小王子（中英对照，图文并茂，全球发行语言超过100种，总销量超500,000,000册，精装双语典藏，强势回归！）

     责任，是诠释爱的途径

　　全球发行语言超过100种，总销量超500,000,000册
　　销量仅次于《圣经》，数亿人为之感动
　　与小王子一起，进入这个被大人忘却的纯净世界
　　
　　全新精装典藏，翻译晓畅，打造经典双语典藏书系。
　　装帧精美、设计简约大气，选用国内精良、经典的版本，国内名师倾力翻译，首次推出经典双语典藏丛书。
　　畅销经典，销量保证，被翻译成108种语言，全球总销量超过五亿册，仅次于《圣经》。
　　作者用通俗易懂的语言写出了引人深思的哲理和令人感动的韵味。整个童话，文字纯净朴素，形式简洁干净，但是却蕴藏着智慧的光芒，充满着诗意的忧郁、淡淡的哀愁，读起来让人回味无穷。
　　中英对照，图文并茂，作者手绘插画强势回归，阅读流畅。

　　这是一部忧伤的哲理童话，是献给所有的孩子，以及所有“曾经是个孩子”的大人的寓言故事。整部童话文字很纯净朴素，形式简洁，但是却蕴藏着智慧的光芒。此书自面市以来，曾被翻译成108种语言，全球畅销近5亿本，销量仅次于《圣经》，数亿人为之感动。作者通过一位来自不同星球的小王子，用通俗易懂的语言，写出了引人深思的哲理和令人感动的韵味。整部童话充满着诗意的忧郁、淡淡的哀愁，读起来让人回味无穷。当你翻开《小王子》时，你也一定会为小王子的善良单纯而落泪，在他一次又一次的回忆中，与他一起，聆听玫瑰花开的声音，领悟爱的真谛与感动。

　　作者安东尼德圣埃克苏佩里，1900年6月29日生于法国里昂市。飞行家、作家。从他发表《南方邮件》到《小王子》的16年间，仅出版了6部作品，都以飞机为工具，从宇宙的高度观察世界、探索人生。这些作品篇幅不多，体裁新颖，富有想象力。在现代文学史中，安东尼德圣埃克苏佩里被认为是早关注人类生活状况的作家之一。
　　译者吴睿，毕业于陕西师范大学，大学教授，一级讲师。曾翻译出版《商务之旅：东京》、《福尔摩斯探案全集：福尔摩斯回忆录》等书籍，参与编写出版书籍《大学英语实用写作》、《新大学英语四级考试特训写作分册》等。

1………………………002 Chapter1………………………003
2………………………008 Chapter2………………………009
3………………………018 Chapter3………………………019
4………………………024 Chapter4………………………025
5………………………034 Chapter5………………………035
6………………………044 Chapter6………………………045
7………………………048 Chapter7………………………049
8………………………058 Chapter8………………………059
9………………………068 Chapter9………………………069
10………………………074 Chapter10………………………075
11………………………088 Chapter11………………………089
12………………………092 Chapter12………………………093
13………………………094 Chapter13………………………095
14………………………106 Chapter14………………………107
15………………………116 Chapter15………………………117
16………………………128 Chapter16………………………129
17………………………132 Chapter17………………………133
18………………………140 Chapter18………………………141
19………………………142 Chapter19………………………143
20………………………146 Chapter20………………………147
21………………………150 Chapter21………………………151
22………………………166 Chapter22………………………167
23………………………170 Chapter23………………………171
24………………………172 Chapter24………………………173
25………………………180 Chapter25………………………181
26………………………190 Chapter26………………………191
27………………………208 Chapter27………………………209

　1
　在我六岁的时候，有一次读到一本描写原始森林的名叫《真实的故事》的书，在书里我看到了一副精美的插画，插画上画的是一条蟒蛇正在吞食一只动物。这是那副画的摹本：
这本书中写道：“蟒蛇会将它们的猎物整个吞下，而且根本不咀嚼，而后猎物就再也不能动了。在此后漫长的六个月的睡眠中，蟒蛇会慢慢消化这些食物。”
当时，我想象过很多关于丛林中的奇遇。之后，我便用彩色铅笔描绘了我的副图画作品。我的号作品，就是这一幅：
我把我的这副杰作拿给大人看，并且问他们我的画是不是让他们觉得恐惧。
他们回答说：“害怕？一顶帽子有什么好怕的？”
可我画的根本不是一顶帽子，而是一条大蟒蛇正在消化一头大象。为了能让大人们看明白我的画，我又画了另外的一幅画。这次我把巨蟒肚子里的情景画了出来，这样大人们就能够看得很清楚了。这些大人总是需要解释。我的第二号作品是这样的：
不过，大人们劝我不要再画这些大蟒蛇了，不管是敞着肚皮的还是合上肚皮的，他们劝我应该把兴趣集中在地理、历史、算术、语法上。就这样，在六岁的那年，我就放弃了当职业画家这一前程美好的理想。由于我的号、第二号作品的不成功，我感到有些沮丧。这些大人们，仗着他们自己什么也弄不懂，就没完没了地让孩子们给他们解释，真叫孩子们讨厌。
所以后来，我不得不选择另外一个职业驾驶飞机。为此，我几乎飞遍了世界各地。的确，地理学给了我很多帮助。只要看一眼，我就能分辨出中国和亚里桑那。如果飞机在夜里迷失了航向，这些知识是非常有用的。
我的一生中，曾经密切接触过许多严谨的人，他们无一例外，只关心事情的结果。我在这群大人们中间生活了很长一段时间。我仔细地观察过他们，但这并没有多大地改变我对他们的看法。
每当遇到一个脑筋看起来稍微清楚一点的大人时，我便把我一直保存着的号作品拿出来测试他。我想知道他是否真的能理解我的画。可是，我得到的回答总是：“这是顶帽子。”于是，我就不和他谈巨蟒、原始森林或者星星之类的事。我只得迁就他们的水平，和他们谈些桥牌呀、高尔夫球呀、政治呀、领带呀这些。就这样，大人们十分高兴能认识像我这样懂道理的人。

Chapter 1
Once when I was six years old I saw a magnificent picture in abook, called True Stories from Nature, about the primeval forest.It was a picture of a boa constrictor in the act of swallowing ananimal. Here is a copy of the drawing.
In the book it said: “Boa constrictors swallow their prey whole,without chewing it. After that they are not able to move, and theysleep through the six months that they need for digestion.”
I pondered deeply, then, over the adventures of the jungle. Andafter some work with a colored pencil I succeeded in making myfirst drawing. My Drawing Number One. It looked like this:
I showed my masterpiece to the grown-ups, and asked them whetherthe drawing frightened them.
But they answered: “Frighten? Why should any one be frightened by ahat?”
My drawing was not a picture of a hat. It was a picture of a boaconstrictor digesting an elephant. But since the grown-ups were notable to understand it, I made another drawing: I drew the inside ofthe boa constrictor, so that the grown-ups could see it clearly.They always need to have things explained. My Drawing Number Twolooked like this:
The grown-ups’ response, this time, was to advise me to lay asidemy drawings of boa constrictors, whether from the inside or theoutside, and devote myself instead to geography, history,arithmetic and grammar. That is why, at the age of six, I gave upwhat might have been a magnificent career as a painter. I had beendisheartened by the failure of my Drawing Number One and my DrawingNumber Two. Grown-ups never understand anything by themselves, andit is tiresome for children to be always and forever explainingthings to them.
So then I chose another profession, and learned to pilot airplanes.I have flown a little over all parts of the world; and it is truethat geography has been very useful to me. At a glance I candistinguish China from Arizona. If one gets lost in the night, suchknowledge is valuable.
In the course of this life I have had a great many encounters witha great many people who have been concerned with matters ofconsequence. I have lived a great deal among grown-ups. I have seenthem intimately, close at hand. And that hasn’t much improved myopinion of them.
Whenever I met one of them who seemed to me at all clear-sighted, Itried the experiment of showing him my Drawing Number One, which Ihave always kept. I would try to find out, so, if this was a personof true understanding. But, whoever it was, he, or she, wouldalways say:
“That is a hat.”
Then I would never talk to that person about boa constrictors, orprimeval forests, or stars. I would bring myself down to his level.I would talk to him about bridge, and golf, and politics, andneckties. And the grown-up would be greatly pleased to have metsuch a sensible man.

2
我就这样孤独地生活着，身边没有一个能真正谈得来的朋友，直到六年前，我的飞机在撒哈拉沙漠上发生了一次故障。我的发动机有个东西出了点问题。由于当时我既没有带机械师，也没有带乘客，于是我就试图独自动手完成这个困难的维修工作。这个工作对我来说，是个生死攸关的问题。我随身带的水多能够饮用一个星期。
天晚上，我就在这荒无人烟的大沙漠里睡了一夜。比起远远地漂流在汪洋大海中的小木排上的落难者，我明显要孤独得多。而在第二天黎明时，当一个奇怪的小声音叫醒我的时候，你们可以想象得到，我当时有多么吃惊。这个小小的声音说道：
“麻烦……请你给我画一只绵羊，好吗？”
“什么！”
“请你给我画一只绵羊……”
我像是遭到了雷击一般，瞬间就站立了起来。我使劲地揉了揉双眼，仔细地观察。接着，我看见一个长相十分奇怪的小家伙，正在很认真地盯着我看。这是我后来给他画出来的好的一副肖像画：
当然，我画出来的肖像肯定没有他本身的模样可爱。不过，这可不能怨我。六岁时，大人们的建议就让我彻底放弃了当画家的理想，所以除了画过那张敞开肚皮的与合着肚皮的蟒蛇以外，我后来根本没有学过画画。
我惊讶地看着这突然冒出来的小家伙，眼睛瞪得溜圆。你们不要忘记了，我当时可身处千里之外、远离人烟的地方呀。可眼前的这个小家伙，既不像是迷了路的样子，也没有流露出半点疲乏、饥渴、惧怕的神情。总而言之，他丝毫不像是一个迷失在荒无人烟的大沙漠中的孩子。当我终于能够开口说话的时候，我问他说：
“唉，你在这儿干什么？”
尽管如此，他依旧不慌不忙地对我重复他的要求，仿佛是在说一件十分重要的事情：
“麻烦你……给我画一只羊……”
当一个突然出现的谜一样的人出现你面前的时候，你不敢不听从他的命令。此时的我身处在荒无人烟的沙漠上，既面临着死亡的威胁，又加上这个听上去让我觉得十分荒诞的画画的要求，尽管如此，可我还是掏出了一张纸和一支钢笔。不过，此时的我能记起的只有地理、历史、算术和语法。于是，我有点不大高兴地对小家伙坦白说我不会画画。他回答我说：
“没有关系，给我画一只羊吧！”
由于我从来没有画过羊，所以我就给他重新画了一副我仅仅会画的那两副画中的一幅一只肚子胀得鼓起来的巨蟒。
“不！不！我不要蟒蛇，它肚子里还有一头象。”
我听了他的话，惊讶得目瞪口呆。他接着说：“巨蟒太恐怖了，大象又太庞大，占地方。我的家非常小，我只需要一只羊。你给我画一只绵羊吧。”
于是我就给他画了一只绵羊。
他聚精会神地看着，随后又说：
“我不要，这只羊已经病得很严重了。你给我重新画一只。”
我又画了起来。
这位朋友并没有丝毫责怪我的意思，反而天真可爱地笑了，他说：“你看，你画的不是一只小绵羊，而是一头公羊，它还长着犄角呢。”
于是我又重新画了一张。
但是，这副画同前几副一样，又被他否定了。
“这一只羊太老了。我想要一只能活得长久一点的小绵羊。”
这次我不耐烦了。因为我急于要拆卸发动机，于是就草草画了这张画，随口对他解释说：
“这是一只箱子，你要的羊就在里面。”
这时，我十分惊讶地看到，我的这位小朋友终于露出了笑脸。他说：
“这正是我想要的小绵羊，你说，喂养这只羊需要很多草吗？”
“为什么问这个呢？”
“因为我住的地方非常小……”
“我给你画的是一只很小的小羊，地方再小也够它住的。”
他把脑袋靠近这张画。
“并不像你说的那么小……瞧！它睡着了……”
就这样，我认识了小王子。

Chapter 2
So I lived my life alone, without anyone that I could really talkto, until I had an accident with my plane in the Desert of Sahara,six years ago. Something was broken in my engine. And as I had withme neither a mechanic nor any passengers, I set myself to attemptthe difficult repairs all alone. It was a question of life or deathfor me: I had scarcely enough drinking water to last a week.
The first night, then, I went to sleep on the sand, a thousandmiles from any human habitation. I was more isolated than ashipwrecked sailor on a raft in the middle of the ocean. Thus youcan imagine my amazement, at sunrise, when I was awakened by an oddlittle voice. It said:
“If you please… draw me a sheep!”
“What!”
“Draw me a sheep!”
I jumped to my feet, completely thunderstruck. I blinked my eyeshard. I looked carefully all around me. And I saw a mostextraordinary small person, who stood there examining me with greatseriousness. Here you may see the best potrait that, later, I wasable to make of him. But my drawing is certainly very much lesscharming than its model. That, however, is not my fault.
The grown-ups discouraged me in my painter’s career when I was sixyears old, and I never learned to draw anything, except boas fromthe outside and boas from the inside.
Now I stared at this sudden apparition with my eyes fairly startingout of my head in astonishment. Remember, I had crashed in thedesert a thousand miles from any inhabited region. And yet mylittle man seemed neither to be straying uncertainly among thesands, nor to be fainting from fatigue or hunger or thirst or fear.Nothing about him gave any suggestion of a child lost in the middleof the desert, a thousand miles from any human habitation. When atlast I was able to speak, I said to him:
“But…what are you doing here?”
And in answer he repeated, very slowly, as if he were speaking of amatter of great consequence:
“If you please… draw me a sheep…”
When a mystery is too overpowering, one dare not disobey. Absurd asit might seem to me, a thousand miles from any human habitation andin danger of death, I took out of my pocket a sheet of paper and myfountain pen.
But then I remembered how my studies had been concentrated ongeography, history, arithmetic, and grammar, and I told the littlechap (a little crossly, too) that I did not know how to draw. Heanswered me:
“That doesn’t matter. Draw me a sheep…”
But I h