The Transcendence Of Frogs And Ourangatangs Essay, Research Paper

The Transcendence Of Frogs and Ourang-Outangs

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& # 8220 ; Hop-Frog! , I will do a adult male of you. & # 8221 ;

In Edgar Allen Poe & # 8217 ; s short narrative & # 8220 ; Hop Frog, & # 8221 ; the rubric character Hop-Frog is able to exceed the restrictions of his physical organic structure, in ways the King and his seven curates are unable. & # 8220 ; Hop-Frog & # 8221 ; has multiple illustrations of the transcendency of adult male, and the inability of adult male to exceed. The most outstanding of these points are:

1. By get the better ofing the restrictions of his, Hop-Frog & # 8217 ; s, physical bodyhe is able to exceed into a greater being than his biological science would let.

2. By the King and his curates dismissing of Hop-Frog due to his disfiguration and their inability to admit his transcendency, they are fated to ne’er hold the opportunity to exceed.

3. By the usage of symbolism in & # 8220 ; Hop-Frog, & # 8221 ; Poe reinforces the actions of the characters and strengthens the representations of their transcendency, or lack there of.

Each of these of these three points coalesce to convey the significance of the transcendency of adult male, or the deficiency at that place of, into a focussed position.

Hop-Frog, the rubric character in Edgar Allen Poe & # 8217 ; s & # 8220 ; Hop-Frog, & # 8221 ; is able to exceed the restrictions of his physical organic structure. Biologically Hop-Frog is nil more than a monster of nature. Hop-Frog is a midget. His agencies of motive power was that of an & # 8220 ; interjectional pace & # 8212 ; – something between a spring and a wriggle, & # 8221 ; ( 482 ) and this gesture was merely afforded to him through & # 8220 ; great hurting and difficulty. & # 8221 ; Hop-frog & # 8217 ; s dentitions are & # 8220 ; big, powerful, and repulsive. & # 8221 ; ( 484 ) His weaponries, non in balance with his organic structure, have a & # 8220 ; colossal power. & # 8221 ; ( 482 ) His weaponries so over compensated for his organic structure he & # 8220 ; resembled a squirrel, or a little monkey, more than a frog. & # 8221 ; ( 482 ) His ability to digest vino is nonexistent. The narrative states that Hop-Frog is from & # 8220 ; some brutal region. & # 8221 ; ( 482 ) For the King, Hop-Frog is a & # 8220 ; triplicate hoarded wealth & # 8221 ; ( 482 ) for the male monarch to laugh at. If a adult male is no greater than his biological do up, so Hop-Frog is a monster, and limited to his organic structure. Hop-Frog proves this is non true. By utilizing his weaponries Hop-Frog is able to make amazing athletic efforts. Hop-Frog is able to get the better of the consequence that drink had on him and is able to stay unagitated and explicate a program of retaliation when Trippetta is struck and vino is thrown in her face. Hop-Frog even breaks the stereotyped cast of a beautiful hero. Hop-Frog is able to happen a love with Trippetta, a love that transcends his physical make-up. Hop-Frog saves the miss, has his retaliation, escapes unharmed to his fatherland, and in an dry turn of destiny is able to hold the last laugh at the King & # 8217 ; s disbursal. Hop-Frog is an illustration of a surpassing male, one who is able to travel beyond his biological make-up and becomes something greater.

The King and his seven curates are all healthy, albeit fat, strong work forces with small or no disablements the reader is informed of. Their lone failing harmonizing to the writer was that for & # 8220 ; jest. & # 8221 ; ( 481 ) It the King & # 8217 ; s and his curate & # 8217 ; s sensitivity to joking, and their inability to see in others any step of transcendency are doomed to failure. The fact that the King and his curates call him & # 8220 ; Hop-Frog & # 8221 ; and non his given name, thereby non admiting his being, farther reinforces the fact that they see him as nil more than an object to laugh at. The fact that the King continually forces Hop-Frog to imbibe wine even though the King knows the consequence it has on him. The King, unable able to acknowledge Hop-Frog & # 8217 ; s transcendency, has no thought as Hop-Frog lays the land work for the King and his curates decease through a & # 8220 ; carefully planned and enacted setup. & # 8221 ; ( 1089 ) The King is merely Able to see that Hop-Frog is express joying, and since the King & # 8217 ; s failing is a & # 8220 ; good Jest & # 8221 ; ( 481 ) , he is unable to

see the motivations behind the actions. When the King allows for no arms at the assemblage, and entrusts the keys to the locked doors to Hop-Frog, the King and his curates are once more unable conceive of any transcendency in Hop-Frog. The King and his curates are, up until the minute of their inevitable decease, still non cognoscente of their destiny, they “were convulsed with laughter, ” ( 486 ) and nescient to the events that were to win. It is the King’s and his minister’s sensitivity to gags, and their inability to admit Hop-Frog’s transcendency from the restrictions of his organic structure, the fact that he is more than merely the sum sum of his parts, that dooms them to their destiny. “Hop-Frog! , I will do a adult male of you, ” ( 484 ) is the King’s ultimate admittance of his inability to admit Hop-Frog’s transcendency, by non admiting that Hop-Frog is biologically a adult male, the King is blind to the fact that Hop-Frog can be more than a adult male biologically.

In & # 8220 ; Hop-Frog, & # 8221 ; Poe makes usage of extended symbolism to heighten the transcendency of Hop-Frog and the inability of the King to acknowledge the fact. The opening description of the male monarch is that he would hold & # 8220 ; preferred Rabelias & # 8217 ; & # 8216 ; Gargantua & # 8217 ; , & # 8221 ; a elephantine male monarch with a great capacity for nutrient and drink, bespeaking a great deficiency of control and animate being desires. When the fabulous male monarch is hungry or thirsty he eats or drinks, and when the King in the narrative wants a joke he has one. Both male monarchs react without effect, and both male monarchs constrained by their carnal impulses and desires, are nil more than the biological bounds of their organic structures. Another strong symbol, is that of Hop-Frogs pick of costume for the King and His Curates. By taking ourang-outangs Hop-Frog represents the King and his curates as & # 8220 ; basal animals, & # 8221 ; ( 331 ) with no scruples. He, Hop-Frog, shows them to be animate beings that have a idea, lecherousness or desire and act upon it consequently without attention to the reverberations that it might hold on others. The ironss that Hop-Frog ties around their organic structures is a representation of the fact that the King and his curates, will ne’er be able to exceed the & # 8220 ; beastly organic structures & # 8221 ; ( 331 ) they inhabit. Hop-Frog & # 8217 ; s concluding words as he is about to go forth, & # 8220 ; & # 8230 ; this is my last joke, & # 8221 ; ( 487 ) is a voice by Hop-Frog that he has now transcended the restrictions of his organic structure and indicates that he is traveling to travel frontward from at that place. The most profound usage of symbolism is when Hop-Frog flights through the & # 8220 ; roof of the saloon. & # 8221 ; ( 487 ) The act itself represents Hop-Frogs ability to exceed his organic structure. The barroom represents his organic structure, and the flight a symbolic representation that Hop-Frog has surpassed his biological restrictions.

Edgar Allen Poe & # 8217 ; s Hop-Frog contains many illustrations of the transcendency of adult male and the inability of others to admit. The chief character, Hop-Frog, is able to get the better of the consequence that drink has on him, finds love, and manages to be more than his biological make-up. Hop-Frog is able to exceed the restrictions of his physical organic structure, and is able to go something greater than biological make-up. The King and his seven curates are unable or are unwilling to admit Hop-Frog & # 8217 ; s transcendency and in so making they doom themselves to an inevitable destiny. Besides, through the usage of symbolism, Poe is able to & # 8220 ; beef up his imagination & # 8221 ; ( 1091 ) of Hop-Frog & # 8217 ; s transcendency and the King and his seven curates inability to exceed and acknowledge transcendency in others.

Hall, Donald, and Stephen Spendler. Concise Encyclopedia of English and American Poets and Poetry. New York: Hawthorn Books, 1963. 1084-1092.

Hart, James D. Oxford Companion to American Literature. 5TH Ed. New York: Oxford University Press, 1983. 323-336.

Poe, Edgar Allen. & # 8220 ; Hop Frog & # 8221 ; . The Bedford Introduction To Literature Ed. Michael Meyer. 3RD Ed. Boston: St. Martin & # 8217 ; s Press, 1996. 481-487.

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