Save a few verbal slips of no importance, I have found nothing to alter in this edition. As usual, the only protests the book has elicited are protests, not against the opinions it expresses, but against the facts it records. There are people who cannot bear to be told that their hero was associated with a famous Anarchist in a rebellion; that he was proclaimed as "wanted" by the police; that he wrote revolutionary pamphlets; and that his picture of Niblunghome under the reign of Alberic is a poetic vision of unregulated industrial capitalism as it was made known in Germany in the middle of the nineteenth century by Engels's Condition of the Laboring classes in England. They frantically deny these facts, and then declare that I have connected them with Wagner in a paroxysm of senseless perversity. I am sorry I have hurt them; and I appeal to charitable publishers to bring out a new life of Wagner, which shall describe him as a court musician of unquestioned fashion and orthodoxy, and a pillar of the most exclusive Dresden circles. Such a work, would, I believe, have a large sale, and be read with satisfaction and reassurance by many lovers of Wagner's music. As to my much demurred-to relegation of Night Falls On The Gods to the category of grand opera, I have nothing to add or withdraw. Such a classification is to me as much a matter of fact as the Dresden rising or the police proclamation; but I shall not pretend that it is a matter of such fact as everybody's judgment can grapple with. People who prefer grand opera to serious music-drama naturally resent my placing a very grand opera below a very serious music-drama. The ordinary lover of Shakespeare would equally demur to my placing his popular catchpenny plays, of which As You Like It is an avowed type, below true Shakespearean plays like Measure for Measure. I cannot help that. Popular dramas and operas may have overwhelming merits as enchanting make-believes; but a poet's sincerest vision of the world must always take precedence of his prettiest fool's paradise. As many English Wagnerites seem to be still under the impression that Wagner composed Rienzi in his youth, Tannhauser and Lohengrin in his middle age, and The Ring in his later years, may I again remind them that The Ring was the result of a political convulsion which occurred when Wagner was only thirty-six, and that the poem was completed when he was forty, with thirty more years of work before him? It is as much a first essay in political philosophy as Die Feen is a first essay in romantic opera. The attempt to recover its spirit twenty years later, when the music of Night Falls On The Gods was added, was an attempt to revive the barricades of Dresden in the Temple of the Grail. Only those who have never had any political enthusiasms to survive can believe that such an attempt could succeed. G. B. S. London, 1901 Preface to the First Edition