The Battle of Frogs and Mice

A digital edition by George Grimbilas and Phillip Mitsis,
illustrations by David Beck and readings by David Starr.
Text under construction - send comments and observations to
phillip.mitsis@nyu.edu

Narration of Mouse-On-Frog

πρὸς τάδε μειδήσας Φυσίγναθος ἀντίον ηὔδα·

"ξεῖνε, λίην αὐχεῖς ἐπὶ γαστέρι· ἔστι καὶ ἡμῖν

πολλὰ μάλ’ ἐν λίμνῃ καὶ ἐπὶ χθονὶ θαύματ’ ἰδέσθαι.

ἀμφίβιον γὰρ ἔδωκε νομὴν βατράχοισι Κρονίων,

σκιρτῆσαι κατὰ γαῖαν, ἐν ὕδασι σῶμα καλύψαι,

στοιχείοις διττοῖς μεμερισμένα δώματα ναίειν.

εἰ δ’ ἐθέλεις καὶ ταῦτα δαήμεναι εὐχερές ἐστι·

βαῖνέ μοι ἐν νώτοισι, κράτει δέ με μήποτ’ ὀλίσθῃς,*

ὅππως γηθόσυνος τὸν ἐμὸν δόμον εἰσαφίκηαι.”

ὥς ἄρ’ ἔφη καὶ νῶτ’ ἐδίδου· ὁ δὲ βαῖνε τάχιστα

χεῖρας ἔχων τρυφεροῖο κατ’ αὐχένος ἅμματι κούφῳ.

καὶ τὸ πρῶτον ἔχαιρεν ὅτ’ ἔβλεπε γείτονας ὅρμους,

νήξει τερπόμενος Φυσιγνάθου· ἀλλ’ ὅτε δή ῥα

κύμασι πορφυρέοισιν ἐκλύζετο, πολλὰ δακρύων

ἄχρηστον μετάνοιαν ἐμέμφετο, τίλλε χαίτας,

καὶ πόδας ἔσφιγγεν κατὰ γαστέρος, ἐν δέ οἱ ἦτορ

πάλλετ’ ἀηθείῃ καὶ ἐπὶ χθόνα βούλεθ’ ἱκέσθαι·

δεινὰ δ’ ὑπεστενάχιζε φόβου κρυόεντος ἀνάγκῃ

οὐρὴν μὲν πρῶτ’ ἔπλασ’ ἐφ’ ὓδασιν ἠΰτε κώπην*

σύρων, εὐχόμενος δὲ θεοῖς ἐπὶ γαῖαν ἱκέσθαι

ὓδασι πορφυρέοισιν ἐκλύζετο, πολλὰ δ’ ἐβώστρει.*

οὐχ οὕτω νώτοισιν ἐβάστασε φόρτον ἔρωτος

ταῦρος ὅτ’ Εὐρώπην διὰ κύματος ἦγ’ ἐπὶ Κρήτην

ὡς μῦν ὑψώσας ἐπινώτιον ἦγεν ἐς οἶκον

βάτραχος ἁπλώσας ὠχρὸν δέμας ὕδατι λευκῷ.

ὕδρος δ’ ἐξαίφνης ἀνεφαίνετο, πικρὸν ὅραμα

ἀμφοτέροις· ὀρθὸν δ’ ὑπὲρ ὕδατος εἶχε τράχηλον.

τοῦτον ἰδὼν κατέδυ Φυσίγναθος, οὔ τι νοήσας

οἷον ἑταῖρον ἔμελλεν ἀπολλύμενον καταλείπειν.

δῦ δὲ βάθος λίμνης καὶ ἀλεύατο κῆρα μέλαιναν.

κεῖνος δ’ ὡς ἀφέθη, πέσεν ὕπτιος εὐθὺς ἐφ’ ὕδωρ,

καὶ χεῖρας ἔσφιγγε καὶ ὀλλύμενος κατέτριζε.*

πολλάκι μὲν κατέδυνεν ὑφ’ ὕδατι, πολλάκι δ’ αὖτε

λακτίζων ἀνέδυνε· μόρον δ’ οὐκ ἦν ὑπαλύξαι.

δευόμεναι δὲ τρίχες πλεῖον βάρος εἷλκον ἐπ’ αὐτῷ·

ὕδατι δ’ ὀλλύμενος τοίους ἐφθέγξατο μύθους·

56. μειδήσας

masc. sg. nom. aor. act. part., μειδάω, ‘to smile, laugh softly.’ The nature of Puff-Jaw’s smile is ambiguous. Is it a sign of his consciousness of his own superiority or of an adult indulging the affectations of youth? Or is it an aggressively sardonic gesture in response to Crumb-Snatcher’s condescension? Greek encompasses a wide range of intents and motivations behind a smile (cf. Odyssey 20.301-2 for a sardonic tone).

57. λίην

ep., Ion. for λίαν, adv., ‘a great deal, excessively, too much.’

αὐχεῖς

2 sg. pres. ind. act., αὐχέω, ‘to boast, vaunt,’ ἐπί τινι of sthg.

γαστέρι

γαστήρ ep. gen. -έρος, ἡ, ‘belly.’

58. θαύματ’

θαῦμα -ατος, τό, ‘object of admiration, strange or marvelous thing, marvel.’ Puff-Jaw offers to show Crumb-Snatcher θαύματα, but in fact they encounter a πικρὸν ὅραμα (82).

59. νομὴν

νομή -ῆς, ἡ [νέμω], ‘division, distribution, allotment; place for grazing, pasture; feeding.’ νομή is ambiguous between ‘division’ and ‘feeding.’ Perhaps this latter sense is what appeals to Crumb-Snatcher. νομή might also suggest law and order, and a system of governance on the part of the frogs.

Κρονίων

Κρονίων -ωνος, ὁ, [Κρόνος], ‘a son of Kronos, Kronides, usu. Zeus.’ This is the first and only mention of the Olympians by a frog or mouse. Even though mice frequent Athena’s temple (175), only Puff-Jaw seems explicitly aware of the Olympians. Cf. note 97.

60. σκιρτῆσαι

aor. inf. act., σκιρτάω, ‘to jump, leap, hop, bound, of animals,’ cf. line 175 where it is used of mice.

ἐν ὕδασι σῶμα καλύψαι

foreshadowing of event to come, cf. line 84.

61. στοιχείοις

στοιχεῖον -ου, τό, ‘elements, principles,’ here, land and water (διττοῖς). Puff-Jaw responds to Crumb-Snatcher’s boastful claim of life among humans by responding with the elevated language of philosophy.

μεμερισμένα

neut. pl. acc. pf. pass. part., μερίζω, pass., ‘to be distributed or allocated in parts.’

δώματα

δῶμα -ατος, τό, ‘house, residence, dwelling’ fig. ‘stock, family;’ the plural may also be used for singular; not typically used with animals which again raises the question of anthropomorphism.

ναίειν

pres. inf. act., ναίω, ‘to live, dwell.’

62. δαήμεναι

poet. 2nd aor. inf. act., ‘to learn,’ cf. δάω [διδάσκω].

εὐχερές

εὐχερής -ές [εὖ, χαίρω?], ‘unconcerned with danger, fearless; in a negative sense, negligent, rash; here by extens., easy, without difficulty,’ perhaps fulfilled by ἔχαιρεν at line 67. In both instances, the negative connotations may also be resonating. The frogs seem to live a safer and more sheltered lifestyle. This perhaps makes them carefree (εὐχερές), and their freedom from toil affords them the chance for a more contemplative lifestyle. They speak abstractly about στοιχεῖα like natural philosophers and are willing to teach the mice their ways (δαήμεναι). They witness many θαύματα.

63. βαῖνέ

2 sg. pres. imper. act.; βαίνω is richly ambiguous and has a range of meanings from ‘to board, embark,’ or ‘to mount,’ even in a sexual sense, cf. note 78.

νώτοισι

νῶτον -ου, τό, ‘back,’ of people, animals; pl. = sg.

κράτει

2 sg. pres. imper. act., κρατέω [κράτος], ‘to take, seize, hold fast,’ usu. by force τινα or τι s.o. or sthg.

μήποτ’

prohibitory conjunction with subj. = ‘might never.’

ὀλίσθῃς

2 sg. aor. subj. act., ὀλισθάνω, intrans., ‘to slip, fall.’

64. γηθόσυνος

γηθόσυνος -η -ον and -ος -ον [γηθέω], ‘joyful, happy, in good cheer.’ Perhaps a learned wordplay is lurking, γηθαλάσσιος, ‘amphibious.’

δόμον

δόμος -ου, ὁ, ‘house, temple, abode of animals.’

εἰσαφίκηαι

2 sg. aor. subj. mid., εἰσαφικνέομαι, ‘to reach, arrive at, come to, enter.’ Purpose clause with ὅππως.

65. τάχιστα

The text leaves us to divine what leads Crumb-Snatcher, who appears mainly preoccupied with his belly, to mount τάχιστα for a risky voyage and without a moment’s hesitation. Is it the promise of gifts or of seeing πολλὰ μάλα θαύματα and an ἀμφίβιον νομὴν that entices him? He describes himself as a kouros and we later learn that he is young enough to have an able-bodied warrior as a father (250), so perhaps he retains something of the impulsiveness and inexperience of youth. Sometimes too, those who have, as in his case, narrowly escaped death, tend to throw caution to the winds and indulge themselves in life and its new possibilities. In any case, it is not unusual in Greek literature to find crucial decisions unexplained or even seemingly inexplicable.

66. τρυφεροῖο

τρυφερός -ά -όν, ‘tender, weak, delicate, soft, of things.’ The softness denoted by this word is of the type that comes from living in luxury. Frogs have been shown to live safer lives that perhaps make them soft.

αὐχένος

αὐχήν -ένος, ὁ, ‘neck, nape, throat.’

ἅμματι

ἃμμα -ατος τό [ἅπτω], ‘anything tied or made to tie, hence, knot; in pl., clinches in wrestling.’

κούφῳ

κοῦφος -η -ον, ‘agile, light, nimble.’ Puff-Jaw had admonished him to hold on tightly.

67. γείτονας

γείτων -ονος, ὁ, ἡ, ‘neighbor;’ adj., ‘neighboring, adjacent, contiguous.’

ὅρμους

ὅρμος -ου, ὁ, naut. ‘harbor, cove, anchorage,’ fig., ‘place of rest or refuge.’

68. νήξει

νῆξις -εως, ἡ [νήχω], ‘swimming.’

τερπόμενος

masc. sg. nom. pres. mid. part., τέρπω, ‘to delight;’ mid. with dat., ‘to be pleased with, delight in.’ Taking delight is characteristic of gods (196) and mice (11, 176) as opposed to frogs. In lines 11 and 176, mouse pleasures seem to be purely physical and in keeping with Crumb-Snatcher’s emphasis on his γαστήρ. Here, however, just as he seems to begin enjoying the promised θαύματα and learning about them (ταῦτα δαήμεναι), water becomes not a relief from danger (11) but a source of it.

ὅτε δή ῥα

‘now just when, now precisely when,’ epic use. [ὅτε δή, ῥα]; ὅτε δή, ‘just when, precisely when;’ ῥα = ἄρα, ‘now, next, then,’ encl. partic.

69. κύμασι

κῦμα -τος, τό, ‘wave.’

πορφυρέοισιν

πορφύρεος, -έη -εον, ‘agitated, boiling,’ of waves of the sea; purple; ‘dark, dark flashes,’ of blood, clouds, etc.

ἐκλύζετο

3 sg. impf. ind. mid., κλύζω, ‘flood, wash over,’ pass. ‘to be washed.’

δακρύων

Notice the relationship between tears and fear.

70. ἄχρηστον

ἄχρηστος -ον, [χρηστός], ‘useless, unserviceable.’ Regretting his decision and his predicament, Crumb-Snatcher reproaches his sudden realization that a change of mind is to no avail. We witness a meta-mental achievement of the sort typically limited to creatures endowed with a kind of self-consciousness.

μετάνοιαν

μετάνοια -ας, ἡ [μετανοέω], ‘change of mind or heart, regret, repentance.’

ἐμέμφετο

3 sg. impf. ind. mid., μέμφομαι, ‘to blame, criticize, reproach.’

τίλλε

3 sg. impf. ind. act., τίλλω, ‘to tear out, pluck.’

χαίτας

χαίτη -ης, ἡ, ‘ hair or mane.’ Tearing out one’s hair shows an extreme emotional state and is typical of mourning for others or for one’s own plight. Cf. line 91 for θρίξ.

71. ἔσφιγγεν

3 sg. impf. ind. act., σφίγγω, ‘to bind tightly, fasten, press together.’

κατὰ γαστέρος

i.e., around Puff-Jaw’s belly. The image is from horseback riding. Without stirrups, Greeks and Romans would hug their (considerably smaller) horses with their legs.

ἦτορ

ἦτορ, τό, only nom. and acc. sing. in epic, ‘heart,’ as seat of passions, reason, life. Cf. line 2.

72. πάλλετ’

3 sg. impf. ind. mid., πάλλω, ‘to shake, brandish;’ mid. pass., ‘to be agitated or troubled;’ of the heart, ‘tremble.’

ἀηθείῃ

ἀήθεια -ας, ἡ, ‘absence of familiarity, inexperience, novelty.’

73. ὑπεστενάχιζε

3 sg. impf. ind. act., ‘to groan under.’

φόβου

φόβος -ου, ὁ, post-Hom., ‘fear, terror, fright.’

κρυόεντος

κρυόεις -εσσα -εν [κρύος], ‘chilling.’

ἀνάγκῃ

ἀνάγχη -ης, ἡ, ‘necessity, compulsion.’ The dative here might be a simple dative of cause “by the necessity of chilling fear.” Given the lack of comparanda for the rare word ὑπεστενάχιζε however, the dative might be explained with this compound verb because its prepositional prefix ὑπό requires the dative since ἀνάγκῃ, the agent, is a thing not a person.

74. οὐρὴν

οὐρά -ᾶς, ἡ, ‘tail.’ Interestingly, the modern Greek word for ‘steering oar’ is οὐράδιον (ΑΓΓΛΟΕΛΛΗΝΙΚΟΝ ΛΕΞΙΚΟΝ ΝΑΥΤΙΛΙΑΚΩΝ ΟΡΩΝ, Πειραιάς, 1936).

ἔπλασ’

3 sg. aor. ind. act., πλάσσω, ‘to form, shape, mold;’ Crumb-Snatcher straightens his tail to serve as an oar.

κώπην

κώπη -ης, ἡ, ‘handle of an oar and usu. oar.’

75. σύρων

masc. sg. nom. pres. act. part., σύρω, ̓to drag, trail along,’ e.g., of nets.

76. ὓδασι πορφυρέοισιν ἐκλύζετο

Cf. note 69.

ἐβώστρει

3 sg. impf. ind. act., βωστρέω, ‘to call on loudly (for help).’ [βοή]. Crumb-Snatcher is clearly panicking and crying out, but Puff-Jaw apparently ignores him, or maybe his head is underwater. Either way, the frog seems horribly aloof.

οὐχ οὕτω

Unlike the mouse, traditionally in art and literature, Europa is portrayed as riding calmly and enjoying the view. Lines 78-81 are the poem’s only simile.

ἐβάστασε

3 sg. aor. ind. act., βαστάζω, ‘to transport, carry.’ Cf. note 15 (ἄξιον . . . ἄξω), lines 79, 80.

φόρτον

φόρτος -ου, ὁ [φέρω], ‘cargo, goods, esp. of ships.’

ἔρωτος

ἔρως -ωτος, ὁ, ‘love, passion, desire.’ A question perhaps arises whether the simile of Europa and the bull is grandiloquently and humorously off target or whether the erotic element, especially its transgressive nature, is relevant to the frog and mouse. Cf. note 63.

79. ταῦρος

ταῦρος -ου, ὁ, ‘bull.’

Εὐρώπην

Εὐρώπης -ης, ἡ, ‘Europa,’ [εὐρύς, ὤψ], εὐρύς -εῖα, -ύ, ‘wide;’ ὤψ, ὠπός, ἡ, ‘face, appearance.’ Some have seen allusions to Moschus’ Europa, lines 115-30, and hence have used his floruit of 150 BCE as a terminus post quem for the poem. The parallels, however, are exceedingly tenuous.

80. ὑψώσας

masc. sg. nom. aor. act. part., ὑψόω [ὕψος], ‘to lift, raise, elevate.’

81. ἁπλώσας

masc. sg. nom. aor. act. part., ἀπλόω, ‘to unfold, stretch.’

ὠχρὸν

ὠχρός, -ά -όν, ‘pale, yellowish,’ an adjective denoting yellow (cf. Aristotle H.A. 560a 21 for the color of the yolk of the egg), not to be confused with the properispomenal ὦχρος, ‘paleness, from fear.’

δέμας

δέμας, τό [δέμω], ‘body, stature, proper. a living body,’ but cf. note 106.

82.ὕδρος

ὕδρος -ου ὁ [ὕδωρ], ‘water snake.’

ἐξαίφνης

ἐξαίφνης [ἐξ, αἴφνης], adv., ‘unexpectedly, suddenly.’

ἀνεφαίνετο

3 sg. impf. ind. mid., ἀναφαίνω [ἀνα, φαίνω], ‘to make shine, make gleam; mid., usu. intrans., to appear, display, reveal oneself.’

πικρὸν

πικρός -ά -όν, fig. of things, ‘bitter, harsh, acerbic, painful.’

ὅραμα

ὅραμα -ατος, τό [ὁράω], ‘sight, vision, spectacle,’ not the kind of marvel Crumb-Snatcher was expecting, cf. line 58.

83. τράχηλον

τράχηλος -ου, ὁ, ‘neck, throat.’

84. κατέδυ

intrans. 3 sg. aor. ind. act., καταδύω, ‘to plunge, sink, of ships etc.’

νοήσας

masc. sg. nom. aor. act. part., νοέω. Elsewhere in the poem νοέω typically means “to perceive,” cf. lines 14, 132, 215, 269, however it has a wider range including “to know, recognize, think, reflect, take thought, consider, judge.” Here there is a crucial ambiguity about whether the frog does not realize (West) or fails to consider (Hosty) the consequences of his action. The extent to which we hold the frog culpable depends on whether we see this as the reflexive response of an animal or a culpable failure on the part of an anthropomorphic reflective agent. If the latter, in saving his own life, Puff-Jaw disregards the safety and life of his putative friend and fellow aristocrat (φίλος ἄξιος, line 15). Whether we consider the two to be friends or not-yet-friends is also part of the ethical calculus. By narrowing Puff-Jaw’s motivation to saving his own skin and by emphasizing his disregard for Crumb-Snatcher as an ἑταῖρος, the narrator would be putting Puff-Jaw in a negative light. Only we, the readers, see this breach of φιλία and ξενία, whatever its motivation, as the ultimate cause of the war. This ambiguity could very well be part of the poet’s plan. Who was ultimately responsible for the Trojan war? Who was to blame for the conflicts in Greek tragedies? This is always a fraught question with no single answer. At best the blame is distributed among a variety of agents. Ancient poets (like this one) tend to shy away from simple ethical dichotomies.

85. οἷον ἑταῖρον

i.e., the sort of companion that cannot swim. This perhaps foreshadows the strategy of the frogs casting the mice into the lake during the battle.
ἑταῖρος -ου, ὁ, ‘companion, comrade, friend, lover.’

ἀπολλύμενον

masc. sg. acc. pres. mid. part., ἀπόλλυμι, ‘to be ruined, perish.’

86. δῦ

ep. 3 sg. aor. (unaugmented) ind. act., δύω, ‘to dive.’

ἀλεύατο

3 sg. aor. ind. mid., ἀλεύω, ‘to avert, turn away; usu. mid. to avoid, elude, escape τι sthg.’

κῆρα

κήρ -ός, ἡ, ‘destiny, fate, disaster, ruin, death; by extension from Κήρ, the goddess of doom or death.’

μέλαιναν

μέλας μέλαινα μέλαν, gen. μέλανος, -αίνης -ανος, ‘black, dark,’ fig., ‘grim, gloomy, sorrowful.’

87. κεῖνος

ep. Ion. [ἐκεῖνος] ‘that one.’ With this demonstrative pronoun, the narrator enters forcefully to set the scene for Crumb-Snatcher’s death and final soliloquy.

ἀφέθη

3 sg. aor. ind. pass., ἀφίημι, ‘to throw, hurl, cast, send forth.’ ἀφέθη is either an epic form or shortened from ἀφείθη for the meter.

ὕπτιος

ὕπτιος -α -ον, ‘supine, stretched out on one’s back.’

88. ἔσφιγγε

3 sg. impf. ind. act., σφίγγω, ‘to bind tightly, fasten, press together.’ Cf. line 71.

ὀλλύμενος

masc. sg. nom. pres. mid. part., ὄλλυμι, ‘to perish, be ruined, destroyed.’

κατέτριζε

3 sg. impf. ind. act., κατατρίζω, strengthd. for τρίζω, onomat. proper. of animal sounds, here, ‘to squeak.’

89. αὖτε

[αὖ, τε] partic. ‘in turn, moreover, still, again,’ not in prose. αὖτε marks sequence or transition but can also suggest a change of venue. Note the balanced use of πολλάκι μέν - πολλάκι δ’ αὖτε and κατέδυνεν-ἀνέδυνε.

90. λακτίζων

masc. sg. nom. pres. act. part., λακτίζω, ‘to strike with the foot, kick, struggle,’ cf. Euripides I.T. πρὸς κῦμα λακτίζοντες, ‘fighting against the waves.’

μόρον

μόρος -ου, ὁ, ‘destiny of death;’ [μείρομαι] ‘to divide, split up, have one’s allotted share,’ hence destiny. The mouse went to see the frogs’ allotted homes (μεμερισμένα δώματα) and met with his final allotment - death.

ὑπαλύξαι

aor. inf. act., ὑπαλύσκω [ὑπό, ἀλύσκω], ‘to flee from, escape, avoid,’ τι sthg.

91. δευόμεναι

fem. pl. nom. pres. pass. part., δεύω, pass. ‘to be soaked,’ τινι, here understood, soaked by the waves.

τρίχες

θρίξ, τριχός, ἡ, ‘fur, hair.’ Cf. line 70.

εἷλκον

3 pl. impf. ind. act., ἕλκω, ‘to pull, drag, haul.’

92. ὕδατι

Some editors prefer ὕδασι. The poet uses the singular and plural indifferently (11, 33, 60, 158, 219). At 87, 97, and in the report of Crumb-Snatcher’s death at 141, the singular ὕδωρ is used. We have a slight preference for maintaining the singular in 92 and 99 because of the specificity of the references to Crumb-Snatcher’s death being in the singular, but nothing precludes variatio.

ὀλλύμενος

masc. sg. nom. pres. mid. part., ὄλλυμι, ‘to perish, be ruined, destroyed.’

ἐφθέγξατο

3 sg. aor. ind. mid., φθέγγομαι, onomat., ‘to emit a sound or voice, shout, cry out,’ commonly for animal sounds, cf. line 12.

μύθους

the sense of the word is colored by context; Crumb-Snatcher utters words of execration.

Smiling at these things Puff-Jaw countered in reply:

“Stranger, you boast too much about your belly; we too have

many marvels in pond and on land to behold.

For the son of Kronos gave to frogs an amphibious allotment,

to jump on land, to cover our body in the waters, [60]

to live in dwellings allocated in two elements.

But if you wish to learn these things as well it is easy;

“Mount on my back, and hold me fast that you might never slip,

so that in good cheer you may come to my abode.”

In this way, then, he spoke, and he offered his back; and, at once, [65]

he mounted holding his paws lightly knotted around the soft neck.

At first he was pleased while he had the neighboring places of refuge in sight,

delighting in Puff-Jaw’s swimming; but now just when

he was washed by the darkly surging waves, weeping wildly

he was reproaching his useless change of mind, and he tore out his hair, [70]

And he was fastening his hind paws tightly around the belly,

his heart within was trembling on account of the unfamiliarity,

and he longed to reach solid ground; and he was groaning dreadfully

under the compulsion of chilling fear.

He first shaped his tail in the water like an oar,

trailing it behind, but then while praying to the gods to reach land [75]

he was drenched by the darkly surging waters, and again and again

was calling out.

Not in this way had the bull transported a cargo of love on his back [78]

when he carried Europa through the waves to Crete,

as when the frog having raised him up on his back carried the mouse home [80]

while stretching out his pale-yellow body on the gleaming water.

Suddenly a water snake revealed itself, a bitter sight

to both; it was holding its neck erect above the water.

Seeing it Puff-Jaw plunged, not having given thought at all

to what sort of companion he was about to abandon to his ruin. [85]

To the depths of the pond he dove and eluded black doom.

But when that one was thrown off, he fell on his back straightaway

upon the water,

and he was wringing his paws and squeaking as he perished.

Many times he sank under water, and many again

rose kicking; but destiny he was not to avoid. [90]

For his fur now soaked was dragging more weight upon him;

as he perished in the water, he cried out words to this effect:

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Listen to the Text

Lines 56-64

Lines 65-92