Obvious typographical errors were repaired, as listed below. Other apparent inconsistencies or errors have been retained. Missing, extraneous, or incorrect punctuation has been corrected and hyphenation has been made consistent.

Illustrations have been moved to the nearest paragraph break.

Page i, "directon" changed to "direction". (Mr. Johnstone died in 1870, and the direction of Arthur's education fell entirely upon his mother.)

Page xii, "symbolize" changed to "symbolise" for consistency. (He would have nothing to do with the attempt to symbolise and revive a civilisation that had utterly passed away,...)

Page xii, "civilization" changed to "civilisation" for consistency. (He would have nothing to do with the attempt to symbolise and revive a civilisation that had utterly passed away,...)

Page xli, "Nietzschean" changed to "Nietzschian" for consistency. (The review of Tille's translation, well bears partial reprinting in this volume for its keen intelligence and also as a quite early sketch of the Nietzschian system in the English press.)

Page xxvi, "nor h" changed to "north". (It lies in a well-wooded district of Podolia, some hundred miles further north than the region to which I first went.)

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,...)

Page 151, "dramatized" changed to "dramatised" for consistency. (He is a great master of form, but he dramatises the chamber-music forms very much as Beethoven dramatised the symphony,...)

Page 153, "Carneval" changed to "Carnaval" for consistency. (In his rendering of Schumann's "Carnaval" not a point was missed,)

Page 179, "Wienaiwski's" changed to "Wieniawski's" for consistency. (Wieniawski's Fantasia on Themes from Gounod's "Faust," Paganini's caprice "I Palpiti," Bazzini's "Ronde des Lutins," the last-named played among the encore pieces.)

Page 180, duplicate "and" deleted. (For the present we are mainly concerned with Mr. Kreisler, who is not so desperately youthful, but is a mature and military-looking man, though he is commonly reckoned among the players of the new school, or the rising generation.)

Page 192, "Leonara" changed to "Leonora" for consistency. (Glancing now at musical activity in other countries, we find attention necessarily concentrated in the first instance upon the heroic figure of Beethoven, who in this year (1813) had already given to the world his Eroica, C minor, Pastoral, and Seventh Symphonies, besides his Violin Concerto, Razoumoffsky Quartets, Waldstein and Appassionata Sonatas, his one opera "Fidelio," together with the third "Leonora" overture, and many other works of towering genius.)

Page 224, "idiosyncracies" changed to "idiosyncrasies". (But when all allowance has been made for such personal idiosyncrasies, it remains the fact that Nietzsche has more boldly than any other writer of our time raised the most important of social questions ...)