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Incorrect edit. It’s a direct quote from Elgar and he spells the word as “connexion,” which is correct British spelling of that time. Please do not change back without discussion.
Changed line(s) 38 (click to see context) from:
-->The Enigma I will not explain – its "dark saying" must be left unguessed, and I warn you that the connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme "goes," but is not played . . . . So the principal Theme never appears, even as in some late dramas – e.g. Maeterlinck's L'Intruse and Les sept Princesses – the chief character is never on the stage.
to:
-->The Enigma I will not explain – its "dark saying" must be left unguessed, and I warn you that the connection connexion between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme "goes," but is not played . . . . So the principal Theme never appears, even as in some late dramas – e.g. Maeterlinck's L'Intruse and Les sept Princesses – the chief character is never on the stage.
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Spelling/grammar fix(es)
Changed line(s) 38 (click to see context) from:
-->The Enigma I will not explain – its "dark saying" must be left unguessed, and I warn you that the connexion between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme "goes," but is not played . . . . So the principal Theme never appears, even as in some late dramas – e.g. Maeterlinck's L'Intruse and Les sept Princesses – the chief character is never on the stage.
to:
-->The Enigma I will not explain – its "dark saying" must be left unguessed, and I warn you that the connexion connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme "goes," but is not played . . . . So the principal Theme never appears, even as in some late dramas – e.g. Maeterlinck's L'Intruse and Les sept Princesses – the chief character is never on the stage.
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Changed line(s) 28 (click to see context) from:
* CulturallyReligious: Elgar was brought up a Catholic, was sympathetic to the Catholics suffering prejudice in Protestant Britain, and composed a number of religious choral works, like ''The Dream of Gerontius'', ''The Kingdom'', and ''The Apostles''. However, he was not particularly devout and expressed ambivalence towards the Catholic faith, especially towards the end of his life. He only continued to go to Mass because his wife Alice, a devout Catholic convert from Anglicanism, encouraged him to or because he admired a particular priest in a parish. He also denied that there is an afterlife, despite his most famous oratorio ''The Dream of Gerontius'' being about life after death.
to:
* CulturallyReligious: Elgar was brought up a Catholic, was sympathetic to the Catholics suffering prejudice in Protestant Britain, and composed a number of religious choral works, like ''The Dream of Gerontius'', ''The Kingdom'', and ''The Apostles''. However, he was not particularly devout and expressed ambivalence towards the Catholic faith, especially towards the end of his life. He only continued to go to Mass because his wife Alice, a devout Catholic convert from Anglicanism, encouraged him to or because he admired a particular priest in a parish. He There is also the irony that he denied that there is an afterlife, despite his most famous oratorio and yet ''The Dream of Gerontius'' being is about life after death.
