New York: McGraw-Hill, 1990: 533-544. 2 vols.
By overcoming the limitations of his, Hop-Frog's, physical body he is able to transcend into a greater existence than his biology would allow. 2. By the King and his ministers discounting of Hop-Frog due to his disfigurement and their inability to acknowledge his transcendence, they are fated to never have the chance to transcend. 3. By the use of symbolism in "Hop-Frog," Poe reinforces the actions of the characters and strengthens the representations of their transcendence, or lack there of.
This reveals that even though the King has every tangible item he wants, the physical and emotional pain of others caused by him is what gives him great joy. Also, through this pain, the King also feels more in power. Though, the King may have the highest of ranks, Hop-Frog steadfast in showing the King just how high really is. Just as the Kings pride was inflicted when Hop-Frog did not drink the entire goblet, Hop-Frogs pride was also hurt when the King made a move on his
Hop Frog stimulates the mind of the reader. Should the reader interpretate it as being a horror story, where Hop Frog retaliates against the King and Court using drastic measures in order to regain his freedom? Hop Frog was the Kings professional jester, but he was more than a mere jester in the eyes of the King, because he was also a cripple and a dwarf. Dwarfs are very common during this period in time and "most monarchs could not go a day without laughing at his Jester and not laughing at his dwarf". Hop Frog was given his name "by the consent of the seven ministers on account of his inability to walk as other men do".
Ackroyd, Peter. Dickens. New York: HarperCollins, 1990. Bowditch, John and Clement Ramsland. Voices of the Industrial Revolution.
Ed. Peter Hulme and William H. Sherman. New York: W. W. Norton & Company, 2004. Print. Kearns, Gerry.