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By André Blanchard

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By now Saint-Exupery is fluidly intermingling narration and aphorism, almost indiscriminately combining the fundamental story-line with "evaluation" of it (recalling Labov's terminology). In this chapter three aphorisms interrupt the narrative flow in order to comment on the reported events. When observed together they form a gradation, a provocative chain of ideas on the precarious nature of earthly existence: Dans un monde ou la vie rejoint si bien la vie, ou les fleurs dans le lit meme du vent se melent aux fleurs, ou le cygne connait tous les cygnes, les hommes seuls batissent leur solitude.

The issue is not whether one needs to remain bound to Saint-Exupery's wish; rather his remark can be seen to initiate a propitious discussion on the merits of literary analyses that "cut and paste" and thereby run the risk of deforming the original text. Since we will view a large quantity of individual aphorisms both in and out of their original context, my aim will be to glean as many insights as possible from the analytic process, but then to return to the text and consider any newly acquired knowledge in terms of the work as a whole.

46, emphasis added) 2 Vision is the art of seeing things invisible. (238) 3 Style is nothing, but nothing is without its style. (310) 4 Who seeketh findeth not, but who seeketh not is found. ' (308, emphasis added) Fricke somewhat erroneously views one additional characteristic of aphorism as being more structural than referential in nature, namely the capacity of an aphorism to unmask (Entlarven) an otherwise hidden truth. He therefore places this phenomenon under the rubric of iiberrumpelung.

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