The Snake and the Elephant

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In the opening chapter of The Little Prince, the protagonist introduces his first drawing: a boa constrictor digesting an elephant. This image immediately invites readers to contemplate its symbolic implications. The selection of a snake swallowing an elephant can be interpreted through various cultural and philosophical lenses.

In Chinese tradition, the proverb “The human heart is as insatiable as a snake trying to swallow an elephant” (Zhōungzi, Shan Mu) metaphorically warns against excessive greed. Attempting to consume or possess something far beyond one’s capacity leads to inevitable destruction. Similarly, the snake’s inability to digest such a massive creature symbolizes the dangers of unrestrained desire and ambition.

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In Western culture, the snake has long held complex connotations. For instance, in Albrecht Dürer’s painting Adam and Eve, the serpent is depicted entwined around the Tree of Knowledge, offering forbidden fruit to Eve. In this context, the snake embodies temptation and the fallibility of human nature. The association between the snake and Satan, as seen in Christian theology, reinforces its role as a symbol of evil and deception (Psalms 91:13). The snake, as a recurring motif, often reflects humanity’s moral struggles and the duality of its nature—a bringer of death yet, at times, a symbol of renewal and healing (Rajamanoharan, 2020).

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In The Little Prince, Saint-Exupéry’s use of the boa constrictor as the narrator’s first drawing also highlights societal indifference to creativity and imagination. Adults, unable to perceive the concealed elephant, dismiss the drawing as a hat. This lack of imagination underscores the constraints of conventional thinking and the value of retaining childlike wonder.

The reappearance of the snake in Chapter 17, offering to help the Little Prince “return home,” further enriches its symbolism. Here, the snake represents death—not as an end but as a means of transition and renewal. This duality aligns with interpretations in Hebrew culture, where the serpent also symbolizes forgiveness and divine intervention (Numbers 21:8).

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The Drunkard

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The drunkard encountered by the Little Prince embodies the paradoxical and cyclical nature of human vice. His repeated justification for drinking—to forget the shame of being a drunkard—illustrates a self-perpetuating loop of escapism. This character critiques the existential struggles of modern life: the numbness, purposelessness, and addiction that plague society.

In literature, the archetype of the drunkard often serves as a reflection of societal decay. For example, in William Makepeace Thackeray’s Vanity Fair, alcohol dependency critiques the moral bankruptcy and self-indulgence of the upper classes. Similarly, William Hogarth’s engraving Gin Lane (1751) vividly illustrates the destructive impact of widespread gin consumption in 18th-century London. Hogarth’s chaotic depiction of societal collapse—from neglected children to public disorder—reveals how addiction undermines individual and communal well-being.

The “Gin Craze” of the 18th century, characterized by the overconsumption of cheap spirits, mirrors the destructive cycle of the drunkard in The Little Prince. Scholars such as Nicholls (2003) argue that these portrayals of drunkenness transcend individual behavior, exposing deeper issues of class inequality and social alienation.

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The Lamplighter

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The lamplighter’s repetitive task of lighting and extinguishing the lamp every minute portrays a life of unrelenting duty. Despite the monotony of his work, the lamplighter remains dedicated and sincere, earning the Little Prince’s admiration. His character represents selflessness, resilience, and a sense of purpose that transcends personal gain.

In Charles Dickens’ short story The Lamplighter, the protagonist’s responsibility to illuminate streets mirrors the symbolic role of light as a guiding force. Both Dickens’ lamplighter and the one in The Little Prince highlight the nobility in seemingly mundane work. Their unwavering commitment underscores the broader theme of hope and continuity—a metaphorical illumination amidst darkness.

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The Geographer

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The geographer, absorbed in cataloging enduring features of the planet, symbolizes the pursuit of knowledge and humanity’s insatiable curiosity. By recording mountains and oceans while disregarding ephemeral phenomena, he illustrates the tension between permanence and impermanence.

Johannes Vermeer’s painting The Geographer (1668–1669) offers a parallel representation of the geographer as a figure of intellectual exploration. Depicted surrounded by maps and tools, Vermeer’s geographer embodies the scientific aspirations of the Dutch Golden Age. This period, marked by advancements in cartography, reflects humanity’s quest to comprehend and navigate the world. As Livieratos and Kousoulakou (2006) observe, the map became a cultural symbol of progress and power, intertwining art, science, and imperial ambition.

In The Little Prince, the geographer’s detachment from ephemeral beauty, such as the rose, contrasts with the protagonist’s appreciation for transient and emotional connections. This juxtaposition critiques an overly rational worldview that neglects the emotional and spiritual dimensions of existence.

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References

Hogarth, W. (1751). Gin Lane. [Engraving].

Livieratos, E., & Kousoulakou, A. (2006). Cartographic heritage and visualisation of historical maps. E-Perimetron, 1(2), 92–103.

Nicholls, J. C. (2003). Gin Lane and the politics of class. Cultural Studies, 17(2), 204–223. https://doi.org/10.1080/14797580305358

Rajamanoharan, P. (2020). Snakes and serpents in the Holy Bible. ResearchGate. https://www.researchgate.net/publication/346933041_Snakes_Serpents_In_the_Holy_Bible