lesson plan the king and the mockingbird · this collaboration will resume with the first feature...

Lesson plan created by Azadée Tolooie. Translated by Andrew A. Rosado Hartline THE KING AND THE BIRD by Paul Grimault and Jacques Prévert

1

LESSON PLAN

The King and the Mockingbird by Paul Grimault and Jacques Prévert.

Created by Azadée Tolooie Translated by Andrew A. Rosado Hartline


2

TABLE OF CONTENTS

I UNDERSTANDING THE FILM

Technical fiche ………………………………………………………………….. 3

The creators …………………………………………………………………….. 4

Summary of film ………………………………………………………………… 5

The universe of the film ………………………………………………………… 6

II UNDERSTANDING THE FILM : BEFORE THE FILM …………………….……… 9

Student worksheet 1: The movie poster………………..…………….…….... 10

Teacher worksheet 1: The movie poster ………………….………............... 12

Student worksheet 2: The trailer …………………………………………..…. 14

Teacher worksheet 2: The trailer ………………………………….……….… 16

III UNDERSTANDING THE FILM : AFTER THE FILM ………….…….…………… 19

Student worksheet 3: Reconstructing the story ..…...………………………. 20

Teacher worksheet 3: Reconstructing the story …..…………………..……. 26

Student worksheet 4: Cultural references ………………….……….………. 27

Teacher worksheet 4: Cultural references ….………………………….……. 29

Student worksheet 5: Creating a surrealIist city ………..….………………... 31

Teacher worksheet 5: Creating a surrealist city ……………….……………. 32

Annexes…………………………………………………….…………….…...…. 34

SITOGRAPH Y …………………………………………………………………………. 46


3

I UNDERSTANDING THE FILM

TECHNICAL FICHE

Title : Le Roi et l’oiseau

Year : 1980

Country : France

Duration : 1 hour 27 minutes

A film by : Paul Grimault et Jacques Prévert.

Voice actors : Jean Martin, Pascal Mazotti, Raymond Bussières, Agnès Viala,

Renaud Marx.

Music : Wojciech Kilar

P roduction : Films by P.GRIMAULT, Gidé films, Antenne 2.

Restauration : Supervised by STUDIOCANAL, under the direction of Béatrice

Valbin. Soho Images and Laboratoires Eclair Dubbing Brothers


4

THE CREATORS

Paul G rimault

Paul Grimault was born on March 23, 1905 in Neuilly-sur-Seine. Drawing being his vocation, he entered the school Germain-Pilon, which later became the School of Applied Arts. In 1936, with André Sarrut, he founded the company Les Gémeaux, a production company from which the first "frames" of French animation emerged. When the war breaks out, Grimault and his team work on the production of Gô chez les Oiseaux , the first animated film where, for the first time, a French animation creator presents a work of certain ambition, with original characters and a clean style. However, the war disperses the creative team. The film will be released in October 1943 under the name of The Passengers of the Big Dipper. As German animation production is inexistent, and cinema is cut off from its American suppliers, Les Gémeaux is the only one on the European market: their films are immediately profitable, and the group survives. This is how Les Gémeaux and Paul Grimault will produce and direct several animated films. In 1947, he directed Le Petit Soldat on a script co-written with Jacques Prévert. This collaboration will resume with the first feature film made in France: The Shepherdess and the Chimney Sweeper . The film was made, regardless the number of setbacks, but in a version disapproved by Paul Grimault and Jacques Prévert. After many difficulties, Paul Grimault founded, in 1951, his own production company: Les Films Paul Grimault. The director then returned to the commercial and short film market before being able to produce and direct his first feature film The King and the Bird , which will be released in cinemas in 1980.


5

Jacques Prévert

SUMMARY

Charles V + III = VIII + VIII = XVI reigns as a tyrant over the kingdom of Takicardie.

Only a bird, with its sumptuous, playful and talkative plumage, who has built his nest at

the top of the gigantic palace near his Majesty's secret apartments, dares to taunt him.

The king is in love with a charming and modest shepherdess whom he wants to marry

under duress. But, she is in love a little chimney sweep. They flee to escape the king and,

seek refuge at the top of the highest tower of the palace, and save a small reckless bird

caught in one of the traps of the tyrant. The grateful Father bird promises in return to help

them. Once the police find traces of the fugitives, a mad pursuit begins. The lovers are

pursued by flying machines driven by mustachioed policemen, mysterious wall-colored

Jacques Prévert was born on February 4, 1900 in Neuilly-sur-Seine. A committed artist, he joined the surrealist movement at a very young age with his friends who love literature, such as Raymond Queneau and Marcel Duhamel. Being a talented and imaginative poet, he quickly attracted the attention of feature film creators and participated in some forty films, the best known of which are: Quai des Mumes (1935), A Funny Drama (1937), The day rises (1939), The Evening Visitors (1941), The Children of Paradise (1944), The Doors of the Night (1946), all made by Marcel Carné. He also worked with Jean Renoir in the 1990s.

The Shepherdess and the Chimney Sweep er , in 1953, will be taken again by Paul Grimault to create, in 1979, a cartoon entitled The King and the Bird . Critics, although disconcerted by the originality of these films, described the movie as a kind of "poetic realism".


6

creatures, motorized tritons and even by the king, seated on his floating electric throne or

his gigantic Automaton.

THE UNIVERSE

"This is the story of a very bad king who is outsmarted by a very clever and experienced

bird; there are also animals that are very nice, two lovers and a lot of terrible people

"Jacques Prévert.

Prévert and Grimault were inspired by the Andersen story The Shepherdess and the

Chimney Sweep to create the story of The King and the Mockingbird . Unlike the Danish

fairy tale, the two artists preferred give beauty to the characters of The King and the

Mockingbird and not to the two heroes of the original story. They changed the scope of

the film. The king, a symbol of tyranny, dictatorship and oppression, opposes the bird, an

allegory of freedom, the only opponent of the totalitarian and despotic regime of the

monarch. This more subversive dimension will transcend the love story between the

shepherdess and the chimney sweep, who were originally at the heart of the story.

It will be precisely this theme of the eternal struggle of freedom and love against cruelty

that will make the film a success. The main theme is wrapped in humor and irony that take

us away from pure melodrama as comic relief.


7

The humorous aspect of the work can be found both in its dialogues and in its graphics. An originality never seen in the field of animation at this time and which contributed to its aura of mythical film: at the same time inventive, poetic, amusing and very endearing.

Pessimistic but lucid, Grimault expressed on the reception of his film by the public: "I am happy to have made The King and the Mockingbird because what he tells is beneficial for everyone and will be again for years. It's not a movie with a message, but it's about how the world has been living for a while and where it seems to be engaging more and more."


8

Extrait d’une l’interview de Paul Grimault1

"We had the idea of this film, Jacques Prévert and I, in 1946, when I was finishing Le Petit Soldat, which marked the beginning of our collaboration. We had been very happy to work together, so we decided to continue. After hesitating around two or three other stories, we decided on Andersen's tale, The Shepherdess and the Chimney Sweep, which was only a springboard because we completely transformed it by giving it more current resonances. In reality , we kept only the two characters, the shepherdess and the chimney sweep. "

Paul Grimault.

1 Extrait de l’interview du dossier de presse


9

II UNDERSTANDING THE FILM :

BEFORE THE MOVIE

These pedagogic activities were created for students between the ages of 7 and 12 in order

to prepare them for the screening of the film in its entirety. The lesson plan can be done in

the mother tongue or in French per the students’ linguistic profiles and the foreign

language teacher’s objectives. The target level varies according to the proposed

activities in the lesson plan.

In this lesson plan, language skills are abbreviated as followed:

WC: Written comprehension

OC: Oral comprehension

OP: Oral production

WP: Written production

OI: Oral interaction


10

STUDENT WORKSHEET 1 : THE MOVIE POSTER

Levels A1/A2

FIND THE DIFFERENCES

Find as many differences in

the movie poster as you

can !

Give the movie a title

by looking at its poster!


11

PERSPECTIVES

Connect the corners of each shape and draw straight lines.

Take a good look at the poster.

Is the castle at a low or high angled shot ?

What impression does it g ive off?

Tour Eiffel low angle

Tour Eiffel high angle

Give it a try and give perspective t o the

shapes!


12

TEACHER WORKSHEET 1 : THE MOVIE POSTER

Levels A1/A2

FIND THE DIFFERENCES (OI/OP)

This starting activity will allow a general discovery of film and will sensitize students to its graphic theme. It will also present the characters for the first time. In small groups and in form of a game, the teacher will ask the students to observe the two posters of the activity and to compare them. The group that finds the most difference wins the game. Corrections : Differences: the colors / the policeman at the window at the bottom of the poster / the two policemen hidden behind the wall / the font size of the textual content at the bottom of the poster / the words in English at the top right of the poster. By imagining the title of the poster learners will have to rely on the key points of the image to identify the various elements of the film and to make assumptions, validate them and rediscuss them later (after watching the trailer for example). The teacher can also encourage students to hypothesize the character traits of each character and the story of the film.

Character analysis in the movie poster : We see the bird, who appears to be taunting the king, but also the shepherdess and her chimney sweep that are watched by a policeman and of course watching the huge castle, where the action of the film takes place. The castle is seen from below. The teacher can redefine the terms "shepherdess" and "chimney sweep" as these trades are not necessarily known to children. The colors are identical for The King and the Mockingbird, the three primary colors: red, blue and yellow. There is a vanishing point of the lines of the palace which bring to the title and an opening to the sky, the domain of the bird. Corrections : Title: The King and the Mockingbird. (the teacher can also project the uncut poster to validate the hypotheses on the title).


13

PERSPECTIVES (OI)

Different perspectives are used in the film. The poster already presents this technique of photography and drawing. This will be an opportunity for the teacher to approach this concept with students. High -angled perspective : it is obtained when the camera is placed above the object to be filmed. The optical axis is pointing down. The impression given is that of smallness and crushing. Low -angled perspective : the lens of the camera is below the object to be filmed. It produces the opposite effect of diving, that is, greatness and exaltation. The subject is magnified. Corrections : Answers: low-angled perspective. Here, the low angle gives the king a feeling of great power and an importance to the palace building. The children will then be asked to reproduce simple geometric shapes and to draw the perspective which will give them a 3D effect. Firstly, students will have to understand what a vanishing point is. Secondly, they will draw lines from the corners of the proposed shapes. These lines will all converge on this same point, like the poster where the vanishing point of the lines of the palace leads to the title and opens to the sky, domain of the bird.


14

STUDENT WORKHEET 2 : THE TRAILER

Levels A1/A2

ONCE UPON A TIME …

Listen to Andersen’s story

The Shepherdess and the

Chimeney Sweeper

Watch the trailer for

The King and the Bird

What similiraties can you

find in both in them?


15

SILLY BIRDS!

MAD

TYRANNICAL

SOLITARY

EGOTISTICAL

DICTACTOR

VAIN

FATHER

COURAGEOUS

INTELLIGENT

SMART

PROTECTOR

BIRD

KING GENEROUS

Color or circle in RED the words that describe the KING and in BLUE those that

describe the BIRD .


16

TEACHER WORKSHEET 2 : THE TRAILER

Levels A1/A2

ONCE UPON A TIME… (OC or WP) / (OP) Grimault and Prévert were inspired by Andersen’s story The shepherdess and the chimney sweep, which they reinterpreted in their own way. Morality is reversed, and the shepherdess is less subjected to her universe than in the story. The couple no longer occupies the main place in history but is supplanted by the magisterial presence of The King and the Mockingbird, hence the title of the film. It is recommended to read or have the children read the story (according to their level or age) in their mother tongue. The story in French, English and Spanish can be found in the appendix of this teaching booklet (see page 34). In the way of a storytelling workshop, children can arrange themselves in a circle to listen attentively and comfortably to the teacher. It is possible to ask them to make the sound effects of certain scenes in order to keep them alert and active during the reading of the story. It is possible to perform, at the end of the reading, a return on their impressions, their opinions on the history and the characters. Additionally, a link can be established with other similar stories known to students (theme of forced marriage, inanimate objects that come to life, flight of lovers, despotic king, etc.). The teacher will then be able to watch the trailer and ask the learners to compare the story to the movie. Possible questions: Are there new characters or missing characters? Do the main characters change? Is the place the same?


17

To help and guide you through the comparative study, here is a list of the differences and similarities between the story and the movie:

SIMILARITIES

DIFFERENCES

The shepherdess and the chimney sweep flee to discover the world. The shepherdess and the chimney sweep escape by a chimney. The shepherdess and the chimney sweep remain together. The marriage of the king and the shepherdess must be formalized by the Chinaman (in the story) and the sententious (in the film). The names of the king (in the film) of the man (in the tale) are compound words words: Charles V + III = VIII + VIII = XVI (in the film) Major-general-field-sergeant-commander Billy-goat’s-leg and (in the story).

The character of the king. In the story, the shepherdess is frightened and wants to turn back to return to her little table in front of the ice. In the film she shows no sign of discouragement. In the film, the shepherdess and the chimney sweep come out of paintings, in the tale they are porcelain objects. The Chinaman of the tale is a sententious in the film. The character of the bird does not exist in the tale. In the story, the shepherdess finds the world too big and the couple comes home.


18

SILLY BIRDS (WC)

Portraits of the main characters of the film: THE KING He is dressed like a king, he wears a wreath, he is big-bellied, his nostrils are dilated, his mustache is Dali-like, and he is squinting. He is tyrannical, solitary, his taste for power has no limit. Like a dictator, he is vain, selfish, to the madness of grandeur and his narcissism is pushed to the extreme. Sculptures and portraits of him are present throughout the palace. He only loves him and gets rid of people as soon as they are no longer useful to him. He lives on his own. THE MOCKINGBIRD He is a father who takes care of his family alone after his wife was slaughtered by the king. He fights for a free world. He is cunning and helps the shepherdess and the chimney sweep in all circumstances. The bird is the true hero of the film since it carries a message of peace and freedom. Father of four small chicks, he gets rid of his chains after being imprisoned with the chimney sweep. He will start a revolution with the lions that will help him topple the tyrant's power. Corrections : King: king, mad, lonely, dictator, selfish, vain, tyrannical. Mockingbird: bird, dad, clever, smart, protector, generous.


19

III UNDERSTANDING THE FILM :

AFTER THE FILM

These pedagogic activities were prepared for students between the ages of 7 and 12 in

order to prepare them for a discussion after the screening of the film The King and the

Mockingbird in its entirety. The study can be done in the mother tongue or in French per

the students’ linguistic profiles and the foreign language teacher’s objectives. The target

level varies according to the proposed activities in the lesson plan.

In this lesson plan, language skills are abbreviated as followed:

WC: Written comprehension OC: Oral comprehension OP: Oral production WP: Written production OI: Oral interaction


20

STUDENT WO RKSHEET 3 : RECONSTRUCTING THE STORY

Levels A1.1/ A1

TELL ME A STORY!

Cut the snippets from the film and place them in

the chronological order.


21

The Mockingbird presents the

story.

The King and the Kingdom

are shown.

The shepherdess and the

chimney sweep escape

The chase.


22

Destruction of the castle.

The chimney sweep and the

Mockingbird are caught.

Destruction of the lower part

of the city/

The King’s escape.


23

END.

Your turn, draw the e nd of the

film!


24

WHO DOES WHAT?

Connect the bits of sentences in the middle to create a

correct description of each character. Then, write the full

sentences on the lines in the next page.

The

Mockingbird

The King

The chimney

sweep

The

shepherdess

loves

over the Takicardie Kingdom

reigns the shepherdess.

helps

the two lovers to escape.

Does not want to

marries the king.


25

The bird helps the two lover escape.


26

FICHE- PROFESSEUR 3 : RECONSTITUER L’HISTOIRE DU FILM

TELL ME A STORY! (WC/ OP)

The teacher will invite the learners to cut out the vignettes and place them in the spaces

provided for this purpose in the chronological order of the film's history. Before the activity,

it is recommended to take the time to explain the lexicon of the legends. These vignettes

can then serve as a support for the oral story of the story by one or more students. The

teacher can ask the students if they remember the end of the film. Is it a happy or sad

end? Why? They will then invite the students to draw the end according to what they can

remember. It is also possible to offer them option to draw a new ending.

Correc tions :

The snippets numbered in the chronological order:

WHO DOES WHAT ? (WC/ WP)

Correc tions :

The King reigns over the Takicardie Kingdom.

The chimney sweep loves the shepheredss.

The shepderdess does not want to marry the king.

1

2

3

4

5

6

7

8


27

STUDENT WORKSHEET 4: CULTURAL REFERENCES

HIDE N’ SEEK

Different works of art and cultural references are hiding in thr

film! Can you find them?

Write the number of each image next to its legend.

2

3

4 5

6


28

___ : The Castle of Cagliostro (film)

___ : The Uncertainty of the Poet (painting)

___ : Metropolis (film)

___ : Portrait of Louis XIV (painting)

___ : The Thinkker by Rodin (statue)

___ : Jules Caesar (statue)

What works o f a rt make you th ink thes e s cences o f the film?

Labe l the works o f a rt next to each

s ceanery


29

FICHE- PROFESSEUR 4 : CULTURAL REFERENCES

HIDE N’ SEEK (WC)

Grimault and Prévert have incorporated into the film a multitude of cultural references that

can entertain adults but may go unnoticed by children.

This activity will be an opportunity to introduce a bit of general culture by creating external

links to artistic and cinematographic references from different periods and to show children

another dimension of the film.

Cultura l re fe rences :

1 - The statue of the laureled King refers to that of the famous Roman

Emperor Julius Caesar sculpted by Nicolas Coustou. The bird perched on

his head, it reinforces the grotesque side of this representation of the King.

2 - The king's castle will inspire Japanese filmmaker Hayao Miyazaki for

his first animated film The Cas tle of Cagliostro , whose secret hatches, traps

and apartment at its summit refer to that of Grimault. Admiring the work of

Grimault, Hayao Miyazaki considers it one of his first influences.

3 - The robot and the underground city send us back to Metropolis , a 1927

sci-fi silent film by Austrian filmmaker Fritz Lang, pioneering special effects

of the time. The story of the film takes place in the future (in 2026) where a

dystopian society is divided into a high city, where intellectual families live,

in idleness, luxury and entertainment, and a low city, where the workers

make the city work and are oppressed by the ruling class.


30

4 - During the scene of the portrait of the king, one can observe in the

background one of his portraits, very similar to that of Louis XIV, a famous

king of France, reinforcing the inordinate and megalomaniac character of

the king.

5 - At the end of the film, we see the robot taking the pose of Rodin's The

Thinker.

6 - The King's Castle also refers to the works of the Italian painter Giorgo

Chirico, including the painting entitled The Uncertainty of the Poet, and the

Place d'Italie. It gives the architecture of the residence of the king a

prestigious aspect, out of time and a certain surrealist imprint.

Correc tions :


31

STUDENT WORKSHEET 5: CREATE YOUR OWN SURREALIST CITY

TOPSY-TURVEY

Why is the Takicardie Kingdom particulate?

List the differences between the High and Lower cities.

HIGH CITY

LOWER CITY

With cardboard , c rea te a s urrea lis t

fan tas tica l c ity!


32

FICHE - PROFESSEUR 5 : CRÉER UNE VILLE SURRÉ ALISTE EN CARTON

SENS DESSUS-DESSOUS (PO) ou (PE)

This activity will serve as an opportunity for the class to observe the architectural city of

the kingdom and to analyze it. In small groups or in pairs, the students must list the

differences between the two parts of the field. This activity can also be done orally.

Observations on the architecture of the kingdom:

Each part of the city evokes a historic time: the tower of the castle, a building of the

Renaissance, modern elevators and robotics, monuments of ancient Greece, etc. The

dictatorship of the king is therefore omnipresently represented in space-time, in all eras

and in all places. The vertical immensity of the building-city also reinforces this idea of

oppression (many dives accentuate this impression).

It is interesting to point out to the students how the different floors symbolize the social

position of each other: the king at the top, the bird closest to the sky (symbol of

freedom), the police at the center can thus protect the top and control the bottom of the

architecture and the dungeons, death prowling, misery and slaves.

Correc tions :

High City: bright, luxureous, colorful, clear, deserted.

Lower City : dark, poor, gray, dirty, multitudes of people in rags.


33

It is interesting at this stage to propose to the students a manual activity to create of machines (cardboard model or bigger format in feather or wood) and to transform them (traps, pulleys, gears, etc.).

Each student, using reuseable materials (cardboard, plastic caps, roll of toilet paper, etc.)

will build a small structure. All small buildings will then be assembled to form a great

surreal city.

To give inspiration to the students, it is also possible to project works by Jean Tinguely's

infernal machines and mobile fountains, as well as the incredible constructions exploring

the infinity of the Dutch artist Maurits Cornelius Escher. An excerpt from Charlie Chaplin's

modern-day film Charlie Chaplin's Modern Times may also be investigated or used as

inspiration.


34

ANNEXE 1 – Version française

LA BERGÈRE ET LE RAM ONEUR. HANS CHRISTIA N ANDERSEN (1845)

Avez-vous jamais vu une de ces armoires antiques, toutes noires de vieillesse, à enroulements et à feuillage ? C’était précisément une de ces armoires qui se trouvait dans la chambre : elle venait de la trisaïeule, et de haut en bas elle était ornée de roses et de tulipes sculptées. Mais ce qu’il y avait de plus bizarre, c’étaient les enroulements, d’où sortaient de petites têtes de cerf avec leurs grandes cornes. Au milieu de l’armoire on voyait sculpté un homme d’une singulière apparence : il ricanait toujours, car on ne pouvait pas dire qu’il riait. Il avait des jambes de bouc, de petites cornes à la tête et une longue barbe. Les enfants l’appelaient le Grand- général-commandant-en-chef-Jambe-de-Bouc, nom qui peut paraître long et difficile, mais titre dont peu de personnes ont été honorées jusqu’à présent. Enfin, il était là, les yeux toujours fixés sur la console placée sous la grande glace, où se tenait debout une gracieuse petite bergère de porcelaine. Elle portait des souliers dorés, une robe parée d’une rose toute fraîche, un chapeau d’or et une houlette : elle était charmante. Tout à côté d’elle se trouvait un petit ramoneur noir comme du charbon, mais pourtant de porcelaine aussi. Il était aussi gentil, aussi propre que vous et moi ; car il n’était en réalité que le portrait d’un ramoneur. Le fabricant de porcelaine aurait tout aussi bien pu faire de lui un prince ; ce qui lui aurait été vraiment bien égal.

Il tenait gracieusement son échelle sous son bras, et sa figure était rouge et blanche comme celle d’une petite fille ; ce qui ne laissait pas d’être un défaut qu’on aurait pu éviter en y mettant un peu de noir. Il touchait presque la bergère : on les avait placés où ils étaient, et, là où on les avait posés, ils s’étaient fiancés. Aussi l’un convenait très-bien à l’autre : c’étaient des jeunes gens faits de la même porcelaine et tous deux également faibles et fragiles.

Non loin d’eux se trouvait une autre figure trois fois plus grande : c’était un vieux Chinois qui savait hocher la tête. Lui aussi était en porcelaine ; il prétendait être le grand-père de la petite bergère, mais il n’avait jamais pu le prouver. Il soutenait qu’il avait tout pouvoir sur elle, et c’est pourquoi il avait répondu par un aimable hochement de tête au Grand-général-commandant-en-chef-Jambe-de-Bouc, qui avait demandé la main de la petite bergère.

« Quel mari tu auras là ! dit le vieux Chinois, quel mari ! Je crois quasi qu’il est d’acajou. Il fera de toi madame la Grande-générale-commandante-en-chef-Jambe-de-Bouc; il a toute son armoire remplie d’argenterie, sans compter ce qu’il a caché dans les tiroirs secrets.


35

— Je n’entrerai jamais dans cette sombre armoire, dit la petite bergère ; j’ai entendu dire qu’il y a dedans onze femmes de porcelaine.

— Eh bien ! Tu seras la douzième, dit le Chinois. Cette nuit, dès que la vieille armoire craquera, on fera la noce, aussi vrai que je suis un Chinois. »

Et là-dessus il hocha la tête et s’endormit.Mais la petite bergère pleurait en regardant son bien-aimé le ramoneur.« Je t’en prie, dit-elle, aide-moi à m’échapper dans le monde, nous ne pouvons plus rester ici.

— Je veux tout ce que tu veux, dit le petit ramoneur. Sauvons-nous tout de suite ; je pense bien que je saurai te nourrir avec mon état.

— Pourvu que nous descendions heureusement de la console, dit-elle. Je ne serai jamais tranquille tant que nous ne serons pas hors d’ici. »

Et il la rassura, et il lui montra comment elle devait poser son petit pied sur les rebords sculptés et sur le feuillage doré. Il l’aida aussi avec son échelle, et bientôt ils atteignirent le plancher. Mais en se retournant vers la vieille armoire, ils virent que tout y était en révolution. Tous les cerfs sculptés allongeaient la tête, dressaient leurs bois et tournaient le cou. Le Grand-général-commandant-en-chef-Jambe-de-Bouc fit un saut et cria au vieux Chinois : « Les voilà qui se sauvent ! Ils se sauvent ! »

Alors ils eurent peur et se réfugièrent dans le tiroir du marchepied de la fenêtre[1].

Là se trouvaient trois ou quatre jeux de cartes dépareillés et incomplets, puis un petit théâtre qui avait été construit tant bien que mal. On y jouait précisément une comédie, et toutes les dames, qu’elles appartiennent à la famille des carreaux ou des piques, des cœurs ou des trèfles, étaient assises aux premiers rangs et s’éventaient avec leurs tulipes ; et derrière elles se tenaient tous les valets, qui avaient à la fois une tête en l’air et l’autre en bas, comme sur les cartes à jouer. Il s’agissait dans la pièce de deux jeunes gens qui s’aimaient, mais qui ne pouvaient arriver à se marier. La bergère pleura beaucoup, car elle croyait que c’était sa propre histoire.

« Ça me fait trop de mal, dit-elle, il faut que je quitte le tiroir. »

Mais lorsqu’ils mirent de nouveau le pied sur le plancher et qu’ils jetèrent les yeux sur la console, ils aperçurent le vieux Chinois qui s’était réveillé et qui se démenait violemment.

« Voilà le vieux Chinois qui accourt ! s’écria la petite bergère, et elle tomba sur ses genoux de porcelaine, tout à fait désolée.

— J’ai une idée, dit le ramoneur. Nous allons nous cacher au fond de la grande cruche qui est là dans le coin. Nous y coucherons sur des roses et sur des lavandes, et s’il vient, nous lui jetterons de l’eau aux yeux.

— Non, ce serait inutile, lui répondit-elle. Je sais que le vieux Chinois et la Cruche ont été fiancés, et il reste toujours un fond d’amitié après de pareilles relations, même longtemps après. Non, il ne nous reste pas d’autre ressource que de nous échapper dans le monde.

— Et en as-tu réellement le courage ? dit le ramoneur. As-tu songé comme le monde est grand, et que nous ne pourrons plus jamais revenir ici ?

— J’ai pensé à tout, » répliqua-t-elle.


36

Et le ramoneur la regarda fixement, et dit ensuite : « Le meilleur chemin pour moi est par la cheminée. As-tu réellement le courage de te glisser avec moi dans le poêle et de grimper le long des tuyaux ? C’est par là seulement que nous arriverons dans la cheminée, et là je saurai bien me retourner. Il faudra monter aussi haut que possible, et tout à fait au haut nous parviendrons à un trou par lequel nous entrerons dans le monde. »

Il la conduisit à la porte du poêle : « Dieu ! Qu’il y fait noir ! », s’écria-t-elle.Cependant elle l’y suivit, et de là dans les tuyaux, où il faisait une nuit noire comme la suie.« Nous voilà maintenant dans la cheminée, dit-il. Regarde, regarde là-haut la magnifique étoile qui brille. »

Il y avait en effet au ciel une étoile qui semblait par son éclat leur montrer le chemin : ils grimpaient, ils grimpaient toujours. C’était une route affreuse, si haute, si haute ! Mais il la soulevait, il la soutenait, et lui montrait les meilleurs endroits où mettre ses petits pieds de porcelaine.

Ils arrivèrent ainsi jusqu’au rebord de la cheminée où ils s’assirent pour se reposer, tant ils étaient fatigués : et ils avaient bien de quoi l’être !

Le ciel avec toutes ses étoiles s’étendait au-dessus d’eux, et les toits de la ville s’inclinaient bien au-dessous. Ils promenèrent leur regard très-loin tout autour d’eux, bien loin dans le monde. La petite bergère ne se l’était jamais figuré si vaste : elle appuyait sa petite tête sur le ramoneur et pleurait si fort que ses larmes tachèrent sa ceinture.

« C’est trop, dit-elle ; c’est plus que je n’en puis supporter. Le monde est trop immense : oh ! que ne suis-je encore sur la console près de la glace ! Je ne serai pas heureuse avant d’y être retournée. Je t’ai su ivi dans le monde ; maintenant ramène-moi là-bas, si tu m’aimes véritablement. »

Et le ramoneur lui parla raison ; il lui rappela le vieux Chinois, et le Grand-général-commandant-en-chef- Jambe-de-Bouc. Mais elle sanglotait si fort, et elle embrassa si bien son petit ramoneur, qu’il ne put faire autrement que de lui céder, quoique ce fût insensé.

Ils se mirent à descendre avec beaucoup de peine par la cheminée, se glissèrent dans les tuyaux, et arrivèrent au poêle. Ce n’était pas certes un voyage d’agrément, et ils s’arrêtèrent à la porte du poêle sombre pour écouter et apprendre ce qui se passait dans la chambre.

Tout y était bien tranquille : ils mirent la tête dehors pour voir. Hélas ! Le vieux Chinois gisait au milieu du plancher. Il était tombé en bas de la console en voulant les poursuivre, et il s’était brisé en trois morceaux. Tout le dos s’était détaché du reste du corps, et la tête avait roulé dans un coin. Le Grand-général- commandant-en-chef-Jambe-de-Bouc conservait toujours la même position et réfléchissait.

« C’est terrible, dit la petite bergère, le vieux grand-père s’est brisé, et c’est nous qui en sommes la cause ! Oh ! je ne survivrai jamais à ce malheur ! »

Et elle tordait ses petites mains.

« On pourra encore le recoller, dit le ramoneur ; oui, on pourra le recoller. Allons, ne te désole pas ; si on lui recolle le dos et qu’on lui mette une bonne attache à la nuque, il deviendra aussi solide que s’il était tout neuf, et pourra encore nous dire une foule de choses désagréables.

— Tu crois ? », dit-elle.

Et ils remontèrent sur la console où ils avaient été placés de tout temps.


37

« Voilà où nous en sommes arrivés, dit le ramoneur ; nous aurions pu nous épargner toute cette peine.

— Oh ! Si seulement notre vieux grand-père était recollé ! dit la bergère. Est-ce que ça coûte bien cher ?»

Et le grand-père fut recollé. On lui mit aussi une bonne attache dans le cou, et il devint comme neuf. Seulement il ne pouvait plus hocher la tête.

« Vous faites bien le fier, depuis que vous avez été cassé, lui dit le Grand-général-commandant-en-chef- Jambe-de-Bouc. Il me semble que vous n’avez aucune raison de vous tenir si roide ; enfin, voulez-vous me donner la main, oui ou non ? »

Le ramoneur et la petite bergère jetèrent sur le vieux Chinois un regard attendrissant : ils redoutaient qu’il ne se mît à hocher la tête ; mais il ne le pouvait pas, et il aurait eu honte de raconter qu’il avait une attache dans le cou.

Grâce à cette infirmité, les deux jeunes gens de porcelaine restèrent ensemble ; ils bénirent l’attache du grand- père, et ils s’aimèrent jusqu’au jour fatal où ils furent eux-mêmes brisés.


38

APENDIX 1 – English version

THE SHEPHERDESS AND THE CHIMNEY-SWEEP

A TRANSLATION OF HANS CHRISTIAN ANDERSEN'S "HYRDINDEN OG SKORSTEENSFEIEREN" BY JEAN HERSHOLT.

Have you ever seen a very old chest, black with age, and covered with outlandish carved ornaments and curling leaves? Well, in a certain parlor there was just such a chest, handed down from some great-grandmother. Carved all up and down it, ran tulips and roses-odd-looking flourishes-and from fanciful thickets little stags stuck out their antlered heads.

Right in the middle of the chest a whole man was carved. He made you laugh to look at him grinning away, though one couldn't call his grinning laughing. He had hind legs like a goat's, little horn on his forehead, and a long beard. All his children called him "General Headquarters-Hindquarters-Gives-Orders-Front-and-Rear-Sergeant-Billygoat-Legs." It was a difficult name to pronounce and not many people get to be called by it, but he must have been very important or why should anyone have taken trouble to carve him at all?

However, there he stood, forever eyeing a delightful little china shepherdess on the table top under the mirror. The little shepherdess wore golden shoes, and looped up her gown fetchingly with a red rose. Her hat was gold, and even her crook was gold. She was simply charming!

Close by her stood a little chimney-sweep, as black as coal, but made of porcelain too. He was as clean and tidy as anyone can be, because you see he was only an ornamental chimney-sweep. If the china-makers had wanted to, they could just as easily have turned him out as a prince, for he had a jaunty way of holding his ladder, and his cheeks were as pink as a girl's. That was a mistake, don't you think? He should have been dabbed with a pinch or two of soot.

He and the shepherdess stood quite close together. They had both been put on the table where they stood and, having been placed there, they had become engaged because they suited each other exactly. Both were young, both were made of the same porcelain, and neither could stand a shock.

Near them stood another figure, three times as big as they were. It was an old Chinaman who could nod his head. He too was made of porcelain, and he said he was the little shepherdess's grandfather. But he couldn't

http://www.andersen.sdu.dk/vaerk/hersholt/om_e.html


39

prove it. Nevertheless he claimed that this gave him authority over her, and when General-Headquarters-Hindquarters-Gives-Orders-Front-and-Rear-Sergeant-Billygoat-Legs asked for her hand in marriage, the old Chinaman had nodded consent.

"There's a husband for you!" the old Chinaman told the shepherdess. "A husband who, I am inclined to believe, is made of mahogany. He can make you Mrs. General-Headquarters-Hindquarters-Gives-Orders-Front-and-Rear-Sergeant-Billygoat-Legs. He has the whole chest full of silver, and who knows what else he's got hidden away in his secret drawers?"

"But I don't want to go and live in the dark chest," said the little shepherdess. "I have heard people say he's got eleven china wives in there already."

"Then you will make twelve," said the Chinaman. "Tonight, as soon as the old chest commences to creak I'll marry you off to him, as sure as I'm a Chinaman." Then he nodded off to sleep. The little shepherdess cried and looked at her true love, the porcelain chimney-sweep.

"Please let's run away into the big, wide world," she begged him, "for we can't stay here."

"I'll do just what you want me to," the little chimney-sweep told her. "Let's run away right now. I feel sure I can support you by chimney-sweeping."

"I wish we were safely down off this table," she said. "I'll never be happy until we are out in the big, wide world."

He told her not to worry, and showed her how to drop her little feet over the table edge, and how to step from one gilded leaf to another down the carved leg of the table. He set up his ladder to help her, and down they came safely to the floor. But when they glanced at the old chest they saw a great commotion. All the carved stags were craning their necks, tossing their antlers, and turning their heads. General-Headquarters-Hindquarters-Gives-Orders-Front-and -Rear-Sergeant-Billygoat-Legs jumped high in the air, and shouted to the old Chinaman, "They're running away! They're running away!"

This frightened them so that they jumped quickly into a drawer of the window-seat. Here they found three or four decks of cards, not quite complete, and a little puppet theatre, which was set up as well as it was possible to do. A play was in progress, and all the diamond queens, heart queens, club queens, and spade queens sat in front row and fanned themselves with the tulips they held in their hands. Behind them the knaves lined up, showing that they had heads both at the top and at the bottom, as face cards do have. The play was all about two people, who were not allowed to marry, and it made the shepherdess cry because it was so like her own story.

"I can't bear to see any more," she said. "I must get out of this drawer at once." But when they got back to the floor and looked up at the table, they saw the old Chinaman was wide awake now. Not only his head, but his whole body rocked forward. The lower part of his body was one solid piece, you see.

"The old Chainman's coming!" cried the little Shepherdess, who was so upset that she fell down on her porcelain knees.

"I have an idea," said the chimney-sweep. "We'll hide in the pot-pourri vase in the corner. There we can rest upon rose petals and lavender, and when he finds us we can throw salt in his eyes."


40

"It's no use," she said. "Besides, I know the pot-pourri vase was once the old Chainman's sweetheart, and where there used to be love a little affection is sure to remain. No, there's nothing for us to do but to run away into the big wide world."

"Are you really so brave that you'd go into the wide world with me?" asked the chimney-sweep. "Have you thought about how big it is, and that we can never come back here?"

"I have," she said.

The chimney-sweep looked her straight in the face and said, "My way lies up through the chimney. Are you really so brave that you'll come with me into the stove, and crawl through the stovepipe? It will take us to the chimney. Once we get there, I'll know what to do. We shall climb so high that they'll never catch us, and at the very top there's an opening into the big wide world."

He led her to the stove door.

"It looks very black in there," she said. But she let him lead her through the stove and through the stovepipe, where it was pitch-black night.

"Now we've come to the chimney," he said. "And see! See how the bright star shines over our heads."

A real star, high up in the heavens, shone down as if it wished to show them the way. They clambered and scuffled, for it was hard climbing and terribly steep-way, way up high! But he lifted her up, held her safe, and found the best places for her little porcelain feet. At last they reached the top of the chimney, where they sat down. For they were so tired, and no wonder!

Overhead was the starry sky, and spread before them were all the housetops in the town. They looked out on the big wide world. The poor shepherdess had never thought it would be like that. She flung her little head against the chimney-sweep, and sobbed so many tears that the gilt washed off her sash.

"This is too much," she said. "I can't bear it. The wide world is too big. Oh! If I only were back on my table under the mirror. I'll never be happy until I stand there again, just as before. I followed you faithfully out into the world, and if you love me the least bit you'll take me right home."

The chimney-sweep tried to persuade her that it wasn't sensible to go back. He talked to her about the old Chinaman, and of General-Headquarters-Hindquarters-Gives-Orders-Front-and-Rear-Sergeant-Billygoat-Legs, but she sobbed so hard and kissed her chimney-sweep so much that he had to do as she said, though he thought it was the wrong thing to do.

So back down the chimney they climbed with great difficulty, and they crawled through the wretched stovepipe into the dark stove. Here they listened behind the door, to find out what was happening in the room. Everything seemed quiet, so they opened the door and-oh, what a pity! There on the floor lay the Chinaman, in three pieces. When he had come running after them, he tumbled off the table and smashed. His whole back had come off in one piece, and his head had rolled into the corner. General-Headquarters-Hindquarters-Gives-Orders-Front-and-Rear-Sergeant-Billygoat-Legs was standing where he always stood, looking thoughtful.

"Oh, dear," said the little shepherdess, "poor old grandfather is all broken up, and it's entirely our fault. I shall never live through it." She wrung her delicate hands.


41

"He can be patched," said the chimney-sweep. "He can be riveted. Don't be so upset about him. A little glue for his back and a strong rivet in his neck, and he will be just as good as new, and just as disagreeable as he was before."

"Will he, really?" she asked, as they climbed back to their old place on the table.

"Here we are," said the chimney-sweep. "Back where we started from. We could have saved ourselves a lot of trouble."

"Now if only old grandfather were mended," said the little shepherdess. "Is mending terribly expensive?"

He was mended well enough. The family had his back glued together, and a strong rivet put through his neck. That made him as good as new, except that never again could he nod his head.

"It seems to me that you have grown haughty since your fall, though I don't see why you should be proud of it," General-Headquarters-Hindquarters-Gives-Orders-Front-and-Rear-Sergeant-Billygoat-Legs complained. "Am I to have her, or am I not?"

The chimney-sweep and the little shepherdess looked so pleadingly at the old Chinaman, for they were deathly afraid he would nod. But he didn't. He couldn't. And neither did he care to tell anyone that, forever and a day, he'd have to wear a rivet in his neck.

So the little porcelain people remained together. They thanked goodness for the rivet in grandfather's neck, and they kept on loving each other until the day they broke.


42

ANEXO 1 – Versión española

EL DESHOLLINADOR Y L A PASTORA

¿Has visto alguna vez uno de estos armarios muy viejos, ennegrecidos por los años, adornados con tallas de volutas y follaje? Pues uno así había en una sala; era una herencia de la bisabuela, y de arriba abajo estaba adornado con tallas de rosas y tulipanes. Presentaba los arabescos más raros que quepa imaginar, y entre ellos sobresalían cabecitas de ciervo con sus cornamentas. En el centro, habían tallado un hombre de cuerpo entero; su figura era de verdad cómica, y en su cara se dibujaba una mueca, pues aquello no se podía llamar risa. Tenía patas de cabra, cuernecitos en la cabeza y una luenga barba. Los niños de la casa lo llamaban siempre el «Sargento-mayor-y-menor-mariscal-de-campo-pata-de-chivo»; era un nombre muy largo, y son bien pocos los que ostentan semejante titulo; ¡y no debió de tener poco trabajo, el que lo esculpió!

Y allí estaba, con la vista fija en la mesa situada debajo del espejo, en la que había una linda pastorcilla de porcelana, con zapatos dorados, el vestido graciosamente sujeto con una rosa encarnada, un dorado sombrerito en la cabeza y un báculo de pastor en la mano: era un primor. A su lado había un pequeño deshollinador, negro como el carbón, aunque asimismo de porcelana, tan fino y pulcro como otro cualquiera; lo de deshollinador sólo lo representaba: el fabricante de porcelana lo mismo hubiera podido hacer de él un príncipe, ¡qué más le daba!

He ahí, pues, al hombrecillo con su escalera, y unas mejillas blancas y sonrosadas como las de la muchacha, lo cual no dejaba de ser un contrasentido, pues un poquito de hollín le hubiera cuadrado mejor. Estaba de pie junto a la pastora; los habían colocado allí a los dos, y, al encontrarse tan juntos, se habían enamorado. Nada había que objetar: ambos eran de la misma porcelana e igualmente frágiles.

A su lado había aún otra figura, tres veces mayor que ellos: un viejo chino que podía agachar la cabeza. Era también de porcelana, y pretendía ser el abuelo de la zagala, aunque no estaba en situación de probarlo. Afirmaba tener autoridad sobre ella, y, en consecuencia, había aceptado, con un gesto de la cabeza, la petición que el «Sargento-mayor-y-menor-mariscal-de-campo-pata-de-chivo» le había hecho de la mano de la pastora.

-Tendrás un marido -dijo el chino a la muchacha- que estoy casi convencido, es de madera de ébano; hará de ti la «Sargentamayor-y-menor-mariscal-de-campo-pata-de-chivo». Su armario está repleto de objetos de plata, ¡y no digamos ya lo que deben contener los cajones secretos!

-¡No quiero entrar en el oscuro armario! -protestó la pastorcilla-. He oído decir que guarda en él once mujeres de porcelana.


43

-En este caso, tú serás la duodécima -replicó el chino-. Esta noche, en cuanto cruja el viejo armario, se celebrará la boda, ¡como yo soy chino!

E, inclinando la cabeza, se quedó dormido.

La pastorcilla, llorosa, levantó los ojos al dueño de su corazón, el deshollinador de porcelana.

-Quisiera pedirte un favor. ¿Quieres venirte conmigo por esos mundos de Dios? Aquí no podemos seguir.

-Yo quiero todo lo que tú quieras –le respondió el mocito-. Vámonos enseguida, estoy seguro de que podré sustentarte con mi trabajo.

-¡Oh, si pudiésemos bajar de la mesa sin contratiempo! -dijo ella-. Sólo me sentiré contenta cuando hayamos salido a esos mundos.

Él la tranquilizó, y le enseñó cómo tenía que colocar el piececito en las labradas esquinas y en el dorado follaje de la pata de la mesa; se sirvió de su escalera, y en un santiamén se encontraron en el suelo. Pero al mirar al armario, observaron en él una agitación; todos los ciervos esculpidos alargaban la cabeza y, levantando la cornamenta, volvían el cuello; el «Sargento-mayor-y-menor-mariscal-de-campo-pata-de-chivo» pegó un brinco y gritó al chino:

-¡Se escapan, se escapan!

Los pobrecillos, asustados, se metieron en un cajón que había debajo de la ventana.

Había allí tres o cuatro barajas, aunque ninguna completa, y un teatrillo de títeres montado un poco a la buena de Dios. Precisamente se estaba representando una función y todas las damas, oros y corazones, tréboles y espadas, sentados en las primeras filas, se abanicaban con sus tulipanes; detrás quedaban las sotas, mostrando que tenían cabeza o, por decirlo mejor, cabezas, una arriba y otra abajo, como es costumbre en los naipes. El argumento trataba de dos enamorados que no podían ser el uno para el otro, y la pastorcilla se echó a llorar, por lo mucho que el drama se parecía al suyo.

-¡No puedo resistirlo! -exclamó-. ¡Tengo que salir del cajón!

Pero una vez volvieron a estar en el suelo y levantaron los ojos a la mesa, el viejo chino, despierto, se tambaleó con todo el cuerpo, pues por debajo de la cabeza lo tenía de una sola pieza.

-¡Que viene el viejo chino! -gritó la zagala azorada, cayendo de rodillas.

-Se me ocurre una idea -dijo el deshollinador-. ¿Y si nos metiésemos en aquella gran jarra de la esquina? Estaremos entre rosas y espliego, y si se acerca le arrojaremos sal a los ojos.

-No serviría de nada -respondió ella-. Además, sé que el chino y la jarra estuvieron prometidos, y siempre queda cierta simpatía en semejantes circunstancias. No; el único recurso es lanzarnos al mundo.

-¿De verdad te sientes con valor para hacerlo? -preguntó el deshollinador-. ¿Has pensado en lo grande que es y que nunca podremos volver a este lugar?

-Sí -afirmó ella.


44

El deshollinador la miró fijamente y luego dijo:

-Mi camino pasa por la chimenea. ¿De veras te sientes con ánimo para aventurarte en el horno y trepar por la tubería? Saldríamos al exterior de la chimenea; una vez allí, ya sabría yo apañármelas. Subiremos tan arriba, que no podrán alcanzarnos, y en la cima hay un orificio que sale al vasto mundo.

Y la condujo a la puerta del horno.

-¡Qué oscuridad! -exclamó ella, sin dejar de seguir a su guía por la caja del horno y por el tubo, oscuro como boca de lobo.

-Estamos ahora en la chimenea –le explicó él-. Fíjate: allá arriba brilla la más hermosa de las estrellas.

Era una estrella del cielo que les enviaba su luz, exactamente como para mostrarles el camino. Y ellos venga trepar y arrastrarse. ¡Horrible camino, y tan alto! Pero el mozo la sostenía, indicándole los mejores agarraderos para apoyar sus piececitos de porcelana. Así llegaron al borde superior de la chimenea y se sentaron en él, pues estaban muy cansados, y no sin razón.

Encima de ellos se extendía el cielo con todas sus estrellas, y a sus pies quedaban los tejados de la ciudad. Pasearon la mirada en derredor, hasta donde alcanzaron los ojos; la pobre pastorcilla jamás habla imaginado cosa semejante; reclinó la cabecita en el hombro de su deshollinador y prorrumpió en llanto, con tal vehemencia que se le saltaba el oro del cinturón.

– ¡Es demasiado! -exclamó-. No podré soportarlo, el mundo es demasiado grande. ¡Ojalá estuviese sobre la mesa, bajo el espejo! No seré feliz hasta que vuelva a encontrarme allí. Te he seguido al ancho mundo; ahora podrías devolverme al lugar de donde salimos. Lo harás, si es verdad que me quieres.

El deshollinador le recordó prudentemente el viejo chino y el «Sargento-mayor-y-menor-mariscal-de-campo-pata-de-chivo», pero ella no cesaba de sollozar y besar a su compañerito, el cual no pudo hacer otra cosa que ceder a sus súplicas, aun siendo una locura.

Y así bajaron de nuevo, no sin muchos tropiezos, por la chimenea, y se arrastraron por la tubería y el horno. No fue nada agradable.

Una vez en la caja del horno, pegaron la oreja a la puerta para enterarse de cómo andaban las cosas en la sala. Reinaba un profundo silencio; miraron al interior y… ¡Dios mío!, el viejo chino yacía en el suelo. Se había caído de la mesa cuando trató de perseguirlos, y se rompió en tres pedazos; toda la espalda era uno de ellos, y la cabeza, rodando, había ido a parar a una esquina. El «Sargento-mayor-y-menor-mariscal-de-campo-pata-de-chivo» seguía en su puesto con aire pensativo.

-¡Horrible! -exclamó la pastorcita-. El abuelo roto a pedazos, y nosotros tenemos la culpa. ¡No lo resistiré! -y se retorcía las manos.

-Aún es posible pegarlo -dijo el deshollinador-. Pueden pegarlo muy bien, tranquilízate; si le ponen masilla en la espalda y un buen clavo en la nuca quedará como nuevo; aún nos dirá cosas desagradables.

-¿Crees? -preguntó ella. Y treparon de nuevo a la mesa.

-Ya ves lo que hemos conseguido -dijo el deshollinador-. Podíamos habernos ahorrado todas estas fatigas.


45

-¡Si al menos estuviese pegado el abuelo! -observó la muchacha-. ¿Costará muy caro?

Pues lo pegaron, sí señor; la familia cuidó de ello. Fue encolado por la espalda y clavado por el pescuezo, con lo cual quedó como nuevo, aunque no podía ya mover la cabeza.

-Se ha vuelto usted muy orgulloso desde que se hizo pedazos -dijo el «Sargento-mayor-y-menor-mariscal-de-campo-pata-dechivo»-. Y la verdad que no veo los motivos. ¿Me la va a dar o no?

El deshollinador y la pastorcilla dirigieron al viejo chino una mirada conmovedora, temerosos de que agachase la cabeza; pero le era imposible hacerlo, y le resultaba muy molesto tener que explicar a un extraño que llevaba un clavo en la nuca. Y de este modo siguieron viviendo juntas aquellas personitas de porcelana, bendiciendo el clavo del abuelo y queriéndose hasta que se hicieron pedazos a su vez.


46

SITOGRAPH Y

• Links about the film and presskits

http://fr.wikipedia.org/wiki/Le_Roi_et_l%27Oiseau

http://www.studiocine.com/pdf/fiches_pedagogiques/roietloiseau.pdf

http://archive.filmdeculte.com/culte/culte.php?id=102

http://fr.wikipedia.org/wiki/Le_Roi_et_l%27Oiseau

http://www.studiocine.com/pdf/fiches_pedagogiques/roietloiseau.pdf

http://archive.filmdeculte.com/culte/culte.php?id=102

• Supplementa ry information

http://utopia.tice.ac-orleans-tours.fr/php5/IMG/pdf/fiche_roioiseau.pdf

http://www.annonaypremierfilm.org/2004/jeunes/roi_oiseau.pdf

http://ww2.ac-poitiers.fr/ia16-pedagogie/spip.php?article1118

http://www.cnc.fr/web/fr/dossiers-pedagogiques/-/ressources/5292965

• - S tudent crea tion examples

http://www.ac-nancy-metz.fr/ia57/noveant/litterature/leroietloiseau/leroiloiseau.htm http://www.ac-grenoble.fr/robespierre/vie/cinema/pages/roiseau.htm-

http://ww2.ac-poitiers.fr/ia16-pedagogie/spip.php?article1118

http://www.cnc.fr/web/fr/dossiers-pedagogiques/-/ressources/5292965

lesson plan the king and the mockingbird · this collaboration will resume with the first feature...

Documents