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 any thing which he did not believe to be a real conquest for art, or which did not evince a serious conception of the task of an artist.