Dic mihi, Damata, &c.] This eclogue contains a dispute between two shepherds, of that sort which the critics call Amabea. In this way of writing, the persons are represented to speak alternately, the latter always endeavouring to exceed, or at least equal, what has been said by the former; in which, if he fails, he loses the victory. Here Menalcas and Damætas reproach each other, and then sing for a wager, making Palæmon judge between them. Menalcas begins the contention, by casting some reflections on his rival Egon, and his servant Damotas.

Damata.] Vives, according to custom, will have this eclogue

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also to be allegorical; and that Virgil here means himself again under the fictitious name of Damætas. He tells us, that the poet having obtained the favour of Augustus, Pollio, Mæcenas, Gallus, and other men of quality, was envied by several learned men, with one of whom he contends here under the name of Menalcas. This rival, therefore, is supposed to begin by asking Virgil, by way of contempt, who is the author of this pastoral? Is it Melibus? meaning some scribbler, Mævius perhaps, or Bavius. Virgil answers, it is Ægon, that is, some famous poet, such as Gallus or Cinna.

Non, verum Egonis.] This

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answer of Damætas seems intended to sting Menalcas, who had asked him tauntingly, whose flock it was that he fed. Egon's, says he; that is, your wealthy and powerful rival, as appears by what follows. For Menalcas replies, with some sharpness, that Ægon had better mind his flock himself, than lose his time in following Neæra, which gives this hireling an opportunity to defraud him.

Parcius ista viris, &c.] Damætas being stung with this insinuation of his defrauding his master, reproaches Menalcas with some secret transaction of his. This draws on some smart repartees, in which the manner of the common people is well imitated. Neither of them justifies himself; but proceeds to throw new reproaches on his adversary.

Novimus et qui te.] Here is a verb suppressed, which Servius says is corruperint; and indeed the whole scope of the sarcasm seems to require some such word to be understood. I do not see any necessity to think that the poet alludes here to any abominable crime, which was committed in a temple sacred to the

nymphs. One may imagine, that he means only the malice of Menalcas, in breaking the bow and arrows of Daphnis. His passion affrighted the very goats.

Transversa tuentibus hircis.] Vives thinks this an admirable expression of looking with contempt, with a leering eye, such as, according to Pliny, a lion will not endure to look at him. The general opinion of the commentators is, that this action of Menalcas was so shameful, that the very goats, the most libidinous of all animals, turned their heads away, that they might not behold it.

Faciles.] La Cerda understands faciles to mean tender or compassionate; because an angry deity would have destroyed Menalcas for so scandalous a profanation.

Sacello.] The sacella, like our chapels, were commonly smaller edifices dedicated to the deities. In the country they often consecrated caves, and called them sacella.

Tum, credo, &c.] Menalcas answers ironically, that it was when he maliciously injured Mycon's vineyard; insinuating

that Damætas was guilty of such a fact. Servius says it was a capital crime to cut another man's trees. Mala falce.] Servius understands mala to refer to the intention of the person who made use of the pruning-hook. Burman contends that mala signifies blunt or rusty; because by such an instrument the plants would be greatly injured. Servius also thinks, that the injury consists in cutting the young vines, because old ones are the better for pruning. Thus the reproach on Damotas must be either that he was employed by Mycon to prune his vines, and performed it with a bad instrument, or that he pruned such as were newly planted, which he ought not to have done; or else that he went by stealth into Mycon's vineyard, and hacked the vines and elms, with an intent to destroy them. This last, I believe, is the true sense. I do not remember to have found incidere used any where for pruning.

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Aut hic ad veteres, &c.] Damætas retorts, with an insinuation, that Menalcas had broken a bow and arrows, belonging to Daphnis, out of mere spite.

Quid domini faciant, &c.] Menalcas keeps up the same manner of insulting with which he began. He set out at first with treating him as a mean slave, asking him whose ragged sheep he tended; and now he says, what usage may I expect from the master, when his slave dares to treat me with such insolence? He again accuses Damotas as a thief, charging him with having stolen a goat from Damon.

Non ego te vidi, &c.] Here he accuses him openly of theft; for he declares, that he himself saw him steal Damon's goat.

Lycisca.] Servius tells us, that the mongrel breed of dogs generated by a wolf on a bitch, is called Lycisca. Both Aristotle and Pliny mention this breed; but I have not found the word Lycisca in any author, except in this passage of Virgil. Some take it to be the dog's name.

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An mihi, cantando, &c.] Damætas justifies himself against the accusation of Menalcas, by affirming that he had fairly won the goat from Damon by a trial of skill on the pipe. To this, Menalcas answers with great contempt, treating him as a common piper about the streets, and unfit to engage in such a contention.

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Cantando tu illum ?] such word as overcome is here necessarily understood to agree with tu. It is omitted, no doubt, in imitation of the contemptuous style of the vulgar. Our common people would say, You play! You

Fistula cera juncta.] Damætas affirmed, that he had won a goat from Damon, by excelling him in playing on the pipe. Menalcas questions his being possessed of an instrument deserving the name of a pipe, or fistula, which was composed of several reeds joined together, according to the invention of Pan, mentioned in the second eclogue.

In triviis.] Trivia are the places where three roads meet; which are consequently very

public. Thus Menalcas represents Damotas as a common piper in places of public resort.

Stridenti miserum, &c.] It is hardly possible to express more contempt than is used in these words. He will not allow his adversary's instrument to deserve the name of a pipe, but calls it a straw or stubble, stipula; and adds the epithet stridenti, to shew that even this straw, instead of a mellow sound, made a screaking noise; the tune he plays upon this instrument is called miserum, a sorry one; and even this sorry tune he is said to spoil, disperdere. The very sound of this verse is worthy of observation.

Vis ergo, &c.] Damotas, in order to put a stop to any further reproaches, challenges Menalcas to sing with him for a wager, and offers to stake a young cow of considerable value.

Vicissim.] He proposes that sort of contention called Amabea, in which they sing alternately. See the note on ver. 1.

Vitulam.] It is plain, that vitula cannot mean a calf in this place; because she is said to give milk, and to have two

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young ones. It is used, no doubt, for a young cow; as virgo is for a young woman, though she has had children.

De grege non ausim, &c.] Menalcas answers, that he does not dare to stake any part of the flock, because of the strictness of his father, and severity of his step-mother; but offers a pair of fine cups, which he describes after a beautiful manner.

Pocula ponam fagina.] Pliny tells us, that beechen cups were anciently esteemed. Therefore we may suppose these were fine old-fashioned cups, which, though admired in the country, would have been despised at Rome in Virgil's time.

Divini opus Alcimedontis.] It seems probable, by this expression, that there had been a famous carver named Alcimedon. But I have not found the mention of him in any other author. Perhaps he was a friend of our poet, who was willing therefore to transmit his name to poste rity. By his name, it appears that he must have been a Greek, and consequently a man of some quality; for Pliny informs us,

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that in Greece none but gentle.. men were permitted to learn that art, and painting; which law was first procured by Eu pompus, the master of Apelles.

Lenta quibus torno, &c.] This beautiful description of the cup is plainly an imitation of that in the first Idyllium of Theocritus.

Torno.] "Salmasius and La Cerda understand two arts to be here spoken of, that of the turner and that of the graver.

Pliny, 1. xxxiv. 8. mentions Phidias as the inventor of the art of turning, and Polycletus as the perfecter of it; and that these were sculptors and statuaries, as well as turners, is manifest. Wherefore I believe, that though the tornus is really an instrument distinct from the cælum and scalprum, custom has obtained to use them promiscuously." Ruæus.

Vitis.] It does not seem improbable that Virgil might use vitis in this place, not for a vine properly so called, but for a branch climbing with tendrils, or viticula. Our gardeners call this sort of branches, as in melons and cucumbers, vines.