Antoine de Saint-Exupéry Zitate

31 zeitlose Weisheiten über Natur, Luftfahrt, Unglück und Frieden

Der kleine Prinz, Kapitel XXVI
Original franz.: "Quand tu regarderas le ciel, la nuit, puisque j'habiterai dans l'une d'elles, puisque je rirai dans l'une d'elles, alors ce sera pour toi comme si riaient toutes les étoiles. Tu auras, toi, des étoiles qui savent rire!"
Der kleine Prinz, Le petit prince (1943)

Wind, Sand und Sterne (1939)

Der kleine Prinz, Kapitel XXI
Original franz.: "Tu deviens responsable pour toujours de ce que tu as apprivoisé."
Der kleine Prinz, Le petit prince (1943)

Der kleine Prinz, Deutsch von Tullio Aurelio 2016, PT63 books.google https://books.google.de/books?id=YFpuCwAAQBAJ&pg=PT63&dq=Missverständnissen
"Le langage est source de malentendus." - http://www.antoinedesaintexupery.com/categorie/romans-textes
Der kleine Prinz, Le petit prince (1943)

Die Stadt in der Wüste. Deutsch von Oswalt von Nostitz. Düsseldorf: Rauch 1951, S. 172
Original franz.: "Pour ce qui est de l'avenir, il ne s'agit pas de le prévoir, mais de le rendre possible." - oder auch: "Préparer l'avenir ce n'est que fonder le présent. […] Il n'est jamais que du présent à mettre en ordre. À quoi bon discuter cet héritage. L'avenir, tu n'as point à le prévoir mais à le permettre." - https://biblio.wiki/wiki/Citadelle/LVI
Die Stadt in der Wüste, Citadelle (1948)

Brief an eine Geisel (1943) / Bekenntnis einer Freundschaft
Original franz.: "Les miracles véritables, qu’ils font peu de bruit! Les événements essentiels, qu’ils sont simples!") - Lettre à un otage (Folio no 4104, p. 47
Andere Schriften

Obwohl von Staatsministerin Monika Grütters als Beauftragter der deutschen Bundesregierung für Kultur und Medien seit 31. Dezember 2017 auf instagram https://www.instagram.com/p/BdYmiDrFuq6/ als Zitat aus „Der kleine Prinz“ präsentiert, ist es dort nicht zu finden. Auf die Frage, welchem Kapitel und welcher Übersetzung das Zitat entnommen sei, wurde mitgeteilt, dazu nichts sagen zu können.
Der kleine Prinz, Le petit prince (1943), Fälschlich zugeschrieben

Der kleine Prinz, Kapitel II
"S’il vous plaît… dessine-moi un mouton !"
Der kleine Prinz, Le petit prince (1943)

Wind, Sand und Sterne, Karl Rauch Verlag 1941, S. 216; 18. Auflage 1989, S. 178, Übersetzung Henrik Becker
Original. franz.: "l'expérience nous montre qu'aimer ce n'est point nous regarder l'un l'autre mais regarder ensemble dans la même direction." - Terre des hommes, Livre de Poche n°68, p. 225
Wind, Sand und Sterne, Terre des Hommes (1939)

Quelle: Die Stadt in der Wüste, Citadelle, Düsseldorf: Karl Rauch, 1951, S. 125, ISBN: B0011YFL44

Wind, Sand und Sterne, Karl Rauch Verlag 1941, S. 60; 18. Auflage 1989, S. 48 f., Übersetzung Henrik Becker
Original. franz.: "Il semble que la perfection soit atteinte non quand il n'y a plus rien à ajouter, mais quand il n'y a plus rien à retrancher." - Terre des Hommes, III: L'Avion, p. 60 (1939)
Wind, Sand und Sterne, Terre des Hommes (1939)

"Briefe an seine Mutter", Herder Spektrum Verlag, Band 4007, S.101, Übersetzung Oswald von Nostitz
"Et j'attends de rencontrer quelque petite jeune fille bien jolie et bien intelligente et pleine de charme et gaie et reposante et fidèle et... alors je ne trouverai pas. Et je fais une cour monotone à des Colette, à des Paulette, à des Suzy, à des Daisy, à des Gaby qui sont faites en série et ennuient au bout de deux heures. Ce sont des salles d'attente. Voilà." - Lettres à sa mére. Gallimard 1955, p. 114 books.google http://books.google.de/books?id=WqQHAQAAIAAJ&q=reposante
Briefe an seine Mutter, Lettres à sa mère

(fr) Quand tu veux construire un bateau, ne commence pas par rassembler du bois, couper des planches et distribuer du travail, mais reveille au sein des hommes le desir de la mer grande et large.
Variante: Ein schiff zu bauen bedeutet nicht, Leinen zu weben, Nägel zu schmieden oder die Sterne zu lesen, sondern die geteilte Liebe zum Meer zu vermitteln, [...]
Quelle: Die Stadt in der Wüste, Citadelle (1948), Kapitel LXXV

Flug nach Arras
"La seule victoire dont je ne puis douter est celle qui loge dans le pouvoir des graines. Plantée la graine, au large des terres noires, la voilà déjà victorieuse. Mais il faut dérouler le temps pour assister à son triomphe dans le blé." - p. 184 books.google http://books.google.de/books?id=XU59AAAAIAAJ&q=graines
Flug nach Arras, Pilote de guerre (1942)

Wind, Sand und Sterne, Karl Rauch Verlag, 1989, 18. Auflage, S.180
Original. franz.: "La vérité pour l'homme, c'est ce qui fait de lui un homme." - Terre des hommes, Livre de Poche n°68, p. 228
Wind, Sand und Sterne, Terre des Hommes (1939)

Quelle: Terre des Hommes (1939), Ch. I : The Craft
Kontext: I had a vision of the face of destiny.
Old bureaucrat, my comrade, it is not you who are to blame. No one ever helped you to escape. You, like a termite, built your peace by blocking up with cement every chink and cranny through which the light might pierce. You rolled yourself up into a ball in your genteel security, in routine, in the stifling conventions of provincial life, raising a modest rampart against the winds and the tides and the stars. You have chosen not to be perturbed by great problems, having trouble enough to forget your own fate as man. You are not the dweller upon an errant planet and do not ask yourself questions to which there are no answers. You are a petty bourgeois of Toulouse. Nobody grasped you by the shoulder while there was still time. Now the clay of which you were shaped has dried and hardened, and naught in you will ever awaken the sleeping musician, the poet, the astronomer that possibly inhabited you in the beginning.
The squall has ceased to be a cause of my complaint. The magic of the craft has opened for me a world in which I shall confront, within two hours, the black dragons and the crowned crests of a coma of blue lightnings, and when night has fallen I, delivered, shall read my course in the stars.

Les pierres du chantier ne sont en vrac qu’en apparence, s’il est, perdu dans le chantier, un homme, serait-il seul, qui pense cathédrale.
Pilote de Guerre (1942) (translated into English as Flight to Arras)

Ch III : The Tool
Variant translation of: <span id="perfection"></span>Il semble que la perfection soit atteinte non quand il n'y a plus rien à ajouter, mais quand il n'y a plus rien à retrancher.
Ch. III: L'Avion <!-- p. 60 -->
It seems that perfection is attained not when there is nothing more to add, but when there is nothing more to remove.
Terre des Hommes (1939)
Kontext: Have you looked at a modern airplane? Have you followed from year to year the evolution of its lines? Have you ever thought, not only about the airplane but about whatever man builds, that all of man's industrial efforts, all his computations and calculations, all the nights spent over working draughts and blueprints, invariably culminate in the production of a thing whose sole and guiding principle is the ultimate principle of simplicity?
It is as if there were a natural law which ordained that to achieve this end, to refine the curve of a piece of furniture, or a ship's keel, or the fuselage of an airplane, until gradually it partakes of the elementary purity of the curve of a human breast or shoulder, there must be the experimentation of several generations of craftsmen. In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.

Quelle: Terre des Hommes (1939), Ch. I : The Craft
Kontext: I had a vision of the face of destiny.
Old bureaucrat, my comrade, it is not you who are to blame. No one ever helped you to escape. You, like a termite, built your peace by blocking up with cement every chink and cranny through which the light might pierce. You rolled yourself up into a ball in your genteel security, in routine, in the stifling conventions of provincial life, raising a modest rampart against the winds and the tides and the stars. You have chosen not to be perturbed by great problems, having trouble enough to forget your own fate as man. You are not the dweller upon an errant planet and do not ask yourself questions to which there are no answers. You are a petty bourgeois of Toulouse. Nobody grasped you by the shoulder while there was still time. Now the clay of which you were shaped has dried and hardened, and naught in you will ever awaken the sleeping musician, the poet, the astronomer that possibly inhabited you in the beginning.
The squall has ceased to be a cause of my complaint. The magic of the craft has opened for me a world in which I shall confront, within two hours, the black dragons and the crowned crests of a coma of blue lightnings, and when night has fallen I, delivered, shall read my course in the stars.

Ch III : The Tool
Terre des Hommes (1939)
Kontext: Transport of the mails, transport of the human voice, transport of flickering pictures — in this century, as in others, our highest accomplishments still have the single aim of bringing men together. Do our dreamers hold that the invention of writing, of printing, of the sailing ship, degraded the human spirit?
It seems to me that those who complain of man's progress confuse ends with means. True, that man who struggles in the unique hope of material gain will harvest nothing worth while. But how can anyone conceive that the machine is an end? It is a tool. As much a tool as is the plough. The microscope is a tool. What disservice do we do the life of the spirit when we analyze the universe through a tool created by the science of optics, or seek to bring together those who love one another and are parted in space?

Toute nation est égoïste. Toute nation considère son égoïsme comme sacré.
"Letter to an American" (1944)

Quelle: Terre des Hommes (1939), Ch. I : The Craft
Kontext: I had a vision of the face of destiny.
Old bureaucrat, my comrade, it is not you who are to blame. No one ever helped you to escape. You, like a termite, built your peace by blocking up with cement every chink and cranny through which the light might pierce. You rolled yourself up into a ball in your genteel security, in routine, in the stifling conventions of provincial life, raising a modest rampart against the winds and the tides and the stars. You have chosen not to be perturbed by great problems, having trouble enough to forget your own fate as man. You are not the dweller upon an errant planet and do not ask yourself questions to which there are no answers. You are a petty bourgeois of Toulouse. Nobody grasped you by the shoulder while there was still time. Now the clay of which you were shaped has dried and hardened, and naught in you will ever awaken the sleeping musician, the poet, the astronomer that possibly inhabited you in the beginning.
The squall has ceased to be a cause of my complaint. The magic of the craft has opened for me a world in which I shall confront, within two hours, the black dragons and the crowned crests of a coma of blue lightnings, and when night has fallen I, delivered, shall read my course in the stars.

Quelle: Terre des Hommes (1939), Ch. IX Barcelona and Madrid (1936)
Kontext: Human drama does not show itself on the surface of life. It is not played out in the visible world, but in the hearts of men. … One man in misery can disrupt the peace of a city. It is another of the miraculous things about mankind that there is no pain nor passion that does not radiate to the ends of the earth. Let a man in a garret but burn with enough intensity and he will set fire to the world.

Quelle: Terre des Hommes (1939), Ch. I : The Craft
Kontext: "Navigating by the compass in a sea of clouds over Spain is all very well, it is very dashing, but—"
And I was struck by the graphic image:
"But you want to remember that below the sea of clouds lies eternity."
And suddenly that tranquil cloud-world, that world so harmless and simple that one sees below on rising out of the clouds, took on in my eyes a new quality. That peaceful world became a pitfall. I imagined the immense white pitfall spread beneath me. Below it reigned not what one might think — not the agitation of men, not the living tumult and bustle of cities, but a silence even more absolute than in the clouds, a peace even more final. This viscous whiteness became in my mind the frontier between the real and the unreal, between the known and the unknowable. Already I was beginning to realize that a spectacle has no meaning except it be seen through the glass of a culture, a civilization, a craft. Mountaineers too know the sea of clouds, yet it does not seem to them the fabulous curtain it is to me.

Quelle: Terre des Hommes (1939), Ch. IX Barcelona and Madrid (1936)<!-- * L’expérience nous montre qu’aimer ce n’est point nous regarder l’un l’autre mais regarder ensemble dans la même direction. /** Life has taught us that love does not consist in gazing at each other but in looking outward together in the same direction.-->
Kontext: No man can draw a free breath who does not share with other men a common and disinterested ideal. Life has taught us that love does not consist in gazing at each other but in looking outward together in the same direction. There is no comradeship except through union in the same high effort. Even in our age of material well-being this must be so, else how should we explain the happiness we feel in sharing our last crust with others in the desert? No sociologist's textbook can prevail against this fact. Every pilot who has flown to the rescue of a comrade in distress knows that all joys are vain in comparison with this one. And this, it may be, is the reason why the world today is tumbling about our ears. It is precisely because this sort of fulfilment is promised each of us by his religion, that men are inflamed today. All of us, in words that contradict each other, express at bottom the same exalted impulse. What sets us against one another is not our aims — they all come to the same thing — but our methods, which are the fruit of our varied reasoning.
Let us, then, refrain from astonishment at what men do. One man finds that his essential manhood comes alive at the sight of self-sacrifice, cooperative effort, a rigorous vision of justice, manifested in an anarchist's cellar in Barcelona. For that man there will henceforth be but one truth — the truth of the anarchists. Another, having once mounted guard over a flock of terrified little nuns kneeling in a Spanish nunnery, will thereafter know a different truth — that it is sweet to die for the Church. If, when Mermoz plunged into the Chilean Andes with victory in his heart, you had protested to him that no merchant's letter could possibly be worth risking one's life for, Mermoz would have laughed in your face. Truth is the man that was born in Mermoz when he slipped through the Andean passes.

Quelle: Terre des Hommes (1939), Ch. I : The Craft
Kontext: "Navigating by the compass in a sea of clouds over Spain is all very well, it is very dashing, but—"
And I was struck by the graphic image:
"But you want to remember that below the sea of clouds lies eternity."
And suddenly that tranquil cloud-world, that world so harmless and simple that one sees below on rising out of the clouds, took on in my eyes a new quality. That peaceful world became a pitfall. I imagined the immense white pitfall spread beneath me. Below it reigned not what one might think — not the agitation of men, not the living tumult and bustle of cities, but a silence even more absolute than in the clouds, a peace even more final. This viscous whiteness became in my mind the frontier between the real and the unreal, between the known and the unknowable. Already I was beginning to realize that a spectacle has no meaning except it be seen through the glass of a culture, a civilization, a craft. Mountaineers too know the sea of clouds, yet it does not seem to them the fabulous curtain it is to me.

Quelle: Terre des Hommes (1939), Ch. I : The Craft
Kontext: "Navigating by the compass in a sea of clouds over Spain is all very well, it is very dashing, but—"
And I was struck by the graphic image:
"But you want to remember that below the sea of clouds lies eternity."
And suddenly that tranquil cloud-world, that world so harmless and simple that one sees below on rising out of the clouds, took on in my eyes a new quality. That peaceful world became a pitfall. I imagined the immense white pitfall spread beneath me. Below it reigned not what one might think — not the agitation of men, not the living tumult and bustle of cities, but a silence even more absolute than in the clouds, a peace even more final. This viscous whiteness became in my mind the frontier between the real and the unreal, between the known and the unknowable. Already I was beginning to realize that a spectacle has no meaning except it be seen through the glass of a culture, a civilization, a craft. Mountaineers too know the sea of clouds, yet it does not seem to them the fabulous curtain it is to me.

Ch III : The Tool
Terre des Hommes (1939)
Kontext: Transport of the mails, transport of the human voice, transport of flickering pictures — in this century, as in others, our highest accomplishments still have the single aim of bringing men together. Do our dreamers hold that the invention of writing, of printing, of the sailing ship, degraded the human spirit?
It seems to me that those who complain of man's progress confuse ends with means. True, that man who struggles in the unique hope of material gain will harvest nothing worth while. But how can anyone conceive that the machine is an end? It is a tool. As much a tool as is the plough. The microscope is a tool. What disservice do we do the life of the spirit when we analyze the universe through a tool created by the science of optics, or seek to bring together those who love one another and are parted in space?

Quelle: Terre des Hommes (1939), Ch. IX Barcelona and Madrid (1936)
Kontext: Human drama does not show itself on the surface of life. It is not played out in the visible world, but in the hearts of men. … One man in misery can disrupt the peace of a city. It is another of the miraculous things about mankind that there is no pain nor passion that does not radiate to the ends of the earth. Let a man in a garret but burn with enough intensity and he will set fire to the world.

Variante: I would not give a fig for anybody's contempt for death. If its roots are not sunk deep in an acceptance of responsibility, this contempt for death is the sign either of an impoverished soul or of youthful extravagance.
Quelle: Terre des Hommes (1939), Ch. II : The Men
Kontext: To be a man is, precisely, to be responsible. It is to feel shame at the sight of what seems to be unmerited misery. It is to take pride in a victory won by one's comrades. It is to feel, when setting one's stone, that one is contributing to the building of the world.
There is a tendency to class such men with toreadors and gamblers. People extol their contempt for death. But I would not give a fig for anybody's contempt for death. If its roots are not sunk deep in an acceptance of responsibility, this contempt for death is the sign either of an impoverished soul or of youthful extravagance.

Ch III : The Tool
Variant translation of: <span id="perfection"></span>Il semble que la perfection soit atteinte non quand il n'y a plus rien à ajouter, mais quand il n'y a plus rien à retrancher.
Ch. III: L'Avion <!-- p. 60 -->
It seems that perfection is attained not when there is nothing more to add, but when there is nothing more to remove.
Terre des Hommes (1939)
Kontext: Have you looked at a modern airplane? Have you followed from year to year the evolution of its lines? Have you ever thought, not only about the airplane but about whatever man builds, that all of man's industrial efforts, all his computations and calculations, all the nights spent over working draughts and blueprints, invariably culminate in the production of a thing whose sole and guiding principle is the ultimate principle of simplicity?
It is as if there were a natural law which ordained that to achieve this end, to refine the curve of a piece of furniture, or a ship's keel, or the fuselage of an airplane, until gradually it partakes of the elementary purity of the curve of a human breast or shoulder, there must be the experimentation of several generations of craftsmen. In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.

Quelle: Terre des Hommes (1939), Ch. I : The Craft
Kontext: I had a vision of the face of destiny.
Old bureaucrat, my comrade, it is not you who are to blame. No one ever helped you to escape. You, like a termite, built your peace by blocking up with cement every chink and cranny through which the light might pierce. You rolled yourself up into a ball in your genteel security, in routine, in the stifling conventions of provincial life, raising a modest rampart against the winds and the tides and the stars. You have chosen not to be perturbed by great problems, having trouble enough to forget your own fate as man. You are not the dweller upon an errant planet and do not ask yourself questions to which there are no answers. You are a petty bourgeois of Toulouse. Nobody grasped you by the shoulder while there was still time. Now the clay of which you were shaped has dried and hardened, and naught in you will ever awaken the sleeping musician, the poet, the astronomer that possibly inhabited you in the beginning.
The squall has ceased to be a cause of my complaint. The magic of the craft has opened for me a world in which I shall confront, within two hours, the black dragons and the crowned crests of a coma of blue lightnings, and when night has fallen I, delivered, shall read my course in the stars.

Quelle: Terre des Hommes (1939), Ch. IX Barcelona and Madrid (1936)<!-- * L’expérience nous montre qu’aimer ce n’est point nous regarder l’un l’autre mais regarder ensemble dans la même direction. /** Life has taught us that love does not consist in gazing at each other but in looking outward together in the same direction.-->
Kontext: No man can draw a free breath who does not share with other men a common and disinterested ideal. Life has taught us that love does not consist in gazing at each other but in looking outward together in the same direction. There is no comradeship except through union in the same high effort. Even in our age of material well-being this must be so, else how should we explain the happiness we feel in sharing our last crust with others in the desert? No sociologist's textbook can prevail against this fact. Every pilot who has flown to the rescue of a comrade in distress knows that all joys are vain in comparison with this one. And this, it may be, is the reason why the world today is tumbling about our ears. It is precisely because this sort of fulfilment is promised each of us by his religion, that men are inflamed today. All of us, in words that contradict each other, express at bottom the same exalted impulse. What sets us against one another is not our aims — they all come to the same thing — but our methods, which are the fruit of our varied reasoning.
Let us, then, refrain from astonishment at what men do. One man finds that his essential manhood comes alive at the sight of self-sacrifice, cooperative effort, a rigorous vision of justice, manifested in an anarchist's cellar in Barcelona. For that man there will henceforth be but one truth — the truth of the anarchists. Another, having once mounted guard over a flock of terrified little nuns kneeling in a Spanish nunnery, will thereafter know a different truth — that it is sweet to die for the Church. If, when Mermoz plunged into the Chilean Andes with victory in his heart, you had protested to him that no merchant's letter could possibly be worth risking one's life for, Mermoz would have laughed in your face. Truth is the man that was born in Mermoz when he slipped through the Andean passes.

Ch III : The Tool
Terre des Hommes (1939)
Kontext: !-- There was a time when a flyer sat at the centre of a complicated works. Flight set us factory problems. The indicators that oscillated on the instrument panel warned us of a thousand dangers. But in the machine of today we forget that motors are whirring: the motor, finally, has come to fulfil its function, which is to whirr as a heart beats—and we give no thought to the beating of our heart. Thus, --> Precisely because it is perfect the machine dissembles its own existence instead of forcing itself upon our notice.
And thus, also, the realities of nature resume their pride of place. It is not with metal that the pilot is in contact. Contrary to the vulgar illusion, it is thanks to the metal, and by virtue of it, that the pilot rediscovers nature. As I have already said, the machine does not isolate man from the great problems of nature but plunges him more deeply into them.
Numerous, nevertheless, are the moralists who have attacked the machine as the source of all the ills we bear, who, creating a fictitious dichotomy, have denounced the mechanical civilization as the enemy of the spiritual civilization.
If what they think were really so, then indeed we should have to despair of man, for it would be futile to struggle against this new advancing chaos. The machine is certainly as irresistible in its advance as those virgin forests that encroach upon equatorial domains.

Ch III : The Tool
Terre des Hommes (1939)

Quelle: Citadelle or The Wisdom of the Sands (1948), p. 152

Ce qui embellit le désert, dit le petit prince, c'est qu'il cache un puits quelque part...
Le Petit Prince (1943)

Les grandes personnes ne comprennent jamais rien toutes seules, et c'est fatigant, pour les enfants, de toujours leur donner des explications.
Le Petit Prince (1943)

"Letter to an American" (1944)

Vol de Nuit (1931) (translated into English as Night Flight)

1939 translation:
We can still run free, call to our comrades, and marvel to hear once more, in response to our call, the pathetic chant of the human voice.
Quelle: Terre des Hommes (1939), Ch. II : The Men, as quoted in The Lyric Self in Zen and E.E. Cummings (2015) by Michael Buland Burns and ‎Rima Snyder, p. 72

Citadelle or The Wisdom of the Sands (1948)