Ljungquist have both noted a division in Poe studies between scholars and critics, historicists and theoreticians, and they are no doubt right in having done so. The fire — specifically, the act of burning alive the king and his corrupt politicians — carries connotations of hellfire and damnation. At one level of his consciousness, as Harry Levin claims, Poe held the Negro in profound contempt and supported the institution of slavery. When they meet, wine goblets in hand, things get a bit tense. The room is dark, and the people are frightened. In short, Poe was profoundly ambivalent about Blacks and the institution of slavery. She is hit in the face with wine, and the king pushes her back.
Yet, they are both powerful. Stuart Levine and Susan Levine, eds. The chandelier begins to rise, just as Hop-Frog takes his torch and swipes it around the crew. Another strong symbol, is that of Hop-Frogs choice of costume for the King and His Ministers. Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination. Both Hop-Frog and Trippetta are dwarves.
Hop-Frog uses laughter, while quelling his own anger, to ease the tension after the king pushes Trippetta. Hop-Frog's friend, Trippetta, has also been forcibly removed from her home by the same general. It is therefore ironic that they so willingly oblige to Hop-Frog's plan, all in the name of humor. When the abuse becomes unbearable, Hop-Frog devises and carries out an ingenious but horrific plan of revenge upon the King and his ministers. Hop-Frog and Trippetta are both small. To tell a good story of the joke kind, and to tell it well, was the surest road to his favor.
Hop-Frog, aghast, suddenly comes up with a costume idea for the king and his ministers, ''just after your majesty, had struck the girl and thrown the wine in her face. Hop-Frog, not enjoying the elixir nor the force is resistant, and Trippetta sticks up for him. He, Hop-Frog, shows them to be animals that have a thought, lust or desire and act upon it accordingly without care to the repercussions that it might have on others. The main character, Hop-Frog, is able to overcome the effect that drink has on him, finds love, and manages to be more than his biological makeup. Hop-Frog and Trippetta have grown close, thanks to their shared status as slaves at the royal court, and look out for each other. Hop-Frog becomes quietly angry at this, and hatches a plan for revenge on the king and his fat, evil ministers.
The fact that the King continually forces Hop-Frog to drink wine even though the King knows the effect it has on him. In a letter to Annie Richmond dated the 8th of that month Poe wrote: The 5 prose pages I finished yesterday are called — what do you think? In The Hop Frog, Edgar Allan Poe converges humor with revenge to show that nice guys can win. Gerald Kennedy, Poe, Death and the Life of Writing New Haven, 1987 pp. New York: Hawthorn Books, 1963. In spite of this horrifying and fatal incident, the show went on to its conclusion.
Marie Bonaparte, The Life and Works of Edgar Allan Poe: A Psychoanalytic Interpretation, trans. When Trippetta begs with the king to leave her friend alone, the king violently pushes her to the floor, and then furiously throws wine in her face. Thus, he can climb so high above the assembled guests that he is able to kill the king and escape with his beloved. Hop-Frog is able to overcome the effect that drink had on him and is able to remain calm and formulate a plan of revenge when Trippetta is struck and wine is thrown in her face. Before offering my own reading, I should like to call on Harry Levin who can help us to understand how for Poe historical facts, literary sources, and personal experiences were imaginatively and unconsciously transmuted and shaped into a vivid fictional nightmare that at the same time refracts everyday social reality. The king's jester, Hop-Frog, is taken from his homeland after a conquest and gifted to the king by his general. See, for example, Herbert Aptheker, Negro Slave Revolts in the United States, 1526-1860 New York, 1939 and Eugene D.
To put it another way, D. Each of these of these three points coalesce to bring the significance of the transcendence of man, or the lack there of, into a focused view. He then announces that this has been his revenge on the king for striking his friend Trippetta, a defenceless girl, before setting the king and his seven councillors alight with the torch. In the end, when humor and vengeance converge, it is Hop-Frog who gets the last laugh. I hope to show that a paper on Poe, even a short one, can attend to social, historical, and political contexts, can also be mindful that texts are written by real individuals, at particular times and under concrete material and cultural circumstances, and, finally, can be aware that writers draw on all sorts of literary, extra-literary, and sub-literary sources. The King and his ministers enjoy laughing at and abusing Hop-Frog.
Hop-Frog is able to transcend the limitations of his physical body, and is able to become something greater than biological makeup. She is also forced to dance for the king and his court. Nonetheless, I want to suggest — indeed, to demonstrate — that it is possible to integrate these ostensibly opposed methods, approaches or dispositions. Hop-Frog shimmies up the structure until he frees himself through an opening in the roof. Concise Encyclopedia of English and American Poets and Poetry. Arthur Hobson Quinn, Edgar Allan Poe: A Critical Biography New York, 1941 p. The danger of a conflict between the white and black inhabitants perpetually haunts the imagination of the Americans, like a painful dream.
As a broken older man struggling futilely to make ends meet in the context of an emerging capitalism controlled by Northern industrialists, Poe seems to have realized, however unconsciously, in a way that perhaps only he could have enjoyed, that the regional and racial jokes were on him. Oxford Companion to American Literature. Trippetta is responsible for preparing the hall, while Hop-Frog, being the wit that he is, must come up with costuming ideas for the king and his seven ministers because they, after all, have more important matters to tend to, like drinking wine. As Hop-Frog reveals his plan for the eight ourang-outangs, he emphasizes that the beauty of the plan, ''lies in the fright it occasions among the women. Her sexual attractiveness, in short, gives her the kind of leverage her symbolically castrated mate, for all of his wit, can never have. The Masquerade Charade The Trickery Poe uses the descriptions of the characters to foreshadow a David and Goliath-inspired tale. They then make their way into the main chamber, chained together, much to the shock and amusement of the guests present at court.