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The second illustration shows the Little red Riding Hood and the wolf, lying in the same bed, just before the dévoration. The small girl in his/her/its nightcap, spellbound and intrigued, seem contorted at the same time. Whereas all his/her/its behavior hesitates between attraction and the repulsion, it maintains the sheet of a chaste gesture on his/her right shoulder has the height of the nightcaps whereas his/her eyes seem to tell the wolf the opposite of that that his/her/its gesture evokes. The aggressiveness of the animal intrigued by his/her/its nightcap is demonstrated by his/her claws exits as well as by his/her/its greedy look. Having replaced his/her/its hood-beret by a nightcap made of laces, unknoted hair, symbolic traditionally erotic, the child seems more mature than in the first illustration. The opposition of the looks crossed creates one moment of dramatic suspense that lets foretell a brutal outcome. But the travesty of the wolf in nightcap can also lend to smile, because this one donned the nightcap trimmed with ribbons of the grand'mère and one can wonder of course why the small girl doesn't unmask it. Because this is not the grand'mère who is disguised itself in wolf, to frighten his/her/its small girl?
This is not her who tells itself storyteller, and hurry on the child dressed in his/her/its nightcap to devour it (of kisses?) as the annotation indicates it to the manuscript of 1695: "One pronounces these words of a strong voice, to frighten the child as if the wolf the alloit to eat."
Educational tracks :
. To recover the pass??????age of the text of Perrault of which he/it is question here and that speaks of nightcap. What elements of the text are enhanced by the engraving?
. To explain the choice of the three nightcaps, illustrations of the tale by Golden. Some what the wolf of Golden is he/it particularly frightening? What is necessary to think some in relation to the morals of history?
Arthur Rackham, a master of the illustrative fairyland in nightcap!

Illustrator of the fairyland par excellence, Arthur Rackham makes of the legends and marvelous narrations his/her/its domain of predilection. He/it puts in picture The Little red Riding Hood in nightcap in the version of the brothers Grimm for a compilation that was recast completely by Charles Guyot. The stage is constructed around a diagonal that by the nightcap of the wolf to succeed to the low of the little girl's back while passing by the two pairs of eyes of the protagonists. One recovers here the heavy curtain of the four-poster bed to the overloaded motives, all as the bed-spread of the Mother-big and the skirt and the little girl's nightcaps, very distant of the model countryman. This last is donned of a capeline with entirely red hood, of a nightcap whose to-dish contrasts strongly with the arabesques of the other cloths and the white of the sheets that seem to invite the little girl. The one hesitates here, finally knowing what attitude how to adopt. The two feet firmly encamped on soil, she/it repulses the left hand his/her/its nightcap, the heavy curtain as to unveil to the looks of all wolf disguised. Does no feeling of fear or fright seem to affect it, whereas the wolf under his/her/its nightcap mani??????feste as for him a lot of signs of agitation and feverishness. Raising the grandmother's nightcap, as well as his/her/its glasses, as to accentuate the comedy of the situation, the open muzzle, without fearing to exhibit his/her somewhat frightening teething,