page_title: Hop-Frog
section_title: Analysis
hierarchical_section_title: Hop-Frog / Analysis
caption_attribution_description: Русский: Иллюстрация Артура Рэкхема из книги "Poe's Tales of Mystery and Imagination" к рассказу Эдгара По "Прыг-Скок"
context_page_description: "Hop-Frog" is a short story by American writer Edgar Allan Poe, first published in 1849. The title character, a person with dwarfism taken from his homeland, becomes the jester of a king particularly fond of practical jokes. Taking revenge on the king and his cabinet for the king's striking of his friend and fellow dwarf Trippetta, he dresses the king and his cabinet as orangutans for a masquerade. In front of the king's guests, Hop-Frog murders them all by setting their costumes on fire before escaping with Trippetta.
  Critical analysis has suggested that Poe wrote the story as a form of literary revenge against a woman named Elizabeth F. Ellet and her circle.
context_section_description: The story, like "The Cask of Amontillado", is one of Poe's revenge tales, in which a murderer apparently escapes without punishment. In "The Cask of Amontillado", the victim wears motley; in "Hop-Frog", the murderer also dons such attire. However, while "The Cask of Amontillado" is told from the murderer's point of view, "Hop-Frog" is told from an unidentified third-person narrator's point of view.
  The grating of Hop-Frog's teeth, right after Hop-Frog witnesses the king splash wine in Trippetta's face, and again just before Hop-Frog sets the eight men on fire, may well be symbolic. Poe often used teeth as a sign of mortality, as with the lips writhing about the teeth of the mesmerized man in "The Facts in the Case of M. Valdemar" or the obsession with teeth in "Berenice".
  "The Cask of Amontillado" represents Poe's attempt at literary revenge on a personal enemy, and "Hop-Frog" may have had a similar motivation. As Poe had been pursuing relationships with Sarah Helen Whitman and Nancy Richmond (whether romantic or platonic is uncertain), members of literary circles in New York City spread gossip and incited scandal about alleged improprieties. At the center of this gossip was a woman named Elizabeth F. Ellet, whose affections Poe had previously scorned. Ellet may be represented by the king himself, with his seven councilors representing Margaret Fuller, Hiram Fuller (no relation), Thomas Dunn English, Anne Lynch Botta, Anna Blackwell, Ermina Jane Locke, and Locke's husband.
  The tale is arguably autobiographical in other ways. The jester Hop-Frog, like Poe, is "kidnapped from home and presented to the king" (his wealthy foster father John Allan), "bearing a name not given in baptism but 'conferred upon him'" and is susceptible to wine ... when insulted and forced to drink becomes insane with rage". Like Hop-Frog, Poe was bothered by those who urged him to drink, despite a single glass of wine making him drunk.
  Poe may have based the story on the Bal des Ardents at the court of Charles VI of France in January 1393. At the suggestion of a Norman squire, the king and five others dressed as Wild Men in highly flammable costumes made with pitch and flax. Four of the men died in the fire, and only Charles and the fifth man were saved. Citing Barbara Tuchman as his source, Jack Morgan, of the University of Missouri–Rolla, author of The Biology of Horror, discusses the incident as a possible inspiration for "Hop-Frog". 
  The king and his seven councilors appear in the masquerade at midnight, the same time that the Red Death appears in the masquerade in "The Masque of the Red Death", the narrator of "The Tell-Tale Heart" enters the old man's bedroom each night for one week, and the raven taps on the narrator's door in Poe's poem "The Raven".
caption: Hop Frog's last joke, 1935 illustration by Arthur Rackham
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