A Late 17th Century Etching with a Mysterious Subject

I recently obtained an etching from Emanuel von Baeyer. The name of the artist is not known. Since the etching is signed with the letter "D", the artist is referred to as "Monogrammist D". Here is the etching:


It is clear that the female figure with the signature crescent moon on her forehead is the goddess Diana, accompanied by one of her followers (lets call her Silvia). One of them has just shot the satyr who lies on the ground with an arrow in his side. He looks fearfully at "Silvia" who appears to be taking another arrow from her quiver -- to finish him off? But who is the young man tied to the tree? It seems clear that they have come to rescue him. This seems to be a scene from some myth or story, but no one has identified it.
The really strange part is the gender reversal. Classical mythology is filled with young maidens tied to trees or chained to rocks (e.g. Andromeda) rescued by a male god or hero, but I can't think of a young man rescued by a goddess or nymph.

The situation seems somehow to reverse that shown in the painting "Aminta about to rescue Silvia" by Gaspard Dughet, now in the Art Gallery of South Australia in Adelaide. This painting, in turn, illustrates an episode from the pastoral play "Aminta" by Torquato Tasso (1544-1595), which was enormously popular in the 17th century. The relevant part of this play can be summarized as follows:
The nymph Silvia, a follower of Diana, is bathing in a forest pool when a lustful satyr seizes her and ties her to a tree by her long tresses. Aminta, a shepherd in love with Silvia, hears her cries and after chasing the satyr off with a spear (shown in the background), gallantly asks her permission to untie her, which is the moment shown in the foreground of the Dughet painting.

Did our monogrammist conceive the notion of inverting the roles to show Silvia rescuing Aminta instead? Rather transgressive for the 17 century!

The information provided in the von Baeyer catalog is as follows: "Catalog Description".
The idea that the man could be Apollo (Diana's brother) can be dismissed -- how could a satyr overpower one of the most powerful gods? That this looks like the representation of a specific scene rather than an allegory seems convincing to me.