Canto II XLII

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 5 Actium and Trafalgar need no further mention. The battle of Lepanto [October 7, 1571], equally bloody and considerable, but less known, was fought in the Gulf of Patras. Here the author of Don Quixote lost his left hand.
   
   ["His [Cervantes'] galley the Marquesa, was in the thick of the fight, and before it was over he had received three gun-shot wounds, two in the breast and one on the left hand or arm." In consequence of his wound "he was seven months in hospital before he was discharged. He came out with his left hand permanently disabled; he had lost the use of it, as Mercury told him in the 'Viaje del Parnase,' for the greater glory of the right."--Don Quixote, A Translation by John Ormsby, 1885, Introduction, i. 13.]
2. Stanza 1, line 7 [For Byron's "star" similes, see Canto III. stanza xxxviii. line 9.]
3. Stanza 2, line 3 Leucadia, now Santa Maura. From the promontory (the Lover's Leap) Sappho is said to have thrown herself.
   
   [Strabo (lib. x. cap. 2, ed. Paris, 1853, p. 388) gives Menander as an authority for the legend that Sappho was the first to take the "Lover's Leap" from the promontory of Leucate. Writers, he adds, better versed in antiquities [Greek: a)rchaiologiko/teroi], prefer the claims of one Cephalus. Another legend, which he gives as a fact, perhaps gave birth to the later and more poetical fiction. The Leucadians, he says, once a year, on Apollo's day, were wont to hurl a criminal from the rock into the sea by way of expiation and propitiation. Birds of all kinds were attached to the victim to break his fall, and, if he reached the sea uninjured, there was a fleet of little boats ready to carry him to other shores. It is possible that dim memories of human sacrifice lingered in the islands, that in course of time victims were transformed into "lovers," and it is certain that poets and commentators, "prone to lie," are responsible for names and incidents.]
4. Stanza 2, line 5 [Compare the line in Tennyson's song, Break, break, break, "And the stately ships go on."]
5. Stanza 3, line 2 [By "Suli's rocks" Byron means the mountainous district in the south of the Epirus. The district of Suli formed itself into a small republic at the close of the last century, and offered a formidable resistance to Ali Pacha. "Pindus' inland peak," Monte Metsovo, which forms part of the ridge which divides Epirus from Thessaly, is not visible from the sea-coast.]