The former wished to restrict the creations of times and natures the most dissimilar, within the limits of the same symmetrical frame; the latter claimed for all writers the liberty of creating their own mode, accepting no other rules than those which result from the direct relation of sentiment and form, exacting only that the form should be adequate to the expression of the sentiment.

However admirable the existing models might be, they did not appear to them to have exhausted all the range of sentiments upon which art might seize, or all the forms which it might advantageously use.

Not contented with the mere excellence of form, they sought it so 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.