XX.
[Ll. 11-20.] An imitation of Bion, Idyll iv.
[L. 15.] et sa voix... Et here introduces a consequence, as in: 'Plus je vous envisage, Et moins je me remets, monsieur, votre visage,' Racine, Plaideurs, II, iv; or in 'give him an inch, and he take an ell.' Cf. p. 63, IX, l. 1.
XXII
[L. 20.] tu fais mes amours. Faire here is synonymous with être as in 'faire l'admiration de tous.'
[L. 28.] Te bêler mes amours. For another instance of this transitive use of bêler see p. 46, XXXIII, l. 10.
[L. 32,] Plutôt que te laisser. After que following a comparative, modern visage prefers de before the infinitive. See Haase, § 88.
XXIII. LE SATYRE ET LA FLÛTE.
[L. 1.] Toi, de Mopsus ami! Ironical. 'That thou never wast!' This beginning shows that these lines were meant as part of an eclogue: the subject to be two shepherds disputing the prize of singing. Mopsus is an excellent singer and poet mentioned in Virgil, Ecl. v. Berecynthus is a mountain in Phrygia on which the mysteries of Cybele were celebrated.
[L. 3.] Hyagnis. According to Apuleius, Flor. iii, Hyagnis was the father and teacher of Marsyas, the flute-player.