The eight ourang-outangs, taking Hop-Frog's
advice, waited patiently until midnight (when the room was thoroughly filled with masqueraders) before making their appearance.
24) This "treasure" of Hop-Frog is nothing but a more uncouth manifestation of the king and his ministers' physical oddities; since Hop-Frog's gait and physical features stand in contrast to the purportedly able-bodied King and his ministers, the titular character provides "jest" through his physique as well as his antics.
Poe plays upon the duality of appearance and reality in his exercise of anthropocentrism: his narrator comments that Hop-Frog's "interjectional gait" afforded immense pleasure to the ministers, but "consolation" to the king because of the latter's "protuberance .
Evidently, Hop-Frog's status is dubious because while he suffers from a physical "defect" (in comparison with the King and his court's normative standards), he enjoys certain privileges by virtue of this very abnormality.
33) Hop-Frog's first explanation of his capital diversion seems to start from the point where "The System of Dr.
Hop-Frog's idea to enchain the king and his councilors is built more out of an urge to turn the tables because of how they have had deprived Trippetta and Hop-Frog the elemental right to live with dignity and freedom.
Hop-Frog's intelligence and creativity comes to the fore when he convinces the party involved that "the orangutan was much more efficiently represented by flax" than by "feathers" (904), and the mathematical precision with which he arranges for the chains to be passed around the king and his seven ministers.
The tale's final paragraphs reveal the fullest extent of Hop-Frog's scheming perception of the state of affairs, but it should be remembered that he doesn't act, but reacts.