far only
as its perfection is indispensable for the complete revelation of the
idea, for they were not ignorant that the sentiment is maimed if the
form remain imperfect, any imperfection in it, like an opaque veil,
intercepting the raying of the pure idea. Thus they elevated what had
otherwise been the mere work of the trade, into the sphere of poetic
inspiration. They enjoined upon genius and patience the task of
inventing a form which would satisfy the exactions of the inspiration.
They reproached their adversaries with attempting to reduce inspiration
to the bed of Procrustes, because they refused to admit that there are
sentiments which cannot be expressed in forms which have been determined
upon beforehand, and of thus robbing art, in advance even of their
creation, of all works which might attempt the introduction of newly
awakened ideas, newly clad in new forms; forms and ideas both naturally
arising from the naturally progressive development of the human spirit,
the improvement of the instruments, and the consequent increase of the
material resources of art.

Those who saw the flames of Genius devour the old worm-eaten crumbling
skeletons, attached themselves to the musical school of which the most
gifted, the most brilliant, the most daring representative, was Berlioz.
Chopin joined this school. He persisted most strenuously in freeing
himself from the servile formulas of conventional style, while he
earnestly repudiated the charlatanism which sought to replace the old
abuses only by the introduction of new ones.

During the years which this campaign of Romanticism lasted, in which
some of the trial blows were master-strokes, Chopin remained invariable
in his predilections, as well as in his repulsions. He did not admit the
least compromise with those who, in his opinion, did not sufficiently
represent progress, and who, in their refusal to relinquish the desire
of displaying art for the profit of the trade, in their pursuit of
transitory effects, of success won only from the astonishment of the
audience, gave no proof of sincere devotion to progress. He broke the
ties which he had contracted with respect when he felt restricted by
them, or bound too closely to the shore by cordage which he knew to be
decayed. He obstinately refused, on the other hand, to form ties with
the young artists whose success, which he deemed exaggerated, elevated a
certain kind of merit too highly. He never gave the least praise to