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Published online by Cambridge University Press: 23 December 2013
The historical interest and value of many of the folk-songs of Modern Greece has been often acknowledged, and historians have not disdained to quote them as evidence either of facts or of popular feeling. It is therefore desirable in the case of any ballad supposed to relate some historical event to determine as exactly as possible to what event it really refers.
In Passow's most valuable work, as was inevitable in so large a, collection of popular traditional poetry, a few errors seem to have been made in naming, dating and classifying the pieces. Some apparent cases of such error I propose here to examine.
Three ballads numbered by Passow cxciv., cxcv., cxcvi. are headed 
Literally translated they run as follows:—
page 86 note 1 Popularia Carmina Graeciae Recentioris, ed. Arnold Passow, Lipsiae, 1860.
page 86 note 2 Plates of wood or metal struck by a mallet, often used instead of bells in Greek churches.
page 86 note 3 This refers to the ceremony of ‘The Great Entrance’ in the Liturgy of the Greek Church, when the elements for the Holy Eucharist are carried in procession.
page 87 note 1 Here the emperor is clearly meant.
page 87 note 2 Its last lines picture in a few words a scene of misery, exactly such as Joannes Anagnostes, himself one of the captives, describes in great detail at the taking of Thessalonica. Anagnostes, Joannes, De Extremo Thessalonic. Excidio 14, ed. Bonn.Google Scholar
page 88 note 1 See Finlay, , History of Greece (Oxford 1877), vol. vii. pp. 73—85.Google Scholar
page 88 note 2 This work is entitled 
1770 
1836 (Athens 1846). The note is on p. 261.
page 88 note 3 
p. 6.
page 89 note 1 Trikoupês, 
(London 1856), τομ. β', p. 380.