Canto II III

E. H. Coleridge's notes to Childe Harold's Pilgrimage, The Works of Lord Byron, Poetry vol. II (John Murray, 1899; Project Gutenberg #25340). Bracketed passages are the editor's; unbracketed are Byron's own (Cantos I-III) or John Cam Hobhouse's (Canto IV, his 'Historical Notes'). Digit footnotes ('[17]') are informational and numbered continuously through the whole book; end-notes keyed '[n.B.]' (Byron) or '[n.H.]' (Hobhouse) follow each canto and are numbered afresh from 1 there. Both kinds are placed here by matching each note's own quoted words against the site's text, not by the number or stanza the note states, because the site's text (Gutenberg #5131) and this edition (#25340) are different editions with different stanza counts in Canto I. Lettered footnotes ('[h]', '[dn]') are manuscript and edition variant readings and are not harvested, matching the treatment of Don Juan's and byron-works-3's lettered notes.

1. Stanza 1, line 4 Part of the Acropolis was destroyed by the explosion of a magazine during the Venetian siege.
   
   [In 1684, when the Venetian Armada threatened Athens, the Turks removed the Temple of Victory, and made use of the materials for the construction of a bastion. In the autumn of 1687, when the city was besieged by the Venetians under Francesco Morosini (1618-1694; Doge of Venice, 1688), "mortars were planted ... near the north-east corner of the rock, which threw their shells at a high angle, with a low charge, into the Acropolis.... On the 25th of September, a Venetian bomb blew up a small powder-magazine in the Propylaea, and on the following evening another fell in the Parthenon, where the Turks had deposited ... a considerable quantity of powder.... A terrific explosion took place; the central columns of the peristyle, the walls of the cella, and the immense architraves and cornices they supported, were scattered around the remains of the temple. The Propylaea had been partly destroyed in 1656 by the explosion of a magazine which was struck by lightning."--Finlay's History of Greece, 1887, i. 185.]
2. Stanza 1, line 6 We can all feel, or imagine, the regret with which the ruins of cities, once the capitals of empires, are beheld: the reflections suggested by such objects are too trite to require recapitulation. But never did the littleness of man, and the vanity of his very best virtues, of patriotism to exalt, and of valour to defend his country appear more conspicuous than in the record of what Athens was, and the certainty of what she now is. This theatre of contention between mighty factions, of the struggles of orators, the exaltation and deposition of tyrants, the triumph and punishment of generals, is now become a scene of petty intrigue and perpetual disturbance, between the bickering agents of certain British nobility and gentry. "The wild foxes, the owls and serpents in the ruins of Babylon," were surely less degrading than such inhabitants. The Turks have the plea of conquest for their tyranny, and the Greeks have only suffered the fortune of war, incidental to the bravest; but how are the mighty fallen, when two painters contest the privilege of plundering the Parthenon, and triumph in turn, according to the tenor of each succeeding firman! Sylla could but punish, Philip subdue, and Xerxes burn Athens; but it remained for the paltry antiquarian, and his despicable agents, to render her contemptible as himself and his pursuits. The Parthenon, before its destruction, in part, by fire during the Venetian siege, had been a temple, a church, and a mosque. In each point of view it is an object of regard: it changed its worshippers; but still it was a place of worship thrice sacred to devotion: its violation is a triple sacrifice. But--
   
   "Man, proud man, Drest in a little brief authority, Plays such fantastic tricks before high Heaven As make the angels weep." [Shakespeare, Measure for Measure, act ii. sc. 2, lines 117-122.]
3. Stanza 2, line 7 ["Stole," apart from its restricted use as an ecclesiastical vestment, is used by Spenser and other poets as an equivalent for any long and loosely flowing robe, but is, perhaps inaccurately, applied to the short cloak (tribon), the "habit" of Socrates when he lived, and, after his death, the distinctive dress of the cynics.]