Page [41], missing "on" added. (... a man of genius who, without private means, had thrown up his employment and taken himself and his wife on a long journey to a foreign country in order to win recognition in "la ville Lumière" must, in the course of three fruitless years, have felt something worse than misgiving.)
The absence of the sub-heading, I., in [CHAPTER V] has been kept true to the original.
Page [42], "aud" changed to "and". (... it is that bitterness of spirit which finds expression in the smashing and burning ...)
Page [58], "naively" changed to "naïvely" for consistency. (Besides doing justice to the drama as an allegorical picture of life in the light of certain nineteenth-century ideas, the performance was a specially good revelation of its amusing and naïvely entertaining qualities.)
Page [61], duplicate "which" deleted. (In regard to "Walküre" and "Siegfried," which have long been in the repertory of London, Paris, and other capitals, the superiority of Bayreuth is very much less certain—that is to say, of Bayreuth as represented by this year's performances.)
Page [80], "begining" changed to "beginning" for consistency. (The best of the music is at the beginning, where there is an extremely fine chorus, "The Challenge of Thor," containing various musical elements all truly expressive and fraught with the same primitive and racy vigour.)
Page [84], "same" changed to "some". (The striking success of this composition reminds us of the following passage occurring at the end of an article by Sir Hubert Parry written some years ago.)
Page [122], "Frankfort" changed to "Frankfurt" for consistency. (The chief feature in the interpretation on Tuesday was the superb rendering, by Professor Hugo Becker, of Frankfurt, of the violoncello solo which throughout the work is identified with the person of the titular hero.)
Page [129], "Symphony" changed to "Symphonie" for consistency. ("Faust Symphonie," Düsseldorf.)
Page [129], "like" changed to "likes". (Whether one likes his style or not,...)