightly sad ending. "You understand it is too far, I cannot this body with me. It is too heavy." After understanding the true meaning of love, the little prince found himself unable to return with his own body. He wandered around the earth and deeply missed his flowers. The little prince looked at his stars in the days when he could not go back. He said, "If you love a flower that lives on a star, it is sweet to look at the sky at night. All the stars are abloom with flowers " The sad and fragile prince could not bear the misery of miss. He was eager to go back, so he decided to turn to the serpent that can cause death in thirty seconds, even though he was afraid of pain. The little prince had little contact with snakes, but they knew each other very well. The snake saw the purity of the little prince, which made him feel compassion. And the little prince also realized that the snake's language was abstruse and bad. So the little prince reminded me at last: “he must not bite you. Snakes they are malicious creatures. This one might bite you just for fun.” Snake as the embodiment of evil,

why did the little prince finally choose to let the snake send him home? The goodness of the world is bound to encounter evil. In the face of evil, the little prince is powerless. He could not rely on his strength to return to his planet. He could only rely on the snake. In that, the snake can help him achieve his happiness ideal of returning home. Therefore, the little prince's fear of evil is negligible compared to his hope of returning home. At this level, evil is not a complete evil. Evil and good coexist. Evil, to a certain extent, is the possibility and motive force for good to be realized. This kind of cognition makes him made the final choice. For his rose, he chose the return of his mind. He resolutely took off the

h eavy shell and returned to his planet and returnedto the rose. “He rema ined motionless for an instant. He did not cry out. He fell as gently as a tree falls. There was not even any sound, because of the sand.”

Therefore, the return of love and responsibility of the little prince on another level means the death of the body. Death transcends the perfect self-realization of love. When the little prince flew away from the heavy fetters, he also left an important revelation to us - the extreme of love, the peak of responsibility, is the neighbor of sacrifice. The little prince chooses the death of his body in order to conform to the desire of his heart and pursue the perfect value of his heart. The reason why he accepted the death of his body was that he did not betray himself. His ideas and aspirations set him thinking about his behavior and the direction of his behavior. Chapter 4 Data Analysis and Discussion

However, the death of the little prince is not a real death. His death is a return to the mind and achieves self-realization. The little prince returned to his fairy tale world, a world that eradicated the bakery and cleaned the pure water of the ash, and a happy and warm world that poured roses every day to cover her windshield. And his innocence and beauty will forever infect people on the ball and teach them to perceive the world with their new eyes and new hearts.

Chapter 5 Conclusion

We live in an environment where a person's sexual power is generally missing, and it is the main motive force for the development of society. It is as dry as the soil. It cannot regenerate the meaning of fresh and lively life. In order to find spiritual sweet spring, some people take the religious road.

But I believe in the power of human nature. I believe that people can defend their dignity and self-confidence by relying on reason and good feelings. This is the spirit of humanity. In a country such as China, a country with a weak religious tradition, adhering to and carrying forward the humanistic spirit is the main force to condense the national confidence, and the feeling of beauty and the creation of beauty are the basic part of the humanistic spirit.

Reading literary can improve the reader's ability to feel and grasp the aesthetic sense of literary language and literature, and find the richness of human nature and enrich the inner world and moisten it. Like The Little Prince.

The little prince is an angel sent by Antoine de Saint-Exupéry to

t he adult world to help adultsrethink life and feel life again. The lit tle prince appeared in carefree children, expressing his yearning for childhood and his desire for innocence. In the adult world, the hearts of adults are filled with the desire for money and power, for reality and utilitarianism, and little prince is to save the adult souls of the worldly world lost in greed and desire. The author hopes that people will see the pure and simple aspect of life from the young prince, hoping that people will withdraw from desirable and greedy and discover their innocence and love. Chapter 5 Conclusion

About The Little Prince, many researchers studied it from different aspects, but it is a

really wonderful fairy tale, it is worth to analyze it and share with all human beings. References

References

Antoine de S. E. 1942. The Little Prince. Harvest Books.

Carl, J. 1988. Recollection, Dream, and Thinking - The Autobiography of Carl Jung. Liaoning People's Publishing House.

Chen, Y. 2014. An Exploration of The Little Prince in Archetypal Symbolism. Journal

of Shanxi Coal-Mining Administrators College, 27(1):183-184. (陈永伟. 小说《小王子》原型象征手法的探究[J]. 山西煤炭管理干部学院学报. 2014, 27(1):183-184.)

Dean, S. 2011. Biblical Analogy in the Novella The Little Prince by Antoine de Saint Exupéry. Renewed Life.

DiAmbrosio. 2014. Patient and Analyst in Crises: A Mutual Transformation Reflected

in a Clinical Narrative and St. Exupery’s The Little Prince. International Journal of Psychoanalytic Self Psychology, (10): 131-143.

Frye, N. 1957. Anatomy of Criticism. Princeton, New Jersey: Princeton University Press.

Gao, H. 2015. Cognitive Study of Metaphors in The Little Prince. Unpublished. MaD dissertation, Hefei University of Technology.

Gong, B. 2013. The Beautiful Metaphor of Love in The Little Prince. Journal of Daqing Normal University, 33(4):88-91. (龚北芳.《小王子》爱情的凄美隐喻[J]. 大庆师范学

院学报. 2013, 33(4):88-91.)

Guo, Y. 2016. The Theme of Alienation in Fairy Tale - The Little Prince. Foreign Studies, 4(1):57-63. (郭一. 童话《小王子》中的“异化”主题探索[J]. 外文研究. 2016, 4(1):57-63.)

Hu, Y. 1998. The Symbolic Meaning of The Little Prince. Foreign Literature Review, (1):34-39. (胡玉龙.《小王子》的象征意义[J]. 外国文学评论. 1998, (1):34-39.)

Li, S. 2009. The Little Prince Roaming Between the Text and the World. Unpublished. MaD dissertation, Northwest Normal University.

Li, W. 2013. Visible and Invisible. Masterpieces Review, (3):52-56. (李文优. 看得见的,看不见的[J]. 名作欣赏. 2013, (3):52-56. )

Liu, X. 2015. The Pursuit and Possession of Love. Masterpieces Review, (15):117-119. (刘向晖. 爱的追寻与占有[J]. 名作欣赏. 2015, (15):117-119.)

Liu, X. 2012. An Analysis of the Aesthetic Phenomenology of The Little Prince. The study of Chinese language and Literature, 3(2):121-127. (刘晓丽.《小王子》的审美

现象学分析[J]. 汉语言文学研究. 2012, 3(2):121-127.)

Qiu, R. 2014. An Analysis of The Little Prince from the Perspective of Existentialism. Unpublished. MaD dissertation, Nanjing Normal University.

Shi, H. 2002. The Return and Watch of the Spiritual Home of Children. Journal of Teachers College of Shanxi University, (2):57-59. (石海燕. 儿童精神家园的回归与守

望[J]. 山西大学师范学院学报. 2002, (2):57-59.)

Sun, J. 2012. A Brief Analysis of the Symbolic Meaning of The Little Prince. Literatures, (11):192-194. (孙静. 浅析《小王子》里的象征意义[J]. 文学界. 2012, (11):192-194.)

Wang, C. 2012. Tame, Patient and Responsibility. Young Years, (18):18. (王琮瑜. 驯

服、耐心、责任[J]. 青春岁月. 2012, (18):18.)

Wu, Z. 2006. The Aesthetic Value of the Philosophic Fairy Tale The Little Prince. The New Century Argument,(2):99-104. (邬震婷. 哲理童话《小王子》的美学价值初探[J]. 新世纪论丛. 2006,(2):99-104. )

Xiong, Y. 2011. An Analysis of The Little Prince from the Perspective of Appraisal Theory. Unpublished. MaD dissertation, Nanchang University.

Xu, F. 2010. The Symbolic Significance of the “Dual World” in The Little Prince. Unpublished. MaD dissertation, Southwest University.

Yang, H. 2013. A Research on Authenticity in Saint Exupery’s Le Petit Prince. Unpublished. MaD dissertation, Zhejiang University.

Yang, N. 2005. The Little Prince: the Symbolize of Childhood Archetype. Masterpieces Review, (14):27-29. (杨宁. 小王子：童年原型的象征[J]. 名作欣赏. 2005, (14):27-29.) Yang, Y. 2007. Trace the Trail of the Fox. The World Literature Criticism, (2):121-124. (杨莹樱. 追寻狐狸的踪迹[J]. 世界文学评论. 2007, (2):121-124.)

Ye, S. 1957. The Hero and the Sun: the Prototype of China Ancient Epic Reconstruction (In Chinese). Shanghai Academy of Social Sciences Press. (叶舒宪. 英雄与太阳：中国上古史诗原型重构[M]. 上海社会科学院出版社. 1957.)

Ye, S. 2002. Archetype Reconstruction, Archetype and Cross-cultural Interpretation (In Chinese). Jinan University Press. (叶舒宪. 原型与跨文化阐释[M]. 暨南大学出版社. 2002.)

Ye, S. 1995. Archetype and Chinese Characters (In Chinese). Journal of Peking University, (2): 43-47. (叶舒宪. 原型与汉字 [J]. 北京大学学报. 1995, (2): 43-47.)