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" Hop-Frog" (originally " Hop-Frog; Or, the Eight Chained Ourang-Outangs") is a 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 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 against a woman named Elizabeth F. Ellet and her circle.


Plot summary
The court jester Hop-Frog, "being also a dwarf and a cripple", is the much-abused "fool" of the unnamed . This king has an insatiable sense of humor: "he seemed to live only for joking". Both Hop-Frog and his best friend, the dancer Trippetta (also small, but beautiful and well-proportioned), have been stolen from their homeland and essentially function as slaves. Because of his physical deformity, which prevents him from walking upright, the King nicknames him "Hop-Frog".

Hop-Frog reacts severely to alcohol, and though the king knows this, he forces Hop-Frog to consume several full. Trippetta begs the king to stop. Though Trippetta is said to be a favorite of his, he pushes her and throws a goblet of wine into her face in front of seven members of his cabinet council. The violent act makes Hop-Frog grind his teeth. The powerful men laugh at the expense of the two servants and ask Hop-Frog (who suddenly becomes sober and cheerful) for advice on an upcoming . He suggests some very realistic costumes for the men: costumes of chained together. The men love the idea of scaring their guests and agree to wear tight-fitting shirts and pants saturated with and covered with . In full costume, the men are then chained together and led into the "grand saloon" of masqueraders just after .

As predicted, the guests are shocked and many believe the men to be real "beasts of some kind in reality, if not precisely ourang-outangs". Many rush for the doors to escape, but the King had insisted the doors be locked; the keys are left with Hop-Frog. Amidst the chaos, Hop-Frog attaches a chain from the ceiling to the chain linked around the men in costume. The chain then pulls them up via pulley (presumably by Trippetta, who has arranged the room to help with the scheme) far above the crowd. Hop-Frog puts on a spectacle so that the guests presume "the whole matter as a well-contrived pleasantry". He claims he can identify the culprits by looking at them up close. He climbs up to their level, grits his teeth again, and holds a torch close to the men's faces. They quickly catch fire: "In less than half a minute the whole eight ourang-outangs were blazing fiercely, amid the shrieks of the multitude who gazed at them from below, horror-stricken, and without the power to render them the slightest assistance". Finally, before escaping through a sky-light, Hop-Frog identifies the men in costume:

The ending explains that, after that night, neither Hop-Frog nor Tripetta were ever seen again. It is implied that she was his accomplice and that they fled together back to their home country.


Publication history
The tale first appeared in the March 17, 1849 edition of The Flag of Our Union, a -based newspaper published by Frederick Gleason and edited by Maturin Murray Ballou. It originally carried the full title "Hop Frog; Or, The Eight Chained Ourang-Outangs". In a letter to friend Nancy Richmond, Poe wrote: "The 5 prose pages I finished yesterday are called — what do you think? — I am sure you will never guess — Hop-Frog! Only think of your Eddy writing a story with such a name as 'Hop-Frog'!"
(1998). 9780801857300, Johns Hopkins University Press.

He explained that, though The Flag of Our Union was not a respectable journal "in a literary point of view", it paid very well.


Analysis
The story, like "The Cask of Amontillado", is one of Poe's tales, in which a murderer apparently escapes without punishment. In "The Cask of Amontillado", the victim wears ; 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".

(1987). 9780300037739, Yale University Press. .

"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 (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 , Hiram Fuller (no relation), Thomas Dunn English, Anne Lynch Botta, , Ermina Jane Locke, and Locke's husband.

(1987). 9780961644918, Edgar Allan Poe Society.

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 but 'conferred upon him'" and is susceptible to wine ... when insulted and forced to drink becomes insane with rage".

(1991). 9780060923310, . .
Like Hop-Frog, Poe was bothered by those who urged him to drink, despite a single glass of wine making him drunk.
(1998). 9780801857300, Johns Hopkins University Press.

Poe could 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 squire, the king and five others dressed as in highly flammable costumes made with pitch and flax. When a candle was mistakenly brought into the tent where the performance was occurring, the fire quickly spread to the performers within the close quarters, four of whom would die from the wounds, the King only being saved by the quick thinking of his aunt Joan, Duchess of Berry who protected him from the flames beneath the folds of her great skirt.Tuchman (1979), 503–505 Citing 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".

(2025). 9780809324712, Southern Illinois University Press. .


Adaptations
  • director Henri Desfontaines made the earliest film adaptation of "Hop-Frog" in 1910.
  • 's 1896 painting titled, Hop-Frog's Revenge, is based on the story.
  • A 1926 by was inspired by and named after Hop-Frog.
  • A plot similar to "Hop-Frog" is used as a side plot in 's The Masque of the Red Death (1964), starring as "Prince Prospero". Enraged by Prospero's friend Alfredo hitting his partner for accidentally knocking his cup of wine during her dance number, the dwarf artist sets him on fire during the masquerade after dressing him up in a costume. Hop-Frog (called Hop-Toad in the film) is played by the actor Skip Martin, who was a "", but his dancing partner Esmeralda (analogous to Trippetta from the short story) is played by a child with an older woman's voice.
  • Elements of the tale are suggested in climax of the 1962 Universal/ adaptation of The Phantom of the Opera (directed by ), the idea of a dwarf utilizing a chandelier as a murder weapon being particularly noteworthy.
  • Illustrated versions of the story appeared in the horror comic magazines Nightmare (art): "Hop-Frog". Nightmare #11 (February 1954). and Creepy.Reed Crandall (artist) and Archie Goodwin (story): "Hop-Frog". Creepy #11 (July 14, 1966), pp. 5-12.
  • In 1992, directed a short film entitled Fool's Fire adapted from "Hop-Frog". Michael J. Anderson of fame starred as "Hop-Frog" and as "Trippetta", with Tom Hewitt as "The King". The film aired on 's American Playhouse and depicts all "normal" characters being dressed in masks and costumes (designed by Taymor) with only Hop-Frog and Trippetta shown as they truly are. Poe's poems "The Bells" and "A Dream Within a Dream" are also used as part of the story.
  • A radio-drama production of "Hop-Frog" was broadcast in 1998 in the series on National Public Radio. The story was performed by Winifred Phillips and included music composed by her.
  • The story features as part of 's 2003 double album The Raven. One of the tracks is a song called "Hop-Frog" sung by .
  • 's 2003 play Hop-Frog is based on this story. Laura Grace Pattillo wrote in The Edgar Allan Poe Review (2006), "a visually striking piece of theatrical storytelling, is Tait's adaptation of 'Hop-Frog'. In this play, the device of the Chorus functions exceptionally well, as one male and one female actor help narrate the story and speak for all of the supporting characters, who are represented by objects such as a long piece of wood and a collection of candles."
  • In 2020, the British experimental rock band adapted "Hop-Frog" as a spoken-word piece with instrumental accompaniment on their album . The story is narrated by lead singer .


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