The Hidden Message in Children's Novels The Little Prince and Peter Pan
At face value, both The Little Prince and the story Peter Pan discussed within Gaitskill’s “Enchantment and Cruelty” article appear to be pertaining to children. Visuals as well as easily intelligible diction make the two novels often appeal to a premature audience. Society naively associates words such as “innocence” and “ignorance” when describing children’s novels. However, these two pieces of literature prove to have less childlike characteristics of ignorance when acknowledging the life changing events that the two characters are forced to encounter.
Written several decades ago, The Little Prince and Peter Pan have claimed a reputation in society that allows for their lessons and stories to be acceptable around children and adults alike. However, their underlying messages should create debate within the world of literature today.
Consistently containing pictorial visuals appearing to have been drawn by a child, The Little Prince is able to disguise its dour meanings from its youthful audience. The story of Peter Pan has been mollified throughout the years as The Walt Disney Company took the major storyline and altered it, removing the “heavy” topics.
It is in “Enchantment and Cruelty” that these messages are once more highlighted for public interpretation.
One overwhelmingly prevalent theme that occurs in the two early novels is the idea of distaste for grownups. The Little Prince begins the novel stating, “Grown-ups never understand anything by themselves, and it’s exhausting for children to have to provide explanations over and over again” (Saint-Exupéry 2). This idea that children are superior to adults counters present and past societal beliefs.
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From a young age, most children are taught to respect their superiors.
Therefore, it is concerning as to why this mid-20th century novel would allow such opposing societal practices during an era of emphasis on the wise and aged. Peter Pan also contains the prevalent topic of disrespect towards adults when he says, “You need not be sorry for her. She was one of the kind that likes to grow up” (Barrie Chapter 17). Within the Disney screenplay Peter Pan, the writers also portray Wendy’s father as being extremely coarse, almost bully-like.
This inevitably leads myself and the audience to aversion of Wendy’s father. This unnecessary inclusion further exemplifies the distaste toward adults that early children’s stories contain. In both novels, there is also the unexplainable topic of parental absence. The Little Prince makes no indication of present parental supervision, only referencing his detest for adult figures. Similarly, in Peter Pan, the main character, Peter, has zero parental guidance, left to fend for himself and his friends, the “Lost Boys.” As Wendy contemplates how her decision to fly with Peter Pan to Neverland would affect her mother, Peter states, “Mother? What’s mother?” (Disney), showing how Peter not only does not have parents himself, but he is even unaware of parental existence and the actions parents take to care for their children. Gaitskill once again points out this parental absence when she describes how Wendy’s mother, Mrs. Darling, simply vanished from the story through the line, “Mrs. Darling was now dead and forgotten” (112). Gaitskill identified the disinclusion of parents in early literature, specifically in Peter Pan, that many reading, like myself are able to recognize. This absence of important superior figures leads to an altered reality for children reading and watching films based on the novels, leaving them with the mentality that adults are unnecessary for livelihood. Containing several societal counterclaims within The Little Prince and Peter Pan, more conflicting debates and analysis of early generational children’s books should arise.
Young children often find thrill in the idea of adventure and exploration. Exemplified by the Little Prince and Peter Pan, the two characters provide insight into the mind of an adolescent’s early dreams. Peter Pan and the Little Prince, being left on two fantasy planets without parental supervision, freely explore all aspects of their world. This leads to young boys and girls to dream of their own escape from normality. Children’s novels commonly surround their storylines with ideas of independent adventure. However, when considering a real child leaving home and being forced to take care of themselves, the act is unpractical and almost unattainable. The two novels also display a sense of alternate universes being more desirable than reality. In The Little Prince, the main character travels to seven planets, identifying the beauty and diversity of life on each. In the story Peter Pan, there is significant emphasis on the fact that Neverland is perfect in comparison to normal life. The beauty of Neverland is described in chapter one-“of all the delectable islands the Neverland is the snuggest” (Barrie Chapter 1 p.15). This leads to an overall altered reality for children who may believe their current living situations are not quintessential. This escape from reality that The Little Prince and Peter Pan display can undoubtedly lead to false hope for adolescents. When young children believe that the adventures fictional characters encompass on their own can be done themselves, that in turn guides children to disappointment.
A theme that can similarly lead to disappointment within The Little Prince and Peter Pan is the idea of young love. The Little Prince consistently references his emotions towards his flower. This love, expressed in a romantic manner, is seen when the Little Prince says, “I should have judged her according to her actions, not her words. She perfumed my planet and lit up my ). This affectionate and emotional young love is also seen between Peter Pan and Wendy. Romantic relationships are often seen in children’s books in order to create a desired emotion within the minds of adolescents. Why wouldn’t a six-year-old girl fall in love with Peter Pan’s heroism and charm? Amorous relationships being connected with happiness are pushed in society. Many books and movies give the impression that one needs romance in order to have a fulfilled life. For example, when looking to Disney princess movies, each princess is “saved” in their own ways by a male figure. Stories such as these make children desire things meant for adults-important things like love. This technique used by authors is manipulative and creates unrealistic expectations for young minds. Both stories contain ideas of self-love, however minimal and quite boastful. Peter Pan is known to be a character that displays extreme conceit, often mocking those who do not identify with his standards, such as the “Lost Boys” and Captain Hook. The Little Prince similarly displays qualities of boastfulness identified in the character of the businessman who is solely concerned with the idea of money. Instead of emphasizing the need for romantic relationships or the idea of conceitful self-love, a more humble love of self should be expressed in children’s novels. This will in turn encourage more self motivation and success.
When combining the idea of romantic relationships with society’s idea of a “perfect” couple or individual, in turn there is a substantial emphasis on outward beauty. As time continues, this phenomenon only worsens. Due to celebrities in the media such as the Kardashians, young children, teenagers, and adults believe their physical appearance is more important for happiness and societal acceptance than their internal character. This idea can be found in early children’s stories. For example, the flower in The Little Prince is described with such immense beauty, leading the audience to conclude that her physical appearance is a significant factor in the Little Prince’s strong emotions. In the original story of Peter Pan, Tinkerbell is a “busty, chubby slattern, not the elegant sylph-waisted creature of Disney” (Gaitskill 113). However, in the more current Disney version, Tinkerbell is a petite, slim waisted, blonde female. She has all the attributes of society’s “perfect” woman. Once the early idea of having a “picture-perfect” physique surfaced and this attitude carried on into films, this created a form of self consciousness within individuals. One is able to see characters in novels and film work displayed similarly “perfect” like Tinkerbell. Her character is famously known to have promoted a sense of “perfection” which continued with already present concepts of judgement and hate within society. The original story of Peter Pan shows preexisting judgements when Peter speaks to Wendy for Tinkerbell stating, “she is not very polite. She says you are a great [huge] ugly girl, and that she is my fairy” (Barrie Chapter 3 p.21). This phenomenon will only continue to progress down a negative, never-ending slope unless literature, film, and the media take a stand to promote positive self image. Due to these early works of literature which push an emphasis on outwards beauty, it is important for adult figures to encourage children reading to understand each individual is as “perfect” as Tinkerbell in their own way.
Another controversial topic displayed in early children’s literature is suicide. This subject is one that society as a whole tends to avoid as it brings up dejected emotions. Despite society’s efforts to dismiss this sensitive topic, it is often seen in early children’s literature. In The Little Prince, the Little Prince himself attempts to commit suicide in chapter twenty-six. The novel undermines this attempt through sugarcoated words which is not easily identified when briefing through the novel. When read by a child, they might not recognize this action through the signal sentence of, “Your poison is good? You’re sure it won’t make me suffer long?” (Saint-Exupéry 73) This idea of suicide is similarly seen in the original text of Peter Pan. “Enchantment and Cruelty” highlights this incident stating: “Captain Hook, by the way, doesn’t get eaten by the crocodile by happenstance; he kills himself because Peter has “better form” than he does. His last act during their fight is to stick his rear out, inviting Peter to kick it, and when Peter makes that gesture, Hook cries out, “Bad form!” before jumping to his death.” (Gaitskill 112) During my sophomore year of high school, I had a personal experience with suicide after my good friend’s father decided to take his own life, leaving behind his family and friends. I saw the way this horrific incident affected my friend, changing her life forever during such a critical developmental stage. Suicide is not a subject to appropriate for the use of entertainment. Not only is it unsuitable for fictional print, it should not be permitted entirely in children’s literature.
Suicide is a sensitive topic which for many can invoke ill feelings or might trigger suicide ideas in their own mind. The developing mind of a child reading these novels would not understand fully the vast consequences of committing suicide. The story of The Little Prince and Peter Pan are popular children’s narratives, therefore, this sensitive topic should create debate in the literature world and among parents worldwide. The stages of life that children would commonly be at when reading these novels is a crucial time in their development and learning. This fragile topic is far from containing characteristics of innocence; in fact, this topic is one that society as a whole understands it’s immense emotional ties and is silenced worldwide.
Many early children’s works of literature ultimately should not be labeled as novels or entertainment for the youth. The Little Prince and Peter Pan are two well-known novels in history and present day, however, their true storylines and symbolic meanings greatly counter society’s accepted messages. I recall watching Peter Pan as a young girl and although naive at the time, when looking back and exploring the original text, I have concluded that it would not be suitable for a young mind to venture. Gaitskill’s statement about Peter Pan and that it is “about enchantment and cruelty in a very matter-of-fact language” is extremely accurate.
The Little Prince can similarly be identified as have characteristics of “enchantment and cruelty” through it’s hidden messages and unchildlike topics, sugarcoated through its diction and pictures.
Through pictorial visuals, mollified themes, and Disney spin-off movies, society has altered the heart of novels to fit with their standard. In whole, many “children’s” novels prove to be not innocent enough to coincide with a true form of acceptable innocence.
The Hidden Message in Children's Novels The Little Prince and Peter Pan. (2022, Feb 23). Retrieved from https://paperap.com/the-hidden-message-in-children-s-novels-the-little-prince-and-peter-pan/
