Hideous
and So Beautiful:
Frogs,
Toads, and Love
The motif of frogs as masters
of transformation appears in perhaps the most famous frog tale in western
culture: the story of the Frog Prince. The story is simple: A princess
is wooed by a frog, who asks for a kiss. First recoiling in horror,
the maiden eventually relents, out of sympathy or kindness, and kisses
the frog. Suddenly, the frog is transformed into a handsome prince,
and the couple are married, living happily ever after. Interestingly,
this story has many early variations in which the frog or toad is female,
and the young man must make the leap in order to discover his beautiful
bride.
For example, an early medieval
tale from the Piedmont region of Italy recounts that a father with three
daughters -- the elder two selfish and the youngest good -- falls ill
and travels to a famous healer's castle. Before he leaves, he asks each
daughter what they want him to bring back for them. The two eldest each
ask for jewelry, while the youngest asks for only a flower. Arriving
at the castle, the father finds no one home. Dismayed, he readies himself
to leave, but on his way out he sees a beautiful garden. Thinking he¹ll
at least bring his youngest a flower, he picks a rose. Suddenly a huge
toad appears and says, "Who gave you leave to pick flowers from my garden?"
The toad adds, "You must pay with your life for your theft."
The only way the magic toad
will pardon the father is if he will give his youngest daughter to the
toad in marriage. Distraught, the father returns home, determined to
sacrifice himself instead of his daughter. However, his devoted daughter
cannot bear this, and so sneaks off that night and marries the toad.
When she gets into bed with the toad, she finds him transformed into
a handsome prince. The prince tells her she must never reveal the secret,
and he gives her a magic ring, which will grant her whatever she wishes.
Her sisters, expecting her to be miserable as the bride of the toad,
become suspicious of her happiness, and press her for the truth. Finally,
she reveals the secret, and the toad falls deathly ill. Weeping and
praying for her love's life, the maiden remembers the ring, and wishes
that her love may be healed. When nothing happens, she throws the ring
into the lake in a rage; suddenly, the toad vanishes and her handsome
lover appears out of the lake. The enchantment is broken, and her lover
is returned to human form.
In each instance of the story,
true beauty is hidden beneath a superficial ugliness. The hero or heroine
must recognize that beauty, or make a leap of faith, so that the beauty
may be revealed.
Toads were viewed in medieval
Europe as a symbol of romantic jealousy, the embodiment of an ugly and
poisonous feeling. Spenser, in The Faerie Queene, describes a character
eaten up by jealousy:
"Nor ever is
he wont on ought to feed But toades and frogs, his pasture poysonous
Which his cold complexion do breed a filthy bloud, or humour rancorous,
matter of doubt and dread suspitious, that doth with cureless care consume
the hart, corrupts the stomacke with gall vitious, croscuts the liver
with internall smart, and doth transfixe the soule with deathes' eternall
dart."
Shakespeare, writing later,
has Othello wracked by jealousy in toad form:
"O curse
of marriage, that we can call these delicate creatures ours And not
their appetites! I had rather be a toad and live upon the vapour of
a dungeon than keep a corner of the thing I love for others' uses."
Milton, in Paradise Lost,
has Satan embodied as a toad to corrupt Eve's mind with jealousy.
The ugly and presumably poisonous toad made it the perfect foil, the
embodiment of the strange, the inexplicable, the pestilent, and the
evil that humans felt both in themselves and in the world around them.
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